Hilary Neroni – författare

Considering representations of torture in such television series as 24, Alias, and Homeland; the documentaries Taxi to the Dark Side (2007), Ghosts of Abu Ghraib (2007), and Standard Operating Procedure (2008); and "torture porn" feature films from the Saw and Hostel series, Hilary Neroni unites aesthetic and theoretical analysis to provide a unique portal into theorizing biopower and its relation to the desiring subject. Her work ultimately showcases film and television studies' singular ability to expose and potentially disable the fantasies that sustain torture and the regimes that deploy it.

Considering representations of torture in such television series as 24, Alias, and Homeland; the documentaries Taxi to the Dark Side (2007), Ghosts of Abu Ghraib (2007), and Standard Operating Procedure (2008); and "torture porn" feature films from the Saw and Hostel series, Hilary Neroni unites aesthetic and theoretical analysis to provide a unique portal into theorizing biopower and its relation to the desiring subject. Her work ultimately showcases film and television studies' singular ability to expose and potentially disable the fantasies that sustain torture and the regimes that deploy it.

Looks at how violent women characters disrupt cinematic narrative and challenge cultural ideals.In The Violent Woman, Hilary Neroni brings psychoanalytically informed film theory to bear on issues of femininity, violence, and narrative in contemporary American cinema. Examining such films as Thelma and Louise, Fargo, Natural Born Killers, and The Long Kiss Goodnight, Neroni explores why American audiences are so fascinated-even excited-by cinematic representations of violent women, and what these representations reveal about violence in our society and our cinema. Neroni argues that violent women characters disrupt cinematic narrative and challenge cultural ideals, suggesting how difficult it is for Hollywood-the greatest of ideology machines-to integrate the violent woman into its typical narrative structure.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7.Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts—identification, framing the woman’s body, and the female auteur—Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7.Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts—identification, framing the woman’s body, and the female auteur—Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7.Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts-identification, framing the woman's body, and the female auteur-Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Feminist Film Theory and Cléo from 5 to 7 offers a concise introduction to feminist film theory in jargon-free language and shows how this theory can be deployed to interpret Agnes Varda's critically acclaimed 1962 film Cléo from 5 to 7.Hilary Neroni employs the methodology of looking for a feminist alternative among female-oriented films. Through three key concepts-identification, framing the woman's body, and the female auteur-Neroni lays bare the debates and approaches within the vibrant history of feminist film theory, providing a point of entry to feminist film theory from its inception to today. Picking up one of the currents in feminist film theory - that of looking for feminist alternatives among female-oriented films - Neroni traces feminist responses to the contradictions inherent in most representations of women in film, and she details how their responses have intervened in changing what we see on the screen.

A Choice Outstanding Academic Title of the YearErich Fromm (1900-1980) is known to most readers as the author of the international bestseller The Art of Loving (1956). What may be less widely known is that Fromm was a social psychoanalyst whose psychoanalytic theories, developed around a humanistic concept of man and society, have had a profound impact on many fields and disciplines: on social life and societal organization, on politics, on religion, on psychotherapy and, last but not least, on the practice of mindfulness. Rainer Funk was Erich Fromm’s last assistant. He wrote his dissertation about Fromm, was designated by Fromm's last will to be his sole literary executor, and is the editor of Fromm's writings. From his very intimate knowledge of Fromm's life and ideas, and his access to an archive that includes 6,000 letters, Funk introduces Fromm's central concepts and examines them in relation to Fromm's lived experiences and to his idea that life itself is an art. The question of "the art of living" runs through all of the chapters, from the Introduction, in which Funk describes meeting Fromm for the first time in 1972, to the last chapter, in which Funk reflects on the impact of Fromm's social-psychoanalytic writings and his efforts to live well.

While many of Freud’s original formulations have required either revision or rejection and replacement with newer models, his cultural books, such as Civilization and Its Discontents and Totem and Taboo, though extremely influential in the early part of the 20th century, have more recently been either neglected or else dismissed as long-outdated fantasies. Robert A. Paul shows that Freud's ideas in these books, and his thinking on how human society is possible, given the unpromising materials out of which it is constructed (i.e. human beings), can appear in a different and more favorable light when viewed through the lens of contemporary anthropology, cultural studies, and evolutionary theory.

