New Vocabularies in Film Semiotics

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186 PSYCHOANALYSIS analysis, the cinematic circulation of (authorial, spectatorial and textual) desire. NOTES 1 Some of the following discussion is indebted to Terry Eagleton’s extremely useful summary discussion of psychoanalysis in Literary Theory: An Introduction (Minneapolis: University of Minnesota Press, 1983): 151–93. 2 This (and the following description) rely in part on the excellent work of Shakespeare scholar Joel Fineman, as presented in his seminar at U.C.Berkeley in 1978, and in Colin MacCabe’s “Presentation of ‘The Imaginary Signifier’,” Screen 16 (2) (Summer 1975): 7–13. It should be noted that although the description of these “moments” appears to be linear, this is, in fact, not the case. The Lacanian paradigm sees these points as constantly interacting, continually reflecting on the subject both in earlier and later stages of the formation of identity; the process of desire is retroactive, circular and infinite. 3 This definition, and some of the others, rely in part on Jean Laplanche and J.- B.Pontalis, The Language of Psychoanalysis (New York: W.W.Norton, 1973). 4 Some unexpected corroboration for this process comes in the form of a catalogue ad for a Giant Crib or Playpen Mirror: “See the Baby? This huge mirror was developed by a learning consultant, to entertain as well as teach. Baby can wake up and practice talking to someone, get a self-image by seeing his whole body, watch his developing motor skills” (Lillian Vernon Catalogue). 5 This article also appears in a book of collected essays by Metz, The Imaginary Signifier: Psychoanalysis and the Cinema (Bloomington: Indiana University Press, 1982): 3–87. References will be made to the translation in Screen (1975) which is augmented by excellent notes by Colin MacCabe and Ben Brewster. 6 Both essays are found in Phil Rosen (ed.), Narrative, Apparatus, Ideology (New York: Columbia University Press, 1986): 286–98 and 299–318, as well as in Theresa Hak Kyung Cha (ed.), Apparatus (New York: Tanam Press, 1980): 25–37 and 41–62, from which citations will be taken. 7 Theresa Cha’s Apparatus collection is “illustrated” with a conceptual piece by Cha herself (she was a performance and video artist) in which stills from Vampyr are used. (Other illustrations include stills from Man With a Movie Camera throughout the book, as well as photos illustrating the work of Jean- Marie Straub and Danielle Huillet on their film, Moses and Aaron.) 8 This article was originally published in Edinburgh 76 Magazine, pp. 21–5, which is the text we are citing. It also appears in Metz, The Imaginary Signifier, under the title “Story/Discourse: A Note on Two Kinds of Voyeurism.” The original version can also be found in John Caughie (ed.), Theories of Authorship (London: Routledge & Kegan Paul, 1981).
PSYCHOANALYTIC THEORY 187 9 For a critique of Mulvey see D.N. Rodowick, “The Difficulty of Difference,” Wide Angle 5 (1) (1982): 4–15, and Gaylyn Studlar, In the Realm of Pleasure (Urbana: University of Illinois Press, 1988).
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NEW VOCABULARIES IN FILM SEMIOTICS
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NEW VOCABULARIES IN FILM SEMIOTICS
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To Christian Metz
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Beyond Saussure 67 Part III Film-na
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CONTRIBUTORS Robert Stam is Profess
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ecome familiar, while the concepts,
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“identification” leads easily t
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Christian Metz, David Nelson, R. Ba
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2 THE ORIGINS OF SEMIOTICS inherent
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4 THE ORIGINS OF SEMIOTICS Barthes
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6 THE ORIGINS OF SEMIOTICS Dynamic
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8 THE ORIGINS OF SEMIOTICS the sync
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10 THE ORIGINS OF SEMIOTICS close?
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12 THE ORIGINS OF SEMIOTICS battleg
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14 THE ORIGINS OF SEMIOTICS the dis
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16 THE ORIGINS OF SEMIOTICS languag
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18 THE ORIGINS OF SEMIOTICS Realist
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20 THE ORIGINS OF SEMIOTICS Propp
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22 THE ORIGINS OF SEMIOTICS members
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24 THE ORIGINS OF SEMIOTICS which m
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26 THE ORIGINS OF SEMIOTICS The Sau
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28 THE ORIGINS OF SEMIOTICS NOTES 1
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30 CINE-SEMIOLOGY Spottiswoode’s
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32 CINE-SEMIOLOGY the psychology of
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34 CINE-SEMIOLOGY semiology corresp
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36 CINE-SEMIOLOGY emphasis on two-w
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38 CINE-SEMIOLOGY is less open to i
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40 CINE-SEMIOLOGY the diegetic in h
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42 CINE-SEMIOLOGY (3) the BRACKET S
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44 CINE-SEMIOLOGY approach seems to
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46 CINE-SEMIOLOGY The ALTERNATING S
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48 CINE-SEMIOLOGY procedures. Apart
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50 CINE-SEMIOLOGY CODES AND SUBCODE
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52 CINE-SEMIOLOGY TEXTUAL SYSTEM It
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54 CINE-SEMIOLOGY that work from a
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56 CINE-SEMIOLOGY Kuntzel focussed
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58 CINE-SEMIOLOGY progressive and c
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60 CINE-SEMIOLOGY it functions as a
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62 CINE-SEMIOLOGY order; the voice,
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64 CINE-SEMIOLOGY illustrates its c
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66 CINE-SEMIOLOGY sequence of Stran
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68 CINE-SEMIOLOGY There have also b
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III FILM-NARRATOLOGY THE SEMIOTICS
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72 FILM-NARRATOLOGY FILM AS A NARRA
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74 FILM-NARRATOLOGY one another—t
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76 FILM-NARRATOLOGY film to verse
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78 FILM-NARRATOLOGY deep meaning wa
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80 FILM-NARRATOLOGY distant); and c
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82 FILM-NARRATOLOGY is the notion o
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84 FILM-NARRATOLOGY process is foun
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86 FILM-NARRATOLOGY One of the firs
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88 FILM-NARRATOLOGY Another influen
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90 FILM-NARRATOLOGY in the Lake, wh
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92 FILM-NARRATOLOGY rather than a s
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94 FILM-NARRATOLOGY or to the conte
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96 FILM-NARRATOLOGY and ideological
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98 FILM-NARRATOLOGY récit, or narr
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100 FILM-NARRATOLOGY IMAGE-MAKER; B
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102 FILM-NARRATOLOGY although some
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104 FILM-NARRATOLOGY narrator’s k
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106 FILM-NARRATOLOGY be understood
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108 FILM-NARRATOLOGY descriptive sh
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110 FILM-NARRATOLOGY systematic res
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112 FILM-NARRATOLOGY Other literary
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114 FILM-NARRATOLOGY is through a s
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116 FILM-NARRATOLOGY text: “films
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118 FILM-NARRATOLOGY The “unipunc
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120 FILM-NARRATOLOGY the impersonal
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122 FILM-NARRATOLOGY The opposite r
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124 FILM-NARRATOLOGY appear that th
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126 PSYCHOANALYSIS notion of self a
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128 PSYCHOANALYSIS The unconscious,
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130 PSYCHOANALYSIS in the simplest
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132 PSYCHOANALYSIS child is divided
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134 PSYCHOANALYSIS culture’s rule
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Page 156 and 157: 140 PSYCHOANALYSIS (Rose 1986:72) H
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Page 242 and 243: BIBLIOGRAPHY Adams, Parveen (1978)
Page 244 and 245: 228 BIBLIOGRAPHY Black, David Alan
Page 246 and 247: 230 BIBLIOGRAPHY —(1989) Cinema 2
Page 248 and 249: 232 BIBLIOGRAPHY Greimas, Algirdas
Page 250 and 251: 234 BIBLIOGRAPHY Lentricchia, Frank
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236 BIBLIOGRAPHY Plato (1963) The R
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238 BIBLIOGRAPHY Xavier, Ismail (19
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240 INDEX classic realist text 192
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242 INDEX history/discourse (story)
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244 INDEX pluricodic medium (Metz)
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246 INDEX vococentrism (Chion) 62 v
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