Hitchcock's bi-textuality : Lacan, feminisms, and queer theory / Robert Samuels.

By:

Samuels, Robert, 1961-

Material type: Text

text

Media type:

computer

Carrier type:

online resource

ISBN:

0585089841
9780585089843

Subject(s):

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Additional physical formats: Print version:: Hitchcock's bi-textuality.DDC classification:

791.43/0233/092 21

LOC classification:

PN1998.3.H58 S26 1998eb

Online resources:

Click here to access online

Contents:

1. Lady Vanishes, but the Letter Remains: Julia Kristeva and the Maternal Real(m) -- 2. Fear of Women and the Writing in Spellbound: Kaja Silverman and the Question of Castration -- 3. Rebecca, Repetition, and the Circulation of Feminine Desire: Judith Butler and the Materiality of the Letter -- 4. Notorious: Luce Irigaray, Feminine Fluids, and Masculine (Be)Hind-Sight -- 5. Vertigo: Sexual Dis-Orientation and the En-Gendering of the Real -- 6. Marnie: Abjection, Marking, and Feminine Subjectivity -- 7. Rear Window Ethics: Laura Mulvey and the Inverted Gaze -- 8. Birds: Zizek, Ideology, and the Horror of the Real -- Epilogue. Psycho and the Horror of the Bi-Textual Unconscious.

Summary: This book combines three element: an articulation of Lacan's theory of ethics; a discussion of recent theories of feminine subjectivity and queer textuality; and close readings of Hitchcock's films. Hitchcock's Bi-Textuality argues that just as Freud posited a fundamental ground of bisexuality for every subject, we can affirm a form of universal "bi-textuality" that is repressed through different modes of representation, yet returns in unconscious aspects of textuality (dreams, word play, jokes, and symbolism).Summary: In order to illustrate this notion of bi-textuality, this work discusses how Hitchcock's films are extremely heterogeneous and present multiple forms of sexual identification and desire, although they have most often been read through the reductive lens of male heterosexuality.

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Includes bibliographical references (pages 149-162) and index.

Print version record.

This book combines three element: an articulation of Lacan's theory of ethics; a discussion of recent theories of feminine subjectivity and queer textuality; and close readings of Hitchcock's films. Hitchcock's Bi-Textuality argues that just as Freud posited a fundamental ground of bisexuality for every subject, we can affirm a form of universal "bi-textuality" that is repressed through different modes of representation, yet returns in unconscious aspects of textuality (dreams, word play, jokes, and symbolism).

In order to illustrate this notion of bi-textuality, this work discusses how Hitchcock's films are extremely heterogeneous and present multiple forms of sexual identification and desire, although they have most often been read through the reductive lens of male heterosexuality.

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