Psychological Roots of the Climate Crisis tells the story of a fundamental fight between a caring and an uncaring imagination. It helps us to recognise the uncaring imagination in politics, in culture - for example in the writings of Ayn Rand - and also in ourselves.Sally Weintrobe argues that achieving the shift to greater care requires us to stop colluding with Exceptionalism, the rigid psychological mindset largely responsible for the climate crisis. People in this mindset believe that they are entitled to have the lion’s share and that they can ‘rearrange’ reality with magical omnipotent thinking whenever reality limits these felt entitlements.While this book's subject is grim, its tone is reflective, ironic, light and at times humorous. It is free of jargon, and full of examples from history, culture, literature, poetry, everyday life and the author’s experience as a psychoanalyst, and a professional life that has been dedicated to helping people to face difficult truths.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica's 1948 Italian neo realist masterpiece Bicycle Thieves. Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements-such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave-that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica's 1948 Italian neo realist masterpiece Bicycle Thieves. Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements-such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave-that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica’s 1948 Italian neo realist masterpiece Bicycle Thieves.Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements—such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave—that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica’s 1948 Italian neo realist masterpiece Bicycle Thieves.Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements—such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave—that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.

What stands out about racism is its ability to withstand efforts to legislate or educate it away. In The Racist Fantasy, Todd McGowan argues that its persistence is due to a massive unconscious investment in a fundamental racist fantasy. As long as this fantasy continues to underlie contemporary society, McGowan claims, racism will remain with us, no matter how strenuously we struggle to eliminate it. The racist fantasy, a fantasy in which the racial other is a figure who blocks the enjoyment of the racist, is a shared social structure. No one individual invented it, and no one individual is responsible for its perpetuation. While no one is guilty for the emergence of the racist fantasy, people are nonetheless responsible for keeping it alive and thus responsible for fighting against it. The Racist Fantasy examines how this fantasy provides the psychic basis for the racism that appears so conspicuously throughout modern history. The racist fantasy informs everything from lynching and police shootings to Hollywood blockbusters and musical tastes. This fantasy takes root under capitalism as a way of explaining the failures and disappointments that result from the relationship to the commodity. The struggle against racism involves dislodging the fantasy structure and to change the capitalist relations that require it. This is the project of this book.

This material and theoretical history of seriality shows it to be the dominant form of culture since its inception within 19th-century print culture, as both a media structure and a psychic one.The serial is everywhere. Commonly identified by the segmented release structure of an ongoing narrative – from installments of Victorian novels to TV episodes to comic books – seriality names the spread of installment-based storytelling across a range of media. However, Ryan Engley argues that seriality is not only a narrative structure but also a psychic structure. Seriality – in its dependence on gaps, delay, and constraint – names the fundamental trauma of contemporary life: that there exists an intrinsic relation between self and other, a relation that is often difficult to see and difficult to bear.Through formal readings of media texts alongside Freudian and Lacanian psychoanalysis, the dialectical method of G.W.F. Hegel, and Jean-Paul Sartre’s existentialism, Seriality: Media and the Psychic Form of Everyday Life shifts the focus of seriality studies. In so doing, Engley presents a rebuttal to the common refrain that our lives, like contemporary media, have become endlessly fragmented. Rather, Engley finds, we have become radically – serially – connected.

