i ek through Hitchcock

Maverick Slovenian cultural theorist, philosopher and psychoanalyst Slavoj Zizek has made his name elaborating the complexities of psychoanalytic and Marxist theory through the exotic use of examples from film and popular culture. But what if we were to take Zizek's pretensions to cinephilia and film criticism seriously? In this book, adopting Zizek's own tactic of counterintuitive observation, we shall read the corpus of Alfred Hitchcock's films ('one of the great achievements of Western civilization') and Zizek's idiosyncratic citation of them in order to arrive at a position where we can identify the core commitments that inform Zizek's own work. From the practice of Hitchcock we shall (hopefully) arrive at a theory of Zizek (just as Zizek in his collection Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (Verso, 1992) arrives at a theory of Lacan from the practice of Hitchcock). To achieve this goal each chapter looks at a specific film by Hitchcock and explores a specific key concept crucial to the elaboration and core of Zizek's ideas.

Adopts Zizek's own tactic of counterintuitive observation to read the corpus of Alfred Hitchcock's films?

Argues that Zizek reads the dialectical process of Hegel in a more radical way

Explores a specific key concept crucial to the elaboration and core of Zizek's ideas in each chapter

Auteur

Laurence Simmons is Professor of Film Studies in Media and Communication at The University of Auckland, New Zealand. He has written extensively on New Zealand and Italian cinema, as well as works of critical theory including the co-edited volume From Z to A: iek at the Antipodes (2005).

Texte du rabat

Maverick Slovenian cultural theorist, philosopher and psychoanalyst Slavoj i ek has made his name elaborating the complexities of psychoanalytic and Marxist theory through the exotic use of examples from film and popular culture. But what if we were to take i ek s pretensions to cinephilia and film criticism seriously? In this book, adopting i ek s own tactic of counterintuitive observation, we shall read the corpus of Alfred Hitchcock s films ( one of the great achievements of Western civilization ) and i ek s idiosyncratic citation of them in order to arrive at a position where we can identify the core commitments that inform i ek s own work. From the practice of Hitchcock we shall (hopefully) arrive at a theory of i ek (just as i ek in his collection Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (Verso, 1992) arrives at a theory of Lacan from the practice of Hitchcock). To achieve this goal each chapter looks at a specific film by Hitchcock and explores a specific key concept crucial to the elaboration and core of i ek s ideas.

Contenu

From H to Z: Introduction.- Chapter 1. The objet petit a.- Chapter 2. The Real.- Chapter 3. The sinthome.- Chapter 4. Metastases.- Chapter 5. Jouissance.- Chapter 6. Fantasy: Che vuoi?.- Chapter 7. Pauline Christianity.- Coda: Does Hitchcock Remake Zizek? <p