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摘要
摘要
What can film tell us about enjoyment and sexual difference? Can cinematic fiction be more Real than reality? Fabio Vighi looks at Jacques Lacan's theory of sexuality alongside some of the best-known works of European cinema, including films by Fellini, Truffaut, Antonioni and Bergman.
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Those fascinated by nine sophisticated, sometimes difficult films by Federico Fellini, Francois Truffaut, Eric Rohmer, Pier Paolo Pasolini, Roberto Rossellini, Eric Fassbinder, Ingmar Bergman, Marcel Orphuls, and Michaelangelo Antonioni may--possibly--value this book. And Vighi (Cardiff Univ., UK) does drag in other directors--Bernardo Bertolucci, Robert Bresson, Luis Bunuel, Claude Chabrol, Carl Theodor Dreyer, Jean-Luc Godard, Roman Polanski, Alain Resnais, Luchino Visconti--to reinforce provocative points of sexual definition. But, on the whole, the going is intellectually rough because of the author's psychological equivocations about Freud, Hegel, Marx, Kant, and most emphatically Jacques Lacan and Slavoj Zizek. The generous will label Vighi's style scholarly; others will find it offensive, pretentious, disruptive beyond mere distraction (the introduction is especially appalling). This book is at the other end of the readability spectrum from Harry Benshoff and Sean Griffin's America on Film: Representing Race, Class, Gender and Sexuality at the Movies (CH, Aug'09, 46-6690). Vighi's lofty approach is unfortunate, because the muddy style undoes his ideas, which are important, even potentially magnificent. Summing Up: Not recommended. P. H. Stacy emeritus, University of Hartford
目录
Introduction | p. 1 |
Part 1 The Comfort of Fantasies | p. 15 |
1 Sublime Objects: the Antinomies of Masculine Sexuality from Felini to Truffaut | p. 17 |
2 Ethics of Drive: Beauty and its Enjoyment from Rohmer to Pasolini | p. 57 |
3 Unbearable Freedoms: the Real of Sexual Difference from Rossellini to Fassbinder | p. 96 |
Part II Variations on Feminine Enjoyment | p. 147 |
4 In the Beginning was Enjoyment: the Emergence of Feminine Desire in Bergman and Antonioni | p. 149 |
5 About Nothing, with Precision: Femininity Unbound from Ophuls to Antonioni | p. 176 |
6 In Film Beyond Film: the Ontological Primacy of Woman | p. 203 |
Conclusion | p. 237 |
Notes | p. 242 |
Bibliography | p. 250 |
Index | p. 254 |