This essay is based on the public defence of a dissertation in which the cinematography of Stanley Kubrick is analysed in light of Lacan’s concepts of fundamental fantasy, jouissance and gaze. Four of Kubrick’s films are discussed and located in the academic literature and the methodological and theoretical frameworks are outlined. In the thesis it is proposed that the narratives of these four films are underpinned by a concrete scenario of a fundamental fantasy: “C observes: A overpowers B”, and that this scenario forms the basis of both the staging of a taxonomy of jouissance and of the evocation of the gaze as instance of the object a. In conclusion, it is outlined how these findings align with the methodological point of departure of the research project.
- “I don’t stop; I start again.” The position of the analyst in ‘long term care’By Glenn Strubbe
- Vampires, Viruses and Verbalisation: Bram Stoker’s Dracula as a genealogical window into fin-de-sièc…By Hub Zwart
- Psychoanalysis: a symptomatic problemBy Evi Verbeke
- The Violence of Right: Rereading ‘Why War?’By Jens De Vleminck
Addiction Aggression Applied psychoanalysis Architecture Art Body Case study Child analysis Collecting Countertransference Death death drive desire ethics Fantasy Freud Gaze Hysteria Institution Institutional Psychotherapy interpretation Jouissance Lacan Language Literature Memory Narcissism Object a Oedipus Outsider Art Psychoanalysis Psychosis Real Repetition Repression Sade Signifier Subject Sublimation the Gaze Transference Trauma Unconscious Violence Writing