Suture Movie Essays

Suture Movie Essays-85
What’s odd here is that Carroll, Prince, and I don’t attack “Lacanians”; the phrase is not to be found in our essays.

What’s odd here is that Carroll, Prince, and I don’t attack “Lacanians”; the phrase is not to be found in our essays.

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Once more, neither Mac Cabe nor Žižek explains why one cannot be a good socialist without reading Lacan.

(More on this below.) Mac Cabe’s objections apply, he says, not to film historians, who have conducted “vital and important [sic] work” (vii).

This too harbors irony, since the Theoretical Correctness of published almost no such work, and for decades afterward, many historians feared being attacked for their lack of Grand Theory acumen.

Efforts to study early cinema history, the history of the U. film industry, and the like emerged in quite different venues from the BFI publications.

I’ll have almost nothing to say about these stretches of (Madison: University of Wisconsin Press, 1996).

The subtitle of Žižek’s book indicates the centrality of what he takes to be the Post‑Theory movement, even though he doesn’t pursue arguments about it through the book.

Indeed, the first two chapters seem to me awkwardly welded onto a fairly conventional book of free-associative film interpretation.

Why invoke by Colin Mac Cabe explains that he asked Žižek “to address the weaknesses and insularity of film studies as they had developed in the university sector over the previous two decades” (vii).

Žižek knows perfectly well that a great many film scholars have cited Lacan and used his work to bolster theoretical or interpretive claims.

Although the three essays invoke many writers by name (and my essay analyzes one essay by the Žižek-endorsed Lacanian Copjec), the crucial issue is the role Lacan’s theories play within the intellectual doctrines of contemporary film theory. Once we get past rhetorical questions and diversionary tactics, Žižek is given an excellent opportunity to engage with by Stephen Prince’s essay.

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