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Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers' oeuvre, which spans 'art' cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but this idea is put into perspective by using psychoanalytic theories on desire and fantasy. In the vein of cinephilia, this study brings together canonical titles (
Als twee druppels water; Soldaat van Oranje) and little gems (
Monsieur Hawarden; Kracht). It juxtaposes among others
Gluckauf and
De vliegende Hollander (on father figures);
Flanagan and
Spoorloos (on rabbles and heroes);
De aanslag and
Leedvermaak (on historical traumas); and
Antonia and
Bluebird (on aphanisis).
List of contents
PREFACE, INTRODUCTION, CHAPTER ONE: SPITTING IMAGES, BLIND SPOTS AND DARK MIRRORS, CHAPTER TWO: IN THE NAME OF FATHERS, OVERBEARING, FLYING OR OTHERWISE, CHAPTER THREE: THAT OBSCURE OBJECT OF DESIRE, CHAPTER FOUR: FROM RABBLE, RABBLE TO HEROES, CHAPTER FIVE: PARANOIA, PSYCHOSIS, THE HORRIFIC-FANTASTIC, CHAPTER SIX: PASSAGES ÀL'ACTE, CHAPTER SEVEN: FROM HISTORICAL DISCOMFORT TO HISTORICAL TRAUMA, CHAPTER EIGHT: APHANISIS, CHAPTER NINE: HYSTERIA, NEUROSIS, PERVERSION, EPILOGUE, Bibliography, Photo Credits, Index of Concepts, Index of Films, Index of Names
About the author
Peter Verstraten is Assistant Professor of Film and Literary Studies at Leiden University. His publications include
Film Narratology (2009) and
Humour and Irony in Dutch Post-war Fiction Film (2016). Together with directors of photography Richard van Oosterhout and Maarten van Rossem, he co-edited
Shooting Time (2012), a volume on cinematography. He is a regular contributor to
Senses of Cinema.