This material and theoretical history of seriality shows it to be the dominant form of culture since its inception within 19th-century print culture, as both a media structure and a psychic one.The serial is everywhere. Commonly identified by the segmented release structure of an ongoing narrative – from installments of Victorian novels to TV episodes to comic books – seriality names the spread of installment-based storytelling across a range of media. However, Ryan Engley argues that seriality is not only a narrative structure but also a psychic structure. Seriality – in its dependence on gaps, delay, and constraint – names the fundamental trauma of contemporary life: that there exists an intrinsic relation between self and other, a relation that is often difficult to see and difficult to bear.Through formal readings of media texts alongside Freudian and Lacanian psychoanalysis, the dialectical method of G.W.F. Hegel, and Jean-Paul Sartre’s existentialism, Seriality: Media and the Psychic Form of Everyday Life shifts the focus of seriality studies. In so doing, Engley presents a rebuttal to the common refrain that our lives, like contemporary media, have become endlessly fragmented. Rather, Engley finds, we have become radically – serially – connected.

An engaging biographical introduction to Sigmund Freud, contextualizing the evolution of his theories within the vibrant and tumultuous climate of early-20th-century Vienna.Freud Explained presents Freud’s core ideas as they developed over the course of his life, in context with his historical moment. It explains key moments in the progression of Freud’s theories – such as sexual repression, the Oedipus complex, and the interpretation of dreams – weaving these together with discussions of his family history and upbringing. It also highlights important shifts, contradictions, and controversies, particularly relating to seduction theory, hysteria, female sexuality, and homosexual desire.Stephen Frosh describes Freud’s life in Vienna and the patients with whom he worked; looks at the relationships he formed with his teachers and followers; and focuses on how his theories developed in the context of the enormous social and political upheavals of the time – disruptions that eventually prompted Freud to move to England, in order “to die in freedom.” Frosh’s expertise on antisemitism is especially vital to his discussion of the challenges Freud faced, as a Jewish intellectual in Vienna, to the dissemination of his radical ideas. As more people feel comfortable seeking psychotherapy, and as the socio-political world in which we live becomes more emotionally challenging, we all — knowingly or not — draw on Freud’s ideas about unresolved conflicts and traumatic memories as we try to make sense of things. Freud Explained provides a highly researched and very accessible introduction to Freud that speaks to this growing curiosity about what makes us feel and act the way we do.

An engaging biographical introduction to Sigmund Freud, contextualizing the evolution of his theories within the vibrant and tumultuous climate of early-20th-century Vienna.Freud Explained presents Freud’s core ideas as they developed over the course of his life, in context with his historical moment. It explains key moments in the progression of Freud’s theories – such as sexual repression, the Oedipus complex, and the interpretation of dreams – weaving these together with discussions of his family history and upbringing. It also highlights important shifts, contradictions, and controversies, particularly relating to seduction theory, hysteria, female sexuality, and homosexual desire.Stephen Frosh describes Freud’s life in Vienna and the patients with whom he worked; looks at the relationships he formed with his teachers and followers; and focuses on how his theories developed in the context of the enormous social and political upheavals of the time – disruptions that eventually prompted Freud to move to England, in order “to die in freedom.” Frosh’s expertise on antisemitism is especially vital to his discussion of the challenges Freud faced, as a Jewish intellectual in Vienna, to the dissemination of his radical ideas. As more people feel comfortable seeking psychotherapy, and as the socio-political world in which we live becomes more emotionally challenging, we all — knowingly or not — draw on Freud’s ideas about unresolved conflicts and traumatic memories as we try to make sense of things. Freud Explained provides a highly researched and very accessible introduction to Freud that speaks to this growing curiosity about what makes us feel and act the way we do.

Psychoanalysis has not had a comfortable history in relation to "race" and racism, despite its origins in the Jewish lives of Freud and its other first-generation progenitors and the insistent pressure of antisemitism upon it. Indeed, the failure to fully address racism is a running sore in the psychoanalytic movement. This has begun to be remedied in recent years, but it is still the case that psychoanalysis struggles to incorporate antiracist perspectives and that this might be a reason why it has engaged relatively poorly with Black communities. Psychoanalysis may have been a "Jewish science" in a positive sense, but it has not fully leveraged this to become a truly antiracist one.In Antisemitism and Racism, Stephen Frosh, a leading figure in psychoanalytic studies, provides a psychoanalytically-informed examination of the relations between antisemitism and antiblack racism. Frosh's starting point is a claim that the Jewish origins and implications of psychoanalysis fuel its capacity to interrogate racism of all kinds. Indeed, the shared experience of exposure to different kinds of racism raises prospects for renewed alliances between Jewish and Black communities. Antisemitism and Racism ends with a chapter that asks psychoanalysis itself to respond to some of the challenges emerging from the Black Lives Matter and decolonial movements.At a time when division and prejudice are on the rise to an alarming degree, it is imperative that we examine, understand, and discuss the psychological roots of racism.

