Sep 15–18, 2014
Teresa de Lauretis: Retrospectatorship: Reading Films with Psychoanalysis
Seminar

The notion of spectatorship, introduced by feminist film critics in the 1970s and developed throughout the 1990s, transformed the theory of the cinematic apparatus into a theory of cinema as a social technology. By taking into account the spectator’s subjective response to a film based on identification, fantasy, and memory, cinema has been understood as playing a role in the production of subjectivity. The seminar is devoted to how a film is “read” (seen, heard, understood, subjectively received, and/or remembered) in the mode Patricia White has called “retrospectatorship,” a viewing shaped by the experiences, fantasies, and memories it elicits in the spectator. Relevant psychoanalytic concepts will be discussed and, whenever possible, illustrated with reference to films.

Seminar with Teresa de LauretisSeminar with Teresa de Lauretis

The seminar will meet daily from Monday September 15th to Thursday September 18th, and be followed by a free and open public lecture on Friday September 19th at 5:00, entitled “Val Lewton’s Cat People: Otherness in the Everyday”. 

 

 

Reception for Teresa de Lauretis with seminar participantsReception for Teresa de Lauretis with seminar participants

 

Films to be discussed include

The Bride of Frankenstein (dir. James Whale, 1935)
Cat People (dir. Jacques Tourneur, prod. Val Lewton, 1942)
I Walked with a Zombie (dir. Jacques Tourneur, prod. Val Lewton, 1943)
M. Butterfly or eXistenZ (dir. David Cronenberg, 1993, 1999)

 

Critical texts to be discussed include

T. de Lauretis, Freud’s Drive: Psychoanalysis, Literature and Film (2008)

Patricia White, “Retrospectatorship

Jean Laplanche & Jean-Bertrand Pontalis, “Fantasy and the Origins of Sexuality”

Sigmund Freud, “Instincts and their Vicissitudes”

Sigmund Freud, “Beyond the Pleasure Principle”

 

The seminar participants are:

Momoko Allard, Doctoral Student, Communication Studies, Concordia University

Patricia Ciccone, Master’s Student, Film Studies, Concordia University

Desirée de Jesus, Doctoral Student, Film and Moving Image Studies, Concordia University

Ayanna Dozier, Doctoral Student, Communication Studies and Art History, McGill University

Katherine Kline, Doctoral Student, Communication Studies, Concordia University

Andrée Lafontaine, Doctoral Student, Film and Moving Image Studies, Concordia University

Sasha Langford, Master’s Student, Media Studies, Concordia University

Alison Reiko Loader, Doctoral Student, Communication Studies, Concordia University

Fulvia Massimi, Doctoral Student, Film and Moving Image Studies, Concordia University

Tess McClernon, Doctoral Student, Film and Moving Image Studies, Concordia University

Dayna McLeod, Doctoral Student, Humanities, Concordia University

Vanessa Meyer, Doctoral Student, Communication Studies, Concordia University

Meredith Slifkin, Doctoral Student, Film and Moving Image Studies, Concordia University

Katerina Symes, Doctoral Student, Communication Studies, Concordia University

Pascale Thériault, Master’s Student, Etudes cinématographiques, Université de Montréal

Celia Vara, Doctoral Student, Communication Studies, Concordia University

 

Co-sponsored by the Feminist Media Studio, the Communication Studies department, the Mel Hoppenheim School of Cinema, ARTHEMIS, the Canada Research Chair in Feminist Media Studies, the Concordia Research Chair in Transnational Media Arts & Culture, and the Fonds de Recherche Société et Culture du Québec.

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