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Document Type:Latin Dissertation
Language of Document:English
Record Number:52349
Doc. No:TL22303
Call number:‭3361498‬
Main Entry:Amy Levine
Title & Author:Phantasmatic cinema: Delinkage and disarticulation in Michelangelo Antonioni, Bela Tarr, Jean-Luc Godard and Alexander SokurovAmy Levine
College:University of Minnesota
Date:2009
Degree:Ph.D.
student score:2009
Page No:380
Abstract:The dissertation argues that cinema and psychoanalysis, in their interlocking histories, are critical to the concept of the ego, and the skin-ego of the cinematic screen. Psychoanalysis and cinema utilize the division of the transferential mise-en-scène : Both are driven by a phantasmatic space, one that is material, but neither active nor passive. The neutrality of the psychoanalytic and the cinematic spaces comprise Gilles Deleuze's and Louis Althusser's phantasm, one that is both material and derivative of unconscious mechanisms. Chapter One analyses Michelangelo Antonioni's films which present the viewer with the camera's gaze, one which conflates everyday objects with musings on Object Relations. He demonstrates the crisis of postwar Italy's coming into the Atomic Age by the disease of relations between self and other, and humans and the environment. Chapter Two examines the cinemas of Ufuk Aksoy and Béla Tarr, Aksoy explores the surface discontinuities of inverted mechanical, camera-driven, and human relationships, while Tarr exposes the inversion of political forms, sometimes masquerading as musical, sometimes as Eastern Bloc social realism. Tarr's work reveals Lacan's Real, that psychic space delineating the subject of desire, in its asymptotic encounter with an impossible Whole or political totality. Chapter Three offers readings of Jean-Luc Godard's operations of sound and image as these co-ordinate with Deleuze's opsigns and sonsigns. Ideology is reinscribed through the inherent division of the characters' personae in relation to the division of Object Relation's contention that pre-Oedipal partial objects operate on the oral and sexual planes, simultaneously. Chapter Four concludes by way of Alexander Sokurov's use of anamorphosis, visual and aural, to reveal previously illegible political realities. Sokurov's work sutures the relationships among the ideological and psychological realities of Russia throughout its recent past, or a national history, such as World War Two Japan standing in for Russia in Sun .
Subject:Philosophy, religion and theology; Communication and the arts; Language, literature and linguistics; Phantasmatic cinema; Deleuze, Gilles; Antonioni, Michelangelo; Italy; Godard, Jean-Luc; France; Tarr, Bela; Aksoy, Ufuk; Turkey; Sokurov, Aleksandr; Russia; Psychoanalysis; Cinema; Comparative literature; Slavic literature; Philosophy; Film studies; 0314:Slavic literature; 0900:Film studies; 0422:Philosophy; 0295:Comparative literature
Added Entry:J. Mowitt
Added Entry:University of Minnesota