Miller, T. and R. Stam (eds.). 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 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. The character of Norman Bates became a revolutionary breakthrough in cinema and entertainment as Freud’s psychoanalytic theory gained prominence in a major motion picture. (1998). London, Creation Books: 110-133. 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. Turvey, M. (forthcoming). 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. 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. As employed in the present context, however, these notions should not be taken as indicative of a bias towards positivist or quasi-scientific horror film theorization; for there is certainly room to argue, as Michael Levine does in this volume, that psychoanalytic theories of cinematic horror, or of anything else for that matter, may be true even if unscientific according to a standard of falsifiability modeled on those of the empirical sciences. This acting out takes place either through the figure of the “monstrous-feminine” (Creed), or else through the female character’s sympathetic “look” at the monster- “a potentially subversive recognition of the power and potency of a nonphallic sexuality” (Williams 1983/1996: 24). Tudor, A. As a form of modern defilement rite, the horror film attempts to separate out the symbolic order from all that threatens its stability, particularly the mother and all that her universe signifies. If these intuitions were applied to different films within the genre, they would be quite compatible. “Feminism, Film Theory, and the Bachelor Machines.” The Future of An Illusion: Film, Feminism, and Psychoanalysis. Despite the negative claim by its leading practitioners that what unites Post-Theoretical scholarship is simply a lack of reliance “upon the psychoanalytic framework that dominates film academia” (Bordwell and Carroll 1996: xvi), critics of psychoanalysis as applied to the horror genre may well diverge when it comes to questions concerning the in/dispensability of psychoanalytic film theory per se. Princeton, Princeton University Press. “Visual Pleasure and Narrative Cinema” (1974). Clover, C. (1992). This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that … (4). Working off-campus? Included among these are articles and books by such influential scholars as Robin Wood, Carol Clover, Stephen Neale, Linda Williams, Barbara Creed, even Noël Carroll in an earlier incarnation. (ed.). 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. Carroll, N. (1996b). Freud’s psychoanalytic theory is a perfect lens through which to evaluate horror films and the effects of them. The second wave became popular in the 1980s and 90s. (2), Arguably, one example of this sort of unproductive pluralism centers on the post-structural psychoanalytic claim that at the heart of cinematic horror lies a patriarchal fear of female sexuality. 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. Related to this is the ‘snuggle theory’ – the idea that viewing horror films may be a rite of passage for young people, providing them with an opportunity to fulfil their traditional gender roles. Others may explore the hidden drives and desires of a character or characters in a novel way. “Review Article: Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie.” Screen 31.2: 236-42. Hg. Creed, B. Those who seek, or else just care enough, to defend a psychoanalytic approach to horror cinema inevitably have a pre-existing investment in applied psychoanalysis. However, the 1970s and 1980s saw the development of theory that took concepts developed by the French psychoanalyst and writer Jacques Lacan and applied them to the experience of watching a film. Toward a Psychoanalytic Theory of Postmodern Horror Han-yu Huang Tamkang University Abstract This essay looks at “horror” both as a narrative (literary and especially cinematic) genre and as a trans-genre, postmodern social and cultural milieu, one in which horror has become entangled with excessive, pathological fantasy and enjoyment. Also because it casts itself in political terms, purporting to identify and analyze the ideological effects of a specific visual-narrative structure. These experiences range from watching horror films to skydiving and bungee jumping. The full text of this article hosted at iucr.org is unavailable due to technical difficulties. Poststructuralism looked beyond the constraints of the text and put into question the notions outside the text, notably those of subjectivity and culture. New York, Cambridge University Press: 321-35. Mendik, X. More like preaching to the converted. The First wave occurred in the 1960s and 70s. But neither did it seem too exciting an idea. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body. “Psychoanalytic Film Theory.” A Companion to Film Theory. Williams, L. (1996). Such a heterogeneity of conceptual and methodological backgrounds strongly suggests that what we have here is more than just a genre-specific case of cognitivist/historicist “Post-Theory” doing its thing. (1990). All the while the horror film, … (7). Bordwell, D. and N. Carroll (1996). 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. (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. All the while the horror film, … Theorizing the Moving Image. In this dense anthology, for every standard criticism of psychoanalysis there is an equally compelling argument for its use in analyzing

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