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The Dread of Difference: Gender and the Horror Film. The title “Witches and the other Night -Fears” leads reader to the authors unconscious. Braudy, L. and M. Cohen (eds.). The same cannot be said of psychoanalytic film theory in general, which has certainly seen its fair share of internal controversy. Bordwell, D. and N. Carroll (eds.). Han-yu Huang. In a typical horror film, the murderer/monster is a static character who dies, unchanged, in the film’s conclusion. But neither did it seem too exciting an idea. For more information, contact William Rothman or Steven Jay Schneider. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I Dispositional Alignment: People seem to enjoy the violence in horror movies when it is directed against those they believe are deserving of such treatment. This chapter points out that horror films seem to be built on a set of recurring themes: parents and children, sex and blood, secrets from the past, loss, repetition, trauma, death. Williams, L. (1999). After all, how many scholars would actually be willing to expend the time and energy needed to defend psychoanalytic theory as applied to the horror film without having a pet application of their own that they believe is well worth defending? This was to be a book about psychoanalytic theories of the horror film, rather than a book which merely offered still more new and/or improved (or not) psychoanalytic theories of the horror film. Steven Jay Schneider: Psychoanalysis in/and/of the Horror Film. THE MYTH OF META-THEORY. The most common route of psychoanalytic inquiry into horror cinema is through considerations of the monster's gender and sexuality. In film theory psychoanalytic approaches became dominant during the 1970s and 1980s, at the heyday of the poststructuralist movement. This has meant that those externally-motivated criticisms which cut across various psychoanalytic theories of the horror film-as many, if not most of them are wont to do-are typically ignored, their implications unacknowledged, precisely because their very scope encourages a passing of the dialectical buck. Oxford, Oxford University Press: 701-715. Oxford, Oxford University Press: 833-44. Frühe Schriften (1904–1912). Also, according to Cynthia A. Freeland in "Feminist Frameworks for Horror Films," feminist studies of horror films have focused on psychodynamics where the chief interest is "on viewers' motives and interests in watching horror films". Penley, C. (1989). “Feminism, Film Theory, and the Bachelor Machines.” The Future of An Illusion: Film, Feminism, and Psychoanalysis. And despite the often vitriolic criticisms of psychoanalysis coming from both inside and outside the all-too-thin walls of academic film studies, the horror genre has continued to see a steady stream of new psychoanalytic approaches, as well as new variations on existing ones. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema … 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. Freud's Worst Nightmares - Psychoanalysis and the Horror Film, Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, Take the A Train and Don’t Look Back: The 30th Sundance Film Festival and the 19, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival, “All the Thrills of the Exotic”: Collective Memory and Cultural Performance in Chris Marker’s, Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, The Conscious Collusion of the Stare: The Viewer Implicated in Fassbinder’s, A Fun Night Out: Horror and Other Pleasures of the Cinema. They took their primary inspiration from the … These experiences range from watching horror films to skydiving and bungee jumping. After all, it is just those affinities which could presumably be cited as evidence in defense of whichever psychoanalytic theory of the horror film brings them to bear in the first place. Psychoanalytic theories of film, and of horror film in particular, have been subject to attack from various quarters. Tudor, A. Meanwhile, Stephen Neale and others argue that horror film monsters are predominantly defined as male, with women as their primary victims: “In this respect, it could well be maintained that it is women’s sexuality, that which renders them desirable-but also threatening-to men, which constitutes the real problem that the [sic] horror cinema exists to explore” (1980: 61). According to Creed, the horror film attempts to bring about a confrontation with the abject (the corpse, bodily wastes, the monstrous-feminine) in order finally to eject the abject and redraw the boundaries between the human and the non-human. psychoanalysis in theory and in particular films, such as Jacques Tourneur's Cat People (1942); and 4) charting new directions for theoretical studies of horror films, both psychoanalytic and psychophysiological. (ed.). “Why Horror? 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. The First wave occurred in the 1960s and 70s. 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. Learn more. Minneapolis, University of Minnesota Press. (ed.). Such films may force a more active participation on the part of the viewer in the process of meaning creation that occurs between film, filmmakers, and spectator. (1990). Allen, R. (1999). What does PSYCHOANALYTIC FILM THEORY mean? These two theories put forth the development in the film theories like feminist film theory. Toward A Psychoanalytic Postmodern Horror Theory. Third, psychoanalytic film theory is a notoriously opaque discourse and often assumes a large amount of prior knowledge on the part of the vexed and taxed reader. Woman as castrator constitutes the most significant face of the monstrous-feminine in film, and Creed challenges the mythical patriarchal view that. To refuse to hear such critics out, to not treat their more powerful objections with all-due seriousness, and to eschew making any effort at responding in turn is more than just irresponsible scholarship. (4). But of course there is no such neutral space outside, much less “above,” the fray from which to conduct an investigation of this sort. Clover, C. (1987). (Memento vom 28. Clearly, the pluralism Turvey has in mind here is not of the productive or “methodologically robust” type advocated by Noël Carroll. Psychoanalytic film theory occurred in two distinct waves. All the while the horror film, … "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." Namely, attacking what its advocates hold to be the “ethereal speculations” of a “Grand” psychoanalytic film theory which supposedly sees itself as “an indispensible frame of reference for understanding all filmic phenomena” (Bordwell and Carroll 1996: xiii). In this dense anthology, for every standard criticism of psychoanalysis there is an equally compelling argument for its use in analyzing (Memento vom 25. What is equally interesting is the way the film portrays the role of the family in this process. Working off-campus? Over the past thirty years, a plethora of publications have argued in favor of a specific psychoanalytic approach to some dimension or convention of cinematic horror. Princeton, Princeton University Press. Sparks fly across the pages as the philosophical and epistemological premises of theories of horror are themselves subjected to analysis and evaluation as well as, in some cases, rejection. Hills, M. (forthcoming). 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. While such diversity might be held up as indicative of the fertility of psychoanalysis in this area, “from the point of view of critics of psychoanalytical film theory, there is no genuine disagreement among psychoanalytical theorists of the horror film- simply pluralism.” This is because such theorists typically “do not dialectically engage with each others’ theories by (a) showing why candidates for repressed mental content proposed by other theorists cannot explain the phenomenon they want to explain; or (b) showing why their candidate does explain the phenomenon better than others” (n. 9). In accordance with this fear, it is held that the genre defines female sexuality “as monstrous, disturbing, and in need of repression” (Jancovich 1992: 10). “Horror and the Monstrous-Feminine: an Imaginary Abjection.” Screen 27.1: 44-70. 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