Psychoanalysis has not had a comfortable history in relation to "race" and racism, despite its origins in the Jewish lives of Freud and its other first-generation progenitors and the insistent pressure of antisemitism upon it. Indeed, the failure to fully address racism is a running sore in the psychoanalytic movement. This has begun to be remedied in recent years, but it is still the case that psychoanalysis struggles to incorporate antiracist perspectives and that this might be a reason why it has engaged relatively poorly with Black communities. Psychoanalysis may have been a "Jewish science" in a positive sense, but it has not fully leveraged this to become a truly antiracist one.In Antisemitism and Racism, Stephen Frosh, a leading figure in psychoanalytic studies, provides a psychoanalytically-informed examination of the relations between antisemitism and antiblack racism. Frosh's starting point is a claim that the Jewish origins and implications of psychoanalysis fuel its capacity to interrogate racism of all kinds. Indeed, the shared experience of exposure to different kinds of racism raises prospects for renewed alliances between Jewish and Black communities. Antisemitism and Racism ends with a chapter that asks psychoanalysis itself to respond to some of the challenges emerging from the Black Lives Matter and decolonial movements.At a time when division and prejudice are on the rise to an alarming degree, it is imperative that we examine, understand, and discuss the psychological roots of racism.

Drawing connections between Freudian psychoanalysis, Virginia Woolf’s criticism and fiction, and Maurice Merleau-Ponty’s phenomenology, The Ethics of Immediacy recounts the far-reaching consequences of the modern turn towards a new ethics of immediacy. During the first half of the 20th century, a profound transformation – an existential revolution – took place in European culture in how human beings conceived of themselves. Inspired by Freud’s psychoanalysis, a newfound appreciation for the realm of immediate experience in human life emerged. With Freud himself making a signal contribution to this existential revolution, and with Woolf and Merleau-Ponty taking up Freud’s ideas in their own unique ways, all three figures began to regard first-order, spontaneous, direct, unselfconscious, concrete experience of self and world as standing at the heart of what it means to be human.Jeffrey McCurry describes how this new state of affairs stood in contrast to how immediate experience had been historically dismissed, devalued, repressed, and even negated in the fields of psychology, literature, and philosophy. This experience posed dangers to psychological stability, social order, and philosophical certainty. McCurry examines how Freud’s psychoanalytic theory, Woolf’s modernist criticism and fiction, and Merleau-Ponty’s phenomenology, psychology, literature, and philosophy in turns embraced the risks and dangers of putting immediate experience as the center of humanity, of respecting, understanding, appreciating, and following the lead of immediate, spontaneous, pre-reflective, pre-evaluative, concrete experience in human life.

Visual Culture in Freud's Vienna shows how photography and film in turn-of-the-century Vienna (the birthplace of psychoanalysis) not only reflected modernist ideas already in force, but helped to bring into being what might be referred to as a “psychoanalytic imagination.”Mary Bergstein demonstrates that visual images not only illustrated, but also engendered ways of seeing social, psychological, and scientific ideas during a formative time in the creation and development of psychoanalysis and the modern age. Indeed, she argues that visual culture initiated significant aspects of psychoanalytic thought.Visual Culture in Freud's Vienna examines a variety of visual materials and texts, ranging from scientific illustrations to popular "low culture" and even forms of erotica, including film. Attention is also given to women’s dresses and shoes in a social context and as they are represented in photography and circulated as fetish objects.Bergstein maintains a commitment to women’s history and feminist inquiry throughout, particularly in her final chapter, which is devoted to the representations of women in the erotic photography and film. Visual Culture in Freud's Vienna is well illustrated with images drawn from the sources discussed and makes a significant contribution to our understanding of modernism and psychoanalysis.

Visual Culture in Freud's Vienna shows how photography and film in turn-of-the-century Vienna (the birthplace of psychoanalysis) not only reflected modernist ideas already in force, but helped to bring into being what might be referred to as a “psychoanalytic imagination.”Mary Bergstein demonstrates that visual images not only illustrated, but also engendered ways of seeing social, psychological, and scientific ideas during a formative time in the creation and development of psychoanalysis and the modern age. Indeed, she argues that visual culture initiated significant aspects of psychoanalytic thought.Visual Culture in Freud's Vienna examines a variety of visual materials and texts, ranging from scientific illustrations to popular "low culture" and even forms of erotica, including film. Attention is also given to women’s dresses and shoes in a social context and as they are represented in photography and circulated as fetish objects.Bergstein maintains a commitment to women’s history and feminist inquiry throughout, particularly in her final chapter, which is devoted to the representations of women in the erotic photography and film. Visual Culture in Freud's Vienna is well illustrated with images drawn from the sources discussed and makes a significant contribution to our understanding of modernism and psychoanalysis.

A work of feminist psychoanalytic literary criticism that offers original readings of early canonical works of the Western tradition.In cogently argued and brilliant readings of texts ranging from St. Augustine’s Confessions to Milton’s Paradise Lost, Paradise Regained and Samson Agonistes, Psychoanalysis and the Patriarchal Tradition shows the ongoing cultural value of psychoanalytic approaches—flexibly and critically applied—to the interpretation of major literary works. Peter L. Rudnytsky makes a persuasive and striking case for tracing significant connections between the Judeo-Christian story of the Fall and the Greek myth of Oedipus: Proposing that the Oedipus complex can be viewed as the “latent content” of the Fall, Rudnytsky at once respects the explanatory power of these master-myths while he interrogates their claims to universality.Drawing above all on Freud, Klein, Winnicott, and Lacan, Rudnytsky integrates a range of psychoanalytic perspectives with deconstruction, new historicism, and psychobiography to highlight issues of gender and sexuality not only in Augustine and Milton but also in Gottfried’s Tristan, Sir Gawain and the Green Knight, More’s History of King Richard III, Shakespeare’s Othello and King Lear, as well the poetry of Marvell and other 17th-century writers who exhibit the “dissociation of sensibility” Rudnytsky links to the execution of King Charles I.Through synthesis of psychoanalysis, feminism, and literary criticism, Psychoanalysis and the Patriarchal Tradition sheds new light on old masterpieces even as it reveals the contours of an entire tradition.

A psychoanalytic approach to screen adaptation that examines the role of deep-rooted desire evident in the persisting media practice of adaptation from literature to film.The prevalence of adaptations in cinema – from literary texts – is striking. What does this lead us to think about adaptation? This open access book answers this question from a psychoanalytic perspective by exploring the psychic dynamics underlying screen adaptation as a practice, offering an intriguing window into the desire for adaptation beyond semiotic parameters and industrial factors. Through a series of examples – from Hamlet and Hitchcock, to Kubrick’s The Shining, and Jonze’s Adaptation – the book theorizes film adaptations in relation to their originals. Drawing on the theories of Freud and Lacan, Hee-seung Irene Lee rigorously explains psychoanalytic concepts such as desire, the drive, the Oedipus complex, the uncanny, and anxiety, which are prevalent and remain useful in the vast field of cultural studies. As a result, readers can easily follow the book’s case studies of canonical film adaptations with interest. At the same time, the author attempts to challenge, expand, and renew the usual definition of film adaptation. This fosters interdisciplinary dialogue between philosophical and psychoanalytic speculations on subjectivity and frames adaptation not merely as a specific mode of filmmaking but a universal, primordial task of every speaking being.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.