In recent years, psychoanalytic theory has been the subject of attacks from philosophers, cultural critics, and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Below is a list of films influenced by psychoanalysis in some way or another. Madison, University of Wisconsin Press: xiii-xvii. Unlike other genres built on recurring cataclysms of violence, horror films may perhaps be typified by the idea that their violence is motivated by sexual aberrations with roots in the past. Dezember 2010 im Internet Archive) bei: Senses of Cinema; Bibliographie des 3rd European Psychoanalytic Film Festivals (Memento vom 17. “Her Body, Himself: Gender in the Slasher Film.” Representations 20: 187-228. Eschewing the bogus idea of “pure” meta-theoretical inquiry conducted by people with no first-order attachment to their arguments and conclusions, Freud’s Worst Nightmares responds to the need for critical dialogue amongst psychoanalytic horror film scholars and those of other theoretical and disciplinary stripes. Men, Women, and Chain Saws: Gender in the Modern Horror Film. The human mind is a cipher that not even the historic psychoanalytical theory has been able to decode. “Doing Things with Theory: From Freud’s Worst Nightmare to (Disciplinary) Dreams of Horror’s Cultural Value.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. Hg. Sigmund Freud's model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the hidden, the murderous, the perverse. It is hoped that the concerted efforts made by each of the contributors to question their methods and motives (past and present), anticipate and respond to objections (actual and possible), and situate their work (historically and across disciplinary lines) will help pave the way for future scholarship on the horror film-of whatever theoretical persuasion-which expresses a commitment to the notions of dialogue, progress, and conceptual openness. Woman as castrator constitutes the most significant face of the monstrous-feminine in film, and Creed challenges the mythical patriarchal view that. His book on Wes Craven, An Auteur on Elm Street, will be published by Wallflower Press/Columbia University Press in 2003. Creed, B. Theorizing the Moving Image. Madison, University of Wisconsin Press: 37-70. (6) Rather, the notions in question should here be understood in heuristic terms, as a set of aims shared by the individual essays regardless of their primary discursive/rhetorical mode, whether this mode is historical, analytic, textual, empirical, or (what is most often the case) some combination thereof. Also because it casts itself in political terms, purporting to identify and analyze the ideological effects of a specific visual-narrative structure. The title “Witches and the other Night -Fears” leads reader to the authors unconscious. But of course there is no such neutral space outside, much less “above,” the fray from which to conduct an investigation of this sort. “Introduction.” Post-Theory: Reconstructing Film Studies. A number of post-structural psychoanalytic horror film theorists, including Barbara Creed and Xavier Mendik (1998), employ Julia Kristeva’s (1982) notion of abjection to argue that women in the genre-mothers especially-are frequently presented as monstrous beings who pose a fatal threat to men. Cambridge, MA, MIT Press. In fact, the feminist-inflected psychoanalytic theories of horror proposed by Williams (1983/1996), Clover (1987; 1992), and Creed (1986; 1993) can all be understood as revisions, rather than outright rejections, of the original Mulveyan paradigm. THE MYTH OF META-THEORY. Schneider, S. Creed, B. "The essays in Horror Film and Psychoanalysis: Freud's Worst Nightmare are exemplary philosophical and aesthetic discussions, their complex and subtle arguments are both challenging and thought-provoking." Jancovich, M. (1992). In reference to horror film, psychoanalysis is as close to essential as any conceptual model can get. Schneider, S. Braudy, L. and M. Cohen (eds.). Han-yu Huang. Zizek, S. (2001). Carroll, N. (1996b). The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Not essays which simply (or not so simply, as the case may be) make creative use of one or more Freudian, Rankian, Jungian, Kleinian, Jonesian, or Lacanian principles in an effort to shed light on an aspect of the horror film. Horror. Steven Jay Schneider has published widely on the horror film and related genres in journals such as Scope, Other Voices, Kinoeye and Senses of Cinema. The second wave became popular in the 1980s and 90s. Grant, B.K. In this dense anthology, for every standard criticism of psychoanalysis there is an equally compelling argument for its use in analyzing This essay addresses these criticisms—defending a psychoanalytic approach to horror cinema from objections raised by theorists such as Stephen Prince, Andrew Tudor, Jonathan Crane, Noël Carroll, and Berys Gaut. If you do not receive an email within 10 minutes, your email address may not be registered, Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Rather, Turvey seems to be thinking of “a situation in which everyone just rattles around in their own paradigm” (Carroll 1992/1996a: 334); only here, the theorists in question are held to be “just rattling around” in the same paradigm, broadly construed as psychoanalysis. Bordwell, D. and N. Carroll (eds.). Most psychoanalytic horror film theorists to date have not proven very open to revising their particular accounts as a result of critical engagement with the work of others operating even from within the psychoanalytic paradigm. Learn more. This is an excerpt from the Introduction to Freud’s Worst Nightmares, expected to be published by Cambridge University Press as part of their “Studies in Film” Series. As Richard Allen has observed, both Williams and Creed contest aspects of Mulvey’s position by identifying “scenarios of female empowerment in the horror film in which the threat of castration [i]s not contained, but acted out in the narrative” (1999: 140). Miller, T. and R. Stam (eds.). If these intuitions were applied to different films within the genre, they would be quite compatible. Han-yu Huang. (1990). Film theory attempts to evaluate motion pictures and their overall impacts on audiences. Elizabeth Cowie, University of Kent Book Description. Click here to make a donation. Freud’s influence in the twentieth century film is undeniable, as we see psychoanalysts replacin… Freud’s psychoanalytic theory is a perfect lens through which to evaluate horror films and the effects of them. (1993). Hollows, J. and M. Jancovich (eds.). The most common route of psychoanalytic inquiry into horror cinema is through considerations of the monster's gender and sexuality. New York, Routledge. Please check your email for instructions on resetting your password. What all of the essays exhibit is something a great deal more practical than meta-theorization, also a great deal more valuable; namely, self-conscious theorizing. In a typical horror film, the murderer/monster is a static character who dies, unchanged, in the film’s conclusion. 10. Mulvey, L. (1999). The unconscious is a storage house of mysteries- hidden joys, anxieties and sorrows. Review of the hardback: 'This superb collection offers its readers a roller-coaster ride through contemporary film theory and the question of horror. For more information, contact William Rothman or Steven Jay Schneider. 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