The book covers a wide range of cinematic femininities: It starts with Marilyn Monroe’s cool phrase ‚We are all of us stars, and we deserve to twinkle‘, which self-confidently marked her profession – with a wink, because she did not say ‚to sparkle‘. The (self-) staging of women also ironically plays its being tailored to the male gaze. In this section we discuss movies like Some like it hot, Breakfast at Tiffany’s, Cet obscur objet du désir and Le Mépris – with a notable chapter by Laura Mulvey. Moreover, some fifty films later, the book ends with a section on Self-Empowerment and Identity, featuring films like Thelma & Louise, The Hours, Blue Valentine and Carol.
Are women in film really just those who are seen and displayed? Where are the ones who see and who point to something themselves? Where are the women in the audience, behind the camera? If, as feminist psychoanalytical film criticism rightly observes, the stars and starlets, especially in Hollywood mainstream cinema, are supposed to serve the male gaze as eye candy and self-assurance, what is the role of the women who do not fit into this scheme, the anti-heroes, the women who feel and act, those through whose eyes the world experiences a completely different way of being seen? Not only in arthouse cinema, but also in the mainstream, there is far more to the thousand facets of staged femininity than the simple formula of the male gaze. The book shows the most diverse stagings of femininity in great (and terrible) films, and explores (according to the approach of film psychoanalysis) how these staging affect the unconscious, or also the not-yet-conscious of viewers.
Each of the eight sections deals with a thematic aspect of the staging of suffering or sovereign femininity in feature films. They follow a chronological structure to illustrate how the genre has evolved. Each section is held together by an editorial introduction.
Inhaltsverzeichnis
Part I. “We are all of us stars, and we deserve to twinkle.” Self-presentations as objects of desire.- Chapter 1 . Sunset Boulevard: Diva as Demon.- Chapter 2. Breakfast at Tiffany’s, style icon as a lifelong lie.- Chapter 3. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’.- Chapter 4. look behind the veil – What is actually ‚obscure‘ about Luis Buñuel’s film, That Obscure Object of Desire? (Cet obscur objet du désir, F, ES 1977).- Part II. Strong Feelings. Women as persistent subjects.- Chapter 5. Poetry and reality. Devastated Landscapes of the soul: La Strada (The Road, I 1954).- Chapter 6. Woman as a Black Bird – The Presentation of Femininity in Alfred Hitchcock’s The Birds (US 1963).- Chapter 7. Trauma, Depression and Transgenerational Suicidal Tendency – Psychoanalytical Notes on the Film Die Wand [The Wall] (A, D 2012) .- Chapter 8. Resilient Femininity in Three Billboards Outside Ebbing, Missouri .- Part III.Mothers and Daughters.- Chapter 9. Why mothers are immortal – (All about my mother) .- Chapter 10 . Understanding Bridget Jones.The staging of post-feminist female identity in Bridget Jones’s Diary (GB, IRL, F 2001).- Chapter 11. From LA STRADA TO THE HOURS – Suffering or Sovereign Femininity in Feature Films.- Part IV. Women’s suffering. Illness and mystery in the film.- Chapter 12. Black Swan.- Chapter 13. ‚You Freud, me Jane?‘ – Images of Womanhood and love in Alfred Hitchcock’s Marnie (US 1964).- Chapter 14. Thrill and Suffering – Misery (US 1990).- Chapter 15. You are the only person who can give me back myself‘: The passions of self-image and ego distortion – Der Liebeswunsch [The Love Wish] (D 2006).- Part V. String Pullers. When women control events.- Chapter 16. Alfred Hitchcock’s Rebecca: The Replacement Wife.- Chapter 17. Women’s Truth Witness for the Prosecution, US 1958.- Chapter 18. I’m Not Your Nice Girl – Gone Girl (US 2014).- Chapter 19. Gateway to the Night – The Night Porter(Il portiere di notte, I 1974) .- Chapter 20. In Search of the Lost Mother – The Piano (NZ, AU, F 1993).- Part VI . Revolt against the camera. The uprising against “male gaze”.- Chapter 21. A Woman in Limbo – Lost in Translation (US 2003).- Chapter 22. Pursuing Emptiness – Obsession and (im) potence in Kathryn Bigelow’s Blue Steel (US 1990).- Part VII . Artifacts and Fantasized Women.- Chapter 23. S.O.S. – Spike Jonze’s Her as a film about object relations and grief.- Chapter 24. Vagina dentata – Underworld (US, GB, H, D 2003).- Part VIII . Self-empowerment and identity.- Chapter 25. Keep Going – Thelma & Louise (US, 1991).- Chapter 26. From Eternity to Eternity(The Hours, US, 2002).- Chapter 27. Love with a Salty Taste – Carol (GB, US 2015).- Chapter 28. The end of a great love? – Blue Valentine (US 2010).- Chapter 29. Said with flowers – bread and tulips (Pane e tulipani, I, CH 2000).
Über den Autor
Vivian Pramataroff-Hamburger, Dr. med., specialist in gynaecology and psychotherapy in Munich, board member of the German Society for Psychosomatic Obstetrics and Gynaecology (DGPFG) and the International Society for Psychosomatic Obstetrics and Gynecology (ISPOG), training therapist and supervisor (BLÄK), member of the Munich Study Group on Film and Psychoanalysis since 2007, numerous publications on film and psychoanalysis.
Andreas Hamburger, Prof. Dr. phil. Dipl.-Psych., Professor of Clinical Psychology and Psychoanalysis IPU Berlin, Germanist, psychologist, psychoanalyst (DPG/IPA), training analyst and supervisor (DGPT, DGSv), member of the Munich Study Group on Film and Psychoanalysis since 2007, numerous publications on film and psychoanalysis, including the monograph Relational Film Psychoanalysis.
Ebooks vom selben Autor / Herausgeber
11.566 Ebooks in dieser Kategorie
