By Eliane DalMolin
This e-book is set how poets, filmmakers, and psychoanalysts glance upon the feminine physique, how they learn it as though dissecting it--at instances relishing it, at others anguishing over its fragmentation. Eliane DalMolin examines how Charles Baudelaire, François Truffaut, and Sigmund Freud, in response to their inheritance of lyricism, formed and perpetuated a cultural realizing of girls that they endured to symbolize in past due romantic pictures, regardless of their respective cutting edge abilities and impacts in bringing approximately 3 decisive cultural moments: modernism, New Wave cinema, and psychoanalysis.
The work's originality comes essentially from its precise summoning of 3 precise disciplines round the idea of the reduce. It areas the advanced wish to lower the woman's physique on the heart of an research of male identification in Western tradition via incisive discussions of poetry, cinema, and psychoanalysis. The phrases of this inquiry expose an uncanny male disposition to femininity and motherhood, and its direct implication in efficient acts of slicing. Cutting the Body will entice literary students, movie experts, feminist theorists, and specialists in psychoanalytical theory.
Eliane DalMolin is affiliate Professor of French, college of Connecticut. She is coeditor of Sites: The magazine of 20th-Century/Contemporary French Studies.
Read Online or Download Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis (The Body, In Theory: Histories of Cultural Materialism) PDF
Similar film books
Is helping readers know how the various languages of movie interact to create which means. Louis Giannetti organizes figuring out videos round the key components of filmmaking, together with cinematography, Mise en Scène, flow, modifying, sound, performing, drama, casting, tale, screenwriting, ideology, and thought.
Novelisation of Sergio Leone's Spaghetti Western "The reliable, The undesirable and the Ugly" starring Clint Eastwood and Lee Van Cleef.
Scanned through me.
Instead of be thought of in isolation, this booklet might be considered as a part of a normal attempt to make the paintings of Jacques Rivette on hand, in each experience of the time period. this isn't to indicate that the subsequent texts and interviews are being provided as a trifling complement to his motion pictures: if the total physique of Rivette’s paintings will be learn as a chain of evolving reflections at the cinema, the serious paintings contained during this quantity is indissolubly associated with the serious paintings represented through his film-making.
The e-book covers strange and sometimes superb parts of horror movie background: The harrowingly tragic lifetime of Dracula's top woman, Helen Chandler, as in detail remembered by means of her sister-in-law. John Barrymore's 1931 horror cars Svengali and The Mad Genius, and their rejection through the general public.
- SciFi Now, Issue 110 (2015)
- Masculinity and Film Performance: Male Angst in Contemporary American Cinema
- Philosophy goes to the Movies
- Classical Japanese Cinema Revisited
- Japan (Directory of World Cinema)
Extra info for Cutting the Body: Representing Woman in Baudelaire's Poetry, Truffaut's Cinema, and Freud's Psychoanalysis (The Body, In Theory: Histories of Cultural Materialism)
Faced with the challenging dissemination of the increasingly unmanageable female figure dispersed and scattered through- out the lyrical ages, the modern nineteenth-century poet must now organize and collect her body parts into renewed poetic forms such as prose poems like "The Beautiful Dorothea" that still retain the fragmented quality of the body from the lyrical age in prosaic forms. He thus acknowledges the insufficient matrix provided by traditional lyric forms. Already in Flowers of Evil Baudelaire finds it increasingly difficult to work with the classic lyric format when the modern female body appears to have outgrown this pat- tern.
As stated by Yves Bonnefoy,8 Flowers of Evil is "a theater of the human body" in which the body plays its physical part and poetic language gives (bodily) shape to the scene/seen. The poetic body of Flowers of Evil includes feminine figures such as divinities, muses, angels, nymphs, vampires, old women, prostitutes, beg- gars, and passersby, not to mention a host of others. The very eclecticism of such an extensive list hints at a division between ideal women and modern women. In some respects this separation follows Baudelaire's division of "Spleen and Ideal," in which the women belonging to the world of Spleen are often depicted as modern women-women always on the move, often living or passing in the streets and offering sensual pleasures, real or fanta- sized-whereas women belonging to the world of the Ideal poems appear more often as divine creatures, as pure and inaccessible as goddesses.
Qxd 05/09/2000 4:33 PM Page 18 18 * Cutting the Body poetry and cinema, this chapter proposes to analyze the inner movement of the lyrical text/image, thus suggesting that the concept of the lyric is closely associated with both textual/visual divisions and the detailing of the female body. The quantitative presence of women's bodies in lyric poetry cannot be denied. One does not have to look very far into its history in order to find several famous names for these women's bodies in constant display- Petrarch's Laura, D'Aubigne's Diane, Sceve's Delie, Ronsard's Helne, Shakespeare's Dark Lady of the sonnets, Nerval's Sylvie, Adrienne, and Aurelia, as well as Baudelaire's mostly nameless eternal beauties and pass- ing strangers.