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Combining Lacanian psychoanalytic theory, Iranian Shi'ite thought, and Islamicate sexualities, this book provides an analysis of the logic of desire and sexuality in key films of contemporary Iranian cinema, arguing that there is a profound, albeit surprising, correlation between post-revolutionary Iranian cinema and psychoanalysis.
Sommario
AcknowledgementsA Note on Transliteration Introduction: Iranian Cinema with Psychoanalysis (or Watching Iranian Movies with Lacan) Part I. Desire between Gaze and VoiceChapter 1: A Cinema of Desire: The Object-Gaze in
Shirin and
Baran1.1 The Gaze in Lacan: From
Screen Theory to the Object-Gaze
1.2 The Averted Gaze as Looking Awry: An Islamic Theory of the Gaze
1.3 The Film Returns the Gaze: Abbas Kiarostami's
Shirin1.4 The Fantasized Object-Gaze in
BaranChapter 2: The Voice as Love Obejct: The Acousmatic Voice in
Gabbeh and
The May Lady 2.1 Chion with Lacan: The Acousmatic Voice and Feminist
Psychoanalytic Film Theory
2.2 Veiling and Aurality: An Islamic Theory of the Female Voice
2.3 The Acousmatic Voice in
Gabbeh2.4 The
Acousmêtre in
The May LadyPart II. The Fright of Real Desires Chapter 3: From Femininity to Masculinity and Back: The Feminine 'No!'
in
Daughters of the Sun 3.1 Daughters of the Sun (
Dokhtaran-e khorshid)
3.2 Symbolic Castration and the Name-of-the-Father
3.3 The Depressive Position and Melancholic Identification
3.4 Female Homoeroticism and
Objet petit a3.5 Love beyond Law and Feminine
Jouissance 3.6 Misrecognition and Male Homoeroticism (
shahed-bazi)
3.7 The Lacanian Act and the Feminine 'No!'
Chapter 4: Dreaming of a Nightmare in Tehran: The Fright of Real Desires
in
Atomic Heart 4.1
Atomic Heart between The Weird and the Eerie
4.2 Reality Structured by Fantasy or Fantasy as an Ideological Category
4.3 Ideology and the Structure of Toilets
4.4 Repetition or The Double as the Thing (
das Ding)
4.5
Che Voui? or the Desire of the Other
4.6 The Fright of Real Desires
4.7 The Collapse of the Fantasy and the Lacanian Real
4.8 The Enigma of Desire and the Dream within a Dream
4.9 Dreaming of a Nightmare in Tehran
Conclusion: The Darkness of Desire or the Desire of Iranian Cinema
Bibliography Filmography
Info autore
Farshid Kazemi is Lecturer in Film Studies at the School for the Contemporary Arts, Simon Fraser University, Canada. He holds a PhD in Islamic and Middle Eastern Studies from the University of Edinburgh. His research interests combine an interdisciplinary and theoretical approach to film and media studies, film theory, Iranian studies, and Islamic and Middle Eastern studies. His book on the film
A Girl Walks Home Alone at Night was published by Liverpool University Press in 2021.
Riassunto
Combining Lacanian psychoanalytic theory, Iranian Shi‘ite thought, and Islamicate sexualities, this book provides an analysis of the logic of desire and sexuality in key films of contemporary Iranian cinema, arguing that there is a profound, albeit surprising, correlation between post-revolutionary Iranian cinema and psychoanalysis.
