- Subject index
Written by a team of veteran scholars and emerging talents, The SAGE Handbook of Film Studies maps the international traditions of the field, drawing out regional differences in the way that intellectual reflection on cinema and film has been transformed into a field of systematic inquiry. It reflects on the field's conceptual infrastructure, the dominant paradigms and debates, and evaluates their continuing salience. Finally, it looks optimistically to the future of film, the institution of cinema, and the discipline of Film Studies at a time when the very existence of film is being called into question by new technological, industrial, and aesthetic developments.
Chapter 15: Psychoanalysis and Cinema
Psychoanalysis and Cinema
That psychoanalysis and cinema share a great deal has almost become a conceptual and historical (indeed teleological) given. But one of the key attributes they share is hardly, if ever, mentioned. This is the idea of resistances – resistances to psychoanalysis and cinema as cultural processes, as analytic modes (indeed, as something worthy of analysis), their status within their fields, and even a questioning of their legitimacy to exist within the academy. Jacques Derrida, in a series of essays on psychoanalysis and resistance, commences with this idea that for its entire history psychoanalysis has always had to engage with the resistances to it, with its internal resistances, and through such engagements justify its existence. As Derrida puts it: ‘[T]here is ...