Ben Tyrer - Böcker

In Psychoanalytic Film Theory: A Contemporary Introduction, Ben Tyrer presents an overview of psychoanalytic approaches to screen media, offering a reconsideration of psychoanalytic film theory while making the case for new forms of psychoanalytic film thinking.Tyrer takes a series of key psychoanalytic concepts – including dream, identification, difference, object, and ideology – and charts their development in, and impact on, film theory. Considering foundational essays by Jean-Louis Baudry, Christian Metz, Laura Mulvey, and Jacqueline Rose, and contemporary conversations on cinema in the work of Joan Copjec, Slavoj Žižek, Alenka Zupančič, and Todd McGowan, the book considers the major insights and accomplishments of psychoanalytic film theory in contemporary context while offering a view of the intellectual life of psychoanalysis outside the clinic. Paying close attention to filmmakers such as Andrea Arnold, Joanna Hogg, Boots Riley, Celine Sciamma, and Wong Kar Wai, Tyrer demonstrates the continued importance of psychoanalysis when thinking about film and the pertinence of psychoanalytic film theory beyond its historical focus on classical Hollywood cinema.Articulating complex ideas in an accessible way, this book is a vital starting point for students and scholars approaching psychoanalytic film theory for the first time, as well as scholars and analysts wishing to expand their knowledge and enhance their practice.

In Psychoanalytic Film Theory: A Contemporary Introduction, Ben Tyrer presents an overview of psychoanalytic approaches to screen media, offering a reconsideration of psychoanalytic film theory while making the case for new forms of psychoanalytic film thinking.Tyrer takes a series of key psychoanalytic concepts – including dream, identification, difference, object, and ideology – and charts their development in, and impact on, film theory. Considering foundational essays by Jean-Louis Baudry, Christian Metz, Laura Mulvey, and Jacqueline Rose, and contemporary conversations on cinema in the work of Joan Copjec, Slavoj Žižek, Alenka Zupančič, and Todd McGowan, the book considers the major insights and accomplishments of psychoanalytic film theory in contemporary context while offering a view of the intellectual life of psychoanalysis outside the clinic. Paying close attention to filmmakers such as Andrea Arnold, Joanna Hogg, Boots Riley, Celine Sciamma, and Wong Kar Wai, Tyrer demonstrates the continued importance of psychoanalysis when thinking about film and the pertinence of psychoanalytic film theory beyond its historical focus on classical Hollywood cinema.Articulating complex ideas in an accessible way, this book is a vital starting point for students and scholars approaching psychoanalytic film theory for the first time, as well as scholars and analysts wishing to expand their knowledge and enhance their practice.

For Freud, famously, the feminine was a dark continent, or a riddle without an answer. This understanding concerns man’s relationship to the question of ‘woman’ but femininity is also a matter of sexuality and gender and therefore of identity and experience. Drawing together leading academics, including film and literary scholars, clinicians and artists from diverse backgrounds, Femininity and Psychoanalysis: Cinema, Culture, Theory speaks to the continued relevance of psychoanalytic understanding in a social and political landscape where ideas of gender and sexuality are undergoing profound changes.This transdisciplinary collection crosses boundaries between clinical and psychological discourse and arts and humanities fields to approach the topic of femininity from a variety of psychoanalytic perspectives. From object relations, to Lacan, to queer theory, the essays here revisit and rethink the debates over what the feminine might be. The volume presents a major new work by leading feminist film scholar, Elizabeth Cowie, in which she presents a first intervention on the topic of film and the feminine for over 20 years, as well as a key essay by the prominent artist and psychoanalyst, Bracha Ettinger. Written by an international selection of contributors, this collection is an indispensable tool for film and literary scholars engaged with psychoanalysts and anybody interested in different approaches to the question of the feminine.

For Freud, famously, the feminine was a dark continent, or a riddle without an answer. This understanding concerns man’s relationship to the question of ‘woman’ but femininity is also a matter of sexuality and gender and therefore of identity and experience. Drawing together leading academics, including film and literary scholars, clinicians and artists from diverse backgrounds, Femininity and Psychoanalysis: Cinema, Culture, Theory speaks to the continued relevance of psychoanalytic understanding in a social and political landscape where ideas of gender and sexuality are undergoing profound changes.This transdisciplinary collection crosses boundaries between clinical and psychological discourse and arts and humanities fields to approach the topic of femininity from a variety of psychoanalytic perspectives. From object relations, to Lacan, to queer theory, the essays here revisit and rethink the debates over what the feminine might be. The volume presents a major new work by leading feminist film scholar, Elizabeth Cowie, in which she presents a first intervention on the topic of film and the feminine for over 20 years, as well as a key essay by the prominent artist and psychoanalyst, Bracha Ettinger. Written by an international selection of contributors, this collection is an indispensable tool for film and literary scholars engaged with psychoanalysts and anybody interested in different approaches to the question of the feminine.

Psychoanalysis and the Unrepresentable opens a space for meaningful debate about translating psychoanalytic concepts from the work of clinicians to that of academics and back again. Focusing on the idea of the unrepresentable, this collection of essays by psychoanalysts, psychotherapists, counsellors, artists and film and literary scholars attempts to think through those things that are impossible to be thought through completely.Offering a unique insight into areas like trauma studies, where it is difficult – if not impossible – to express one’s feelings, the collection draws from psychoanalysis in its broadest sense and acts as a gesture against the fixed and the frozen. Psychoanalysis and the Unrepresentable is presented in six parts: Approaching Trauma, Sense and Gesture, Impossible Poetics, Without Words, Wounds and Suture and Auto/Fiction. The chapters therein address topics including touch and speech, adoption, the other and grief, and examine films including Gus Van Sant’s Milk and Michael Haneke’s Amour. As a whole, the book brings to the fore those things which are difficult to speak about, but which must be spoken about.The discussion in this book will be key reading for psychoanalysts, including those in training, psychotherapists and psychotherapeutically-engaged scholars, academics and students of culture studies, psychosocial studies, applied philosophy and film studies, filmmakers and artists.

Psychoanalysis and the Unrepresentable opens a space for meaningful debate about translating psychoanalytic concepts from the work of clinicians to that of academics and back again. Focusing on the idea of the unrepresentable, this collection of essays by psychoanalysts, psychotherapists, counsellors, artists and film and literary scholars attempts to think through those things that are impossible to be thought through completely.Offering a unique insight into areas like trauma studies, where it is difficult – if not impossible – to express one’s feelings, the collection draws from psychoanalysis in its broadest sense and acts as a gesture against the fixed and the frozen. Psychoanalysis and the Unrepresentable is presented in six parts: Approaching Trauma, Sense and Gesture, Impossible Poetics, Without Words, Wounds and Suture and Auto/Fiction. The chapters therein address topics including touch and speech, adoption, the other and grief, and examine films including Gus Van Sant’s Milk and Michael Haneke’s Amour. As a whole, the book brings to the fore those things which are difficult to speak about, but which must be spoken about.The discussion in this book will be key reading for psychoanalysts, including those in training, psychotherapists and psychotherapeutically-engaged scholars, academics and students of culture studies, psychosocial studies, applied philosophy and film studies, filmmakers and artists.

This book presents a new reading of film noir through psychoanalytic theory.