- Introduction: Know Thyself
- Intellectual Prehistory: Introduction
- Psychoanalytic Theory: A Historical Reconstruction
- From Recognition to Intersubjectivity: Hegel and Psychoanalysis
- Schopenhauer and Freud
- From <i>Geschlechtstrieb</i> to <i>Sexualtrieb</i>: the Originality of Freud’s Conception of Sexuality
- A Better Self: Freud and Nietzsche on the Nature and Value of Sublimation
- Twentieth-Century Engagements: Introduction
- Merleau-Ponty and Psychoanalysis
- Wittgenstein and Psychoanalysis
- ‘In Psychoanalysis Nothing Is True but the Exaggerations’: Freud and the Frankfurt School
- Ricœur’s Freud
- Clinical Theory: Introduction
- Imagination and Reason, Method and Mourning in Freudian Psychoanalysis
- ‘A Ritual of Discourse’: Conceptualizing and Reonceptualizing the Analytic Relationship
- Symbolism, the Primary Process, and Dreams: Freud’s Contribution
- Integrating Unconscious Belief
- Making the Unconscious Conscious
- Phenomenology and Science: Introduction
- Complexities in the Evaluation of the Scientific Status of Psychoanalysis
- Psychoanalysis and Neuroscience
- How Should We Understand the Psychoanalytic Unconscious?
- A New Kind of Song: Psychoanalysis as Revelation
- Body Memory and the Unconscious
- Aesthetics: Introduction
- On Richard Wollheim’s Psychoanalytically Informed Philosophy of Art
- Literary Form and Mentalization
- Psychoanalysis and Film
- Religion: Introduction
- Psychoanalysis and Religion
- Psychoanalytic Thinking on Religious Truth and Conviction
- The No-Thing of God: Psychoanalysis of Religion After Lacan
- Ethics: Introduction
- Hiding From Love: The Repressed Insight in Freud’s Account of Morality
- Human Excellence and Psychic Health in Psychoanalysis
- Evolution, Childhood, and the Moral Self
- Politics and Society: Introduction
- Psychoanalysis, Politics, and Society: What Remains Radical in Psychoanalysis?
- Epistemic Anxiety
- Psychoanalysis in the Twenty-First Century: Does Gender Matter?
- Political Philosophy in Freud: War, Destruction, and the Critical Faculty
Abstract and Keywords
Those who believe that the psychoanalytic understanding of human nature is broadly correct will also likely believe that there are essential aspects of film that cannot be adequately understood without it. Among these are film’s power; the nature of film spectatorship; and the characteristics of specific films and genres. Why are we attracted to certain kinds of films—horror films and those depicting violence we abhor? The most basic claim underlying psychoanalytic approaches to film is that the creation and experience of film is driven by desire and wish-fulfilment and functions to satisfy certain psychological, protective, expressive needs of artists and audiences. Psychoanalytic explorations of film tend to draw together aspects of artistic creation and spectatorship, as well as accounts of film’s power to move audiences and the nature of film spectatorship in general—the affective and cognitive significance of the nature of film experience itself.
Faculty of Society and Design, Bond University
Department of Philosophy, University of Western Australia
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