Le dispositif cinématographique est en substance une scène : c’est en même temps la scène à laque... more Le dispositif cinématographique est en substance une scène : c’est en même temps la scène à laquelle le spectateur assiste (le film qui est en train de passer à l’écran) ; c’est ce qui permet que cette scène puisse avoir lieu (la salle, l’écran, la projection et, plus en deçà encore, la caméra et les autres moyens techniques qui ont rendu possible les prises de vue) ; mais surtout-et c’est la caractéristique principale du concept de dispositif mis en lumière par Jean-Louis Baudry-c’est l’« au..
LuciLLa aLbano cinema and Psychoanalysis: across the Dispositifs In the field of film studies, th... more LuciLLa aLbano cinema and Psychoanalysis: across the Dispositifs In the field of film studies, there are two complex areas for potential research that exist side by side within the equivocal and rather unsuitable syntagm, 'cinema and psychoanalysis'psychoanalytic film theory and the psychoanalytic interpretation of films. Though distinct, these areas are inextricably linked, presenting us with a vast and articulated panorama of theoretical positions and possibilities for interpretative development. Cinema and Psychoanalysis. Neither the Italian language nor English-the term cinepsychoanalysis is certainly not up to the task-offer a satisfactory alternative with which to succinctly define this field of research, at once theoretical, methodological and hermeneutic. What makes the phrase so unsuitable? When asked by someone outside the field what it is I do, I cannot respond "cinema and psychoanalysis," as the majority would understand this to mean that I study films dealing with psychoanalytical or psychiatric subjects, clinical cases, symptoms, traumas, pathologies and so on, such as Suddenly, Last Summer. They would assume I dealt solely with a certain genre of film and would miss that which is significant about and peculiar to this particular branch of studies. It all began in France in the mid-1940s, with the emergence of Filmologie-the structured interdisciplinary study of cinema first advanced by sociologist Gilbert Cohen-Séat-which allowed for greater specialization and more careful attention to be paid to the problems inherent in film research. Cohen-Séat took full advantage of support from noteworthy collaborators, who included the young Edgar Morin and Roland Barthes and those with backgrounds in psychology and psychoanalysis, such as I would like to thank Francesco Casetti and Enrico Menduni for having read and provided invaluable observations on this text. Alice Kilgarriff translated this article from Italian into English.
Le dispositif cinématographique est en substance une scène : c’est en même temps la scène à laque... more Le dispositif cinématographique est en substance une scène : c’est en même temps la scène à laquelle le spectateur assiste (le film qui est en train de passer à l’écran) ; c’est ce qui permet que cette scène puisse avoir lieu (la salle, l’écran, la projection et, plus en deçà encore, la caméra et les autres moyens techniques qui ont rendu possible les prises de vue) ; mais surtout-et c’est la caractéristique principale du concept de dispositif mis en lumière par Jean-Louis Baudry-c’est l’« au..
LuciLLa aLbano cinema and Psychoanalysis: across the Dispositifs In the field of film studies, th... more LuciLLa aLbano cinema and Psychoanalysis: across the Dispositifs In the field of film studies, there are two complex areas for potential research that exist side by side within the equivocal and rather unsuitable syntagm, 'cinema and psychoanalysis'psychoanalytic film theory and the psychoanalytic interpretation of films. Though distinct, these areas are inextricably linked, presenting us with a vast and articulated panorama of theoretical positions and possibilities for interpretative development. Cinema and Psychoanalysis. Neither the Italian language nor English-the term cinepsychoanalysis is certainly not up to the task-offer a satisfactory alternative with which to succinctly define this field of research, at once theoretical, methodological and hermeneutic. What makes the phrase so unsuitable? When asked by someone outside the field what it is I do, I cannot respond "cinema and psychoanalysis," as the majority would understand this to mean that I study films dealing with psychoanalytical or psychiatric subjects, clinical cases, symptoms, traumas, pathologies and so on, such as Suddenly, Last Summer. They would assume I dealt solely with a certain genre of film and would miss that which is significant about and peculiar to this particular branch of studies. It all began in France in the mid-1940s, with the emergence of Filmologie-the structured interdisciplinary study of cinema first advanced by sociologist Gilbert Cohen-Séat-which allowed for greater specialization and more careful attention to be paid to the problems inherent in film research. Cohen-Séat took full advantage of support from noteworthy collaborators, who included the young Edgar Morin and Roland Barthes and those with backgrounds in psychology and psychoanalysis, such as I would like to thank Francesco Casetti and Enrico Menduni for having read and provided invaluable observations on this text. Alice Kilgarriff translated this article from Italian into English.
Il corpo umano è marchiato dagli sconvolgimenti provenienti dall'inconscio, che si presenta all'I... more Il corpo umano è marchiato dagli sconvolgimenti provenienti dall'inconscio, che si presenta all'Io al contempo vicino ed estraneo. Il soggetto dell'inconscio funziona infatti come agente di rottura rispetto ai modelli conosciuti e consolidati nella realtà quotidiana. In questo contesto il corpo, quale corpo parlante, libidico, è traccia di una verità profonda e oscura, che, nel vocabolario lacaniano, prende il nome di «reale». Si tratta allora di rintracciare nell'uso del corpo quelle tracce di «reale» che rompono le pratiche di discorso consuete e consolidate. Il volume raccoglie ventisette saggi di specialisti, universitari e non solo. Diversi ambiti disciplinari convergono sul grande tema del «corpo» dai rispettivi punti di vista, all'insegna del dialogo e del confronto. Ne risulta uno studio corale, ampio e articolato, di grande ricchezza teorica, critica e storica, che esplora con originalità i nuovi regimi di visibilità degli «eventi di corpo» che hanno preso forma nelle odierne rappresentazioni per immagini. Allo scopo sono utilizzati gli strumenti del pensiero psicoanalitico, dell'estetica, degli studi sul cinema e sulla serialità televisiva, dell'arte contemporanea, delle performing arts e della multimedialità digitale.
First issue of "The Unconscious. Italian Journal of Philosophy and Psychoanalysis" focussing on t... more First issue of "The Unconscious. Italian Journal of Philosophy and Psychoanalysis" focussing on the "Philosophical unconscious". Directors: Felice Cimatti & Fabrizio Palombi
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Papers by Lucilla Albano
Directors: Felice Cimatti & Fabrizio Palombi