Twenty-Five Years Along Nordisk and the Tableau Aesthetic William Cameron Menzies: One Forceful, Impressive Idea Another Shaw Production: Anamorphic Adventures in Hong Kong Paolo Gioli’s Vertical Cinema (Re)Discovering Charles Dekeukeleire Doing Film History The Hook: Scene Transitions in Classical Cinema Anatomy of the Action Picture Hearing Voices Preface, Croatian edition, offers standard film criticism, providing impressionistic readings of various Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.
Žižek also reiterates 1970s argument about how film editing “sutures” the viewer into the text.
Though Mac Cabe isn’t specific, it seems that the obtuse opposition is incarnated in “ ‘Post‑Theory’ and cognitivism” (viii).
I say “seems” because this is as close as Mac Cabe gets to naming names: “For those followers of fashion who look for a retreat from Marx and Freud, a hideous mimicking of the threadbare nonsense of the ‘third way,’ this book will be a grave disappointment” (viii).
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).
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.
Exactly how Lacanian psychoanalysis was to assist the class struggle, and why it should be preferred to other means of assisting that struggle, was never made clear in .
In any event, Mac Cabe trots this claim out again as another aim of Žižek’s book, which “intervenes” in contemporary debates “without ever abandoning questions of class struggle and the unconscious” (viii–ix).