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Wilfred Bion's theories of dreaming, of the analytic situation, of reality and everyday life, and even of the contact between the body and the mind offer very different, and highly fruitful, perspectives on lived experience. Yet very little of his work has entered the field of visual culture, especially film and media studies. Kelli Fuery offers an engaging overview of Bion's most significant contribution to psychoanalysis -his theory of thinking- and demonstrates its relevance for why we watch moving images.
Wilfred Bion's theories of dreaming, of the analytic situation, of reality and everyday life, and even of the contact between the body and the mind offer very different, and highly fruitful, perspectives on lived experience. Yet very little of his work has entered the field of visual culture, especially film and media studies. Kelli Fuery offers an engaging overview of Bion's most significant contribution to psychoanalysis -his theory of thinking- and demonstrates its relevance for why we watch moving images.
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Autorenporträt
Kelli Fuery is Assistant Professor at Dodge College for Film and Media Arts, Chapman University, USA. She is the author of New Media: Culture and Image (2009) and co-author of Visual Cultures and Critical Theory (2003). She has also published widely on the themes of visual culture, psychoanalysis and critical theory.
Inhaltsangabe
Chapter 1 Introduction On 'Being Embedded' Different Psychoanalytic Thinking and Cognitive Film Studies Embedded and Embodied: A Relational Distinction Chapter 2 A Theory of Thinking for Moving Image Experience Toward a (Meta)Theory of Thinking From Drive to Feeling: Melanie Klein and Projective Identification Satisfaction and Frustration: Bion's Apparatus for Thinking On the capacity to tolerate frustration Chapter 3 Wandering Reverie and the Aesthetic Experience of Being Adrift 85 A note on wandering Wandering as Reverie Devious Journeying: Reverie and Spectatorship in Walkabout Reverie as Spacings: The Irregular turning of aesthetic experience The Affect of Spacing in Don't Look Now Aimless Passing: Being Embedded through Dreaming Chapter 4 Metaphor, the Analytic Field, and the Embedded Spectator Metaphor, 1970s Film Theory and Beyond Antonino Ferro and Giuseppe Civitarese's Metaphor within the Analytic Field Analytic Field Theory and Field Theories of Cinema The Embedded Spectator Chapter 5 Group Experience, Collective Memory and Dreaming Bion's Experiences in Groups The Task of the Group Memory Work and Memory Texts: Force Majeure and Prisons Memory Archive Immersion and Being Embedded with regard to Groups and Memory Dreams and Memories The relevance of Bion's revision on dreaming Chapter 6 Linking, Intentionality and the Container-Contained Phenomenology: Experience, Consciousness, Intentionality Husserlian beginnings and Casebier's 'in-between' qualities Sobchack's Reversible Intentionality in Rabbit Proof Fence Bion and Arendt: Linking, Emotion, and Thought Cinema as Container-Contained Container-Contained in Unforgiven Chapter 7 Transformation: The Idiomatic Encounter and Use of Moving Image as Object Bion's Concept of O The Importance of Invariance in Transformation Antonioni's Blow-Up The Moving Image as Transitional and Transformational Object An Aesthetic of Being: Westworld Chapter 8 Being Embedded: Rhizome, Decalcomania and Containment Reverie as Space and Rhizome Rhizome Decalcomania Negative Capability Time, Territory, and Surface Containment Boyhood
Chapter 1 Introduction On 'Being Embedded' Different Psychoanalytic Thinking and Cognitive Film Studies Embedded and Embodied: A Relational Distinction Chapter 2 A Theory of Thinking for Moving Image Experience Toward a (Meta)Theory of Thinking From Drive to Feeling: Melanie Klein and Projective Identification Satisfaction and Frustration: Bion's Apparatus for Thinking On the capacity to tolerate frustration Chapter 3 Wandering Reverie and the Aesthetic Experience of Being Adrift 85 A note on wandering Wandering as Reverie Devious Journeying: Reverie and Spectatorship in Walkabout Reverie as Spacings: The Irregular turning of aesthetic experience The Affect of Spacing in Don't Look Now Aimless Passing: Being Embedded through Dreaming Chapter 4 Metaphor, the Analytic Field, and the Embedded Spectator Metaphor, 1970s Film Theory and Beyond Antonino Ferro and Giuseppe Civitarese's Metaphor within the Analytic Field Analytic Field Theory and Field Theories of Cinema The Embedded Spectator Chapter 5 Group Experience, Collective Memory and Dreaming Bion's Experiences in Groups The Task of the Group Memory Work and Memory Texts: Force Majeure and Prisons Memory Archive Immersion and Being Embedded with regard to Groups and Memory Dreams and Memories The relevance of Bion's revision on dreaming Chapter 6 Linking, Intentionality and the Container-Contained Phenomenology: Experience, Consciousness, Intentionality Husserlian beginnings and Casebier's 'in-between' qualities Sobchack's Reversible Intentionality in Rabbit Proof Fence Bion and Arendt: Linking, Emotion, and Thought Cinema as Container-Contained Container-Contained in Unforgiven Chapter 7 Transformation: The Idiomatic Encounter and Use of Moving Image as Object Bion's Concept of O The Importance of Invariance in Transformation Antonioni's Blow-Up The Moving Image as Transitional and Transformational Object An Aesthetic of Being: Westworld Chapter 8 Being Embedded: Rhizome, Decalcomania and Containment Reverie as Space and Rhizome Rhizome Decalcomania Negative Capability Time, Territory, and Surface Containment Boyhood
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