Žižek through Hitchcock:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham, Switzerland
palgrave macmillan
[2021]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xiv, 367 Seiten Illustrationen |
| ISBN: | 9783030624354 |
Internformat
MARC
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents 1 Introduction: From H to Z The Elvis of Cultural Theory on Bodega Bay The Parallax View Why Are There Always Two (Three?) Fathers? We Can Never Know Enough About Hitchcock/ZĀžek Less Suture More Jouissance The Hegelian Counterbook—Hitchcock as a Zizekian Heretic References 2 The Objet petit a: Vertigo (1958) Back to the Suture—Interface and the Hitchcockian Fantasmatic Gaze Getting it Wrong—Point of View at Ernie’s Restaurant Pente Histoire of the Objet petit a Ideology—The Invisible Frame of the Objet petit a Niederkommenlassen—-Falling in Love Suspense—A Constituent or Constituted Anxiety ? Idealism or Materialism ?—Ղhe Fury of the Deceived Platonist3 The Double-Entendre of Underwear on the Signifying Bar The Fright ofReal Love—Mistaking Fiction for Reality The Mimetic Desire of the Double Why Is the Ending Always Multiple ? References 1 2 5 7 14 15 17 21 25 26 27 33 35 39 44 48 51 55 57 60 66 ix
x CONTENTS 3 The Real: The Birds (1963) What Do the Birds Mean ? Three Varieties of the Real The Real Is Not Reality Ding or Sache ? Kern unseres Wesen—The Answer of the Real The Birds as Psychotic Stain or Vorstellungsreprasentanz ? General Semantics at Berkeley The Hitchcockian House: Haven or Trap ? The Couple on the Hill Acousmère—The Bone Gets Stuck in the Throat Shots 33 and 57: La Doublure, The Spectre That Haunts Reality Self-anaesthetizing Denial—No ‘The End’ References 71 72 74 76 77 80 84 87 90 94 95 100 104 110 4 The Sinthome: The Lady Vanishes (1938) A (M) Other for Iris A Symptom Is What Is a Bit ‘Fishy’, or Doesn’t Quite ‘Fit In’ Topologically Speaking—The Borromean Clinic The Roar of the Real and the Sidetracked Train The Harriman’s Herbal Teapacket Fabel as Lamella The Vanishing Lady Act—‘A Symptomal Torsion’ An Aesthetic ofEmptiness—The Hitchcockian Cut Foreclosure—The Woman Does(n’t) Exist The Jouis-sens of Noise Bandrika, Land of Bands The Objet petit a, Other of the Other Aufhebung(Sublation Not Sublimation) Eastern European Totalitarianism? No Thanh! References 115 116 116 120 121 125 129 130 132 135 137 140 141 143 149 5 Metastases: Spellbound (1945) ‘Psychoanalysis. It Bores the Pants OffMe!’ 153 154 158 160 162 163 Retroactivity of Meaning—A Message from the Future Transference and Countertransference The Loop of Writing and Reading Flitting Figures or Paralki Lines
CONTENTS “Vorrei e Non Vorrei’—Edwardes or Edwards? Ballyntine or Ballantine ? Petersen or Peterson ? Structures ofSexuation—‘Any Husband of Constance Is a Husband ofMine, So to Speak’ Le Père ou Pire’—(The Father or Worse’ Les Non-dupes Errent La Mère ou La Mort—‘You’re Not His Mama, You’re an Analyst’ Zwangsvorstellungen, a Paranoiac Vision—Lacan avec Dalí The Light Under the Door and the Last Freudian Slip Epigraph—Cassius avec Constance References 6 Enjoyment: Mamie (1964) A Detail That Sticks Out—The Lady with the Yellow Alligator Purse Jouissance as Clinamen—From Nothing to Something When the Other Comes Too Close—-Angst vor Etwas (Fear of Something) Phallic Jouissance—Virtually a Rape ‘We Don’t Need Men, Mama’—Tippi Hedren as Santa Teresa La Femme à Postiche: The Fake, Phony Woman Thunder and Lightning—Hysteron Proteron Plus-de-jouir—‘Money Answereth All Things’ ‘Tonight the Door Stays Open’—Jouissance and the Femme Fatale Talking Smart About the Bible—The Acousmatic Voice ‘Would Rather’ or ‘Had Rather’?—Mental Health Week References 7 Fantasy: Che vuoi? Hope (1948) Le style est l’homme même’: Le Trait Unaire Interpassivity: A Fetishism of Technique Twisted Words: The Counter-Voice ofHumour Act or ‘Acting-Out’ or Passage à l’acte: Aphanisis of the Subject The Canting Candle: Takes or Mis-Takes? Le Sujet Supposé Savoir: Rupert as Detective or Analyst? The Purloined Corpse: Cassone or Closet? Xl 166 169 174 177 179 180 187 189 195 201 202 206 208 211 214 217 221 22 5 226 228 231 235 241 242 246 248 251 255 258 260
xii CONTENTS Musters or Servants?: The Minotaur of Conscience Prime Movers and Second Handers Ethics of the Real: ‘Kant avec CadelP Erom the Biß Window to ‘The Plight of the World’ References 8 The Fragile Absolute: I Confess (1953) 1Are You Given to Understatement Father?’: Hitchcock’s Catholicism The Cahiers’ Take, or, Murder Always Implies a Third Party Zizek’s ‘Turn’ to Christianity Badiou and the ‘Vanishing Mediator’ Christianity Is the Religion of Confession A Knowledge Beyond Perception: Faith Father Fogan as Bartelby: Jumping Too Suddenly Die Versagung: Perdition Hiding Grime Cupidinous Weltschmerz, or, ‘Love Is Whatever You Can Still Betray’ It’s About (Homosexual) Love Not Murder 266 270 273 275 283 289 290 292 293 294 297 302 304 307 310 311 316 Dans La R(r)ue 318 On Belief: Je sais bien, mais quand même.321 Surplus-Enjoyment: ‘An Accessory after The Fact’ 323 References 327 9 Coda: Does Hitchcock Remake Žižek? Double Takes: Hitchcock Remakes Himself Creating Your Own Precursor: Van Sant Remakes Hitchcock How to Talk About Films You Haven’t Seen: Žižek Remakes Hitchcock Plagiarizingfrom the Future: Hitchcock Remakes Žižek References Index 331 332 334 339 342 349 353
|
| adam_txt |
Contents 1 Introduction: From H to Z The Elvis of Cultural Theory on Bodega Bay The Parallax View Why Are There Always Two (Three?) Fathers? We Can Never Know Enough About Hitchcock/ZĀžek Less Suture More Jouissance The Hegelian Counterbook—Hitchcock as a Zizekian Heretic References 2 The Objet petit a: Vertigo (1958) Back to the Suture—Interface and the Hitchcockian Fantasmatic Gaze Getting it Wrong—Point of View at Ernie’s Restaurant Pente Histoire of the Objet petit a Ideology—The Invisible Frame of the Objet petit a Niederkommenlassen—-Falling in Love Suspense—A Constituent or Constituted Anxiety ? Idealism or Materialism ?—Ղhe Fury of the Deceived Platonist3 The Double-Entendre of Underwear on the Signifying Bar The Fright ofReal Love—Mistaking Fiction for Reality The Mimetic Desire of the Double Why Is the Ending Always Multiple ? References 1 2 5 7 14 15 17 21 25 26 27 33 35 39 44 48 51 55 57 60 66 ix
x CONTENTS 3 The Real: The Birds (1963) What Do the Birds Mean ? Three Varieties of the Real The Real Is Not Reality Ding or Sache ? Kern unseres Wesen—The Answer of the Real The Birds as Psychotic Stain or Vorstellungsreprasentanz ? General Semantics at Berkeley The Hitchcockian House: Haven or Trap ? The Couple on the Hill Acousmère—The Bone Gets Stuck in the Throat Shots 33 and 57: La Doublure, The Spectre That Haunts Reality Self-anaesthetizing Denial—No ‘The End’ References 71 72 74 76 77 80 84 87 90 94 95 100 104 110 4 The Sinthome: The Lady Vanishes (1938) A (M) Other for Iris A Symptom Is What Is a Bit ‘Fishy’, or Doesn’t Quite ‘Fit In’ Topologically Speaking—The Borromean Clinic The Roar of the Real and the Sidetracked Train The Harriman’s Herbal Teapacket Fabel as Lamella The Vanishing Lady Act—‘A Symptomal Torsion’ An Aesthetic ofEmptiness—The Hitchcockian Cut Foreclosure—The Woman Does(n’t) Exist The Jouis-sens of Noise Bandrika, Land of Bands The Objet petit a, Other of the Other Aufhebung(Sublation Not Sublimation) Eastern European Totalitarianism? No Thanh! References 115 116 116 120 121 125 129 130 132 135 137 140 141 143 149 5 Metastases: Spellbound (1945) ‘Psychoanalysis. It Bores the Pants OffMe!’ 153 154 158 160 162 163 Retroactivity of Meaning—A Message from the Future Transference and Countertransference The Loop of Writing and Reading Flitting Figures or Paralki Lines
CONTENTS “Vorrei e Non Vorrei’—Edwardes or Edwards? Ballyntine or Ballantine ? Petersen or Peterson ? Structures ofSexuation—‘Any Husband of Constance Is a Husband ofMine, So to Speak’ Le Père ou Pire’—(The Father or Worse’ Les Non-dupes Errent La Mère ou La Mort—‘You’re Not His Mama, You’re an Analyst’ Zwangsvorstellungen, a Paranoiac Vision—Lacan avec Dalí The Light Under the Door and the Last Freudian Slip Epigraph—Cassius avec Constance References 6 Enjoyment: Mamie (1964) A Detail That Sticks Out—The Lady with the Yellow Alligator Purse Jouissance as Clinamen—From Nothing to Something When the Other Comes Too Close—-Angst vor Etwas (Fear of Something) Phallic Jouissance—Virtually a Rape ‘We Don’t Need Men, Mama’—Tippi Hedren as Santa Teresa La Femme à Postiche: The Fake, Phony Woman Thunder and Lightning—Hysteron Proteron Plus-de-jouir—‘Money Answereth All Things’ ‘Tonight the Door Stays Open’—Jouissance and the Femme Fatale Talking Smart About the Bible—The Acousmatic Voice ‘Would Rather’ or ‘Had Rather’?—Mental Health Week References 7 Fantasy: Che vuoi? Hope (1948) Le style est l’homme même’: Le Trait Unaire Interpassivity: A Fetishism of Technique Twisted Words: The Counter-Voice ofHumour Act or ‘Acting-Out’ or Passage à l’acte: Aphanisis of the Subject The Canting Candle: Takes or Mis-Takes? Le Sujet Supposé Savoir: Rupert as Detective or Analyst? The Purloined Corpse: Cassone or Closet? Xl 166 169 174 177 179 180 187 189 195 201 202 206 208 211 214 217 221 22 5 226 228 231 235 241 242 246 248 251 255 258 260
xii CONTENTS Musters or Servants?: The Minotaur of Conscience Prime Movers and Second Handers Ethics of the Real: ‘Kant avec CadelP Erom the Biß Window to ‘The Plight of the World’ References 8 The Fragile Absolute: I Confess (1953) 1Are You Given to Understatement Father?’: Hitchcock’s Catholicism The Cahiers’ Take, or, Murder Always Implies a Third Party Zizek’s ‘Turn’ to Christianity Badiou and the ‘Vanishing Mediator’ Christianity Is the Religion of Confession A Knowledge Beyond Perception: Faith Father Fogan as Bartelby: Jumping Too Suddenly Die Versagung: Perdition Hiding Grime Cupidinous Weltschmerz, or, ‘Love Is Whatever You Can Still Betray’ It’s About (Homosexual) Love Not Murder 266 270 273 275 283 289 290 292 293 294 297 302 304 307 310 311 316 Dans La R(r)ue 318 On Belief: Je sais bien, mais quand même.321 Surplus-Enjoyment: ‘An Accessory after The Fact’ 323 References 327 9 Coda: Does Hitchcock Remake Žižek? Double Takes: Hitchcock Remakes Himself Creating Your Own Precursor: Van Sant Remakes Hitchcock How to Talk About Films You Haven’t Seen: Žižek Remakes Hitchcock Plagiarizingfrom the Future: Hitchcock Remakes Žižek References Index 331 332 334 339 342 349 353 |
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| illustrated | Illustrated |
| index_date | 2024-07-03T17:25:19Z |
| indexdate | 2024-07-10T09:08:25Z |
| institution | BVB |
| isbn | 9783030624354 |
| language | English |
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| physical | xiv, 367 Seiten Illustrationen |
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| spelling | Simmons, Laurence 1950- Verfasser (DE-588)173983626 aut Žižek through Hitchcock Laurence Simmons Cham, Switzerland palgrave macmillan [2021] © 2021 xiv, 367 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Hitchcock, Alfred 1899-1980 (DE-588)118551647 gnd rswk-swf Žižek, Slavoj 1949- (DE-588)104308281 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Žižek, Slavoj 1949- (DE-588)104308281 p Hitchcock, Alfred 1899-1980 (DE-588)118551647 p Film (DE-588)4017102-4 s DE-604 Erscheint auch als Online-Ausgabe 978-3-030-62436-1 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032710660&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Simmons, Laurence 1950- Žižek through Hitchcock Hitchcock, Alfred 1899-1980 (DE-588)118551647 gnd Žižek, Slavoj 1949- (DE-588)104308281 gnd Film (DE-588)4017102-4 gnd |
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| title | Žižek through Hitchcock |
| title_auth | Žižek through Hitchcock |
| title_exact_search | Žižek through Hitchcock |
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| title_short | Žižek through Hitchcock |
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