By Kevin Patrick McDonald
This learn examines modern Hollywood via concentrating on movies made
between 1990 and 2010. With chapters at the double, battle trauma, the undead, and
automata, I delineate facts of the uncanny inside person motion pictures besides the
underlying contradictions that symptomatically reply to the bigger financial conditions
and commercial practices that form the modern interval. all the 4 chapters
also function an social gathering to investigate theoretical and thematic matters drawn from
Sigmund Freud’s 1919 essay at the uncanny. in the course of the undertaking there's a strong
effort to hyperlink Freud’s preliminary account to next theoretical advancements with a
particular emphasis on introducing the paintings of Jacques Derrida. The cumulative goal of
these efforts is offer a serious origin for reading the latent disorientation within
the practices of up to date Hollywood and capitalist society extra ordinarily.
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Extra info for At Home in Estranged Dreams: Contemporary Hollywood and the Uncanny
1 (Spring 2008): 1-12. 19 See Charles Sanders Peirce, “Logic as Semiotic: The Theory of Signs” in The Philosophy of Peirce: Selected Writings (Ed. Justus Buchler. New York: Routledge, 2000). The application of Peirce to cinema was primarily inaugurated by Peter Wollen’s Signs and Meaning in the Cinema, Expanded Edition (Bloomington: Indiana University Press, 1972) esp. 116-130. 49 the mummified corpse when he mentions the clay effigies found in prehistoric caves that were supposedly designed to ensure a successful hunt (WC1 10).
Though Freud had only recently addressed the concept of narcissism, Rank clearly explicates its relevance. 4 Predisposed to megalomania, the paranoid subject attributes unwanted qualities to others so as to preserve an overvalued sense of self. Thus the double is a mechanism by which the actual source of fears and anxiety can be disguised or avoided by assigning them to a seemingly separate entity. With regard to the proliferation of premature deaths, Rank asserts that it is not only easier to dispatch a figure who has accrued feared and hated qualities, but necessary since one “loves and esteems his ego too highly to give it pain or to transform the idea of his destruction into the deed” (Double 80).
Hereafter abbreviated as WC1. See also What is Cinema? Volume 2 (Ed. and trans. Hugh Gray. Berkeley: University of California Press, 1971). Hereafter abbreviated as WC2. 47 subsequent film scholars. “For the first time,” he writes, “between the originating object and its reproduction there intervenes only the instrumentality of a nonliving agent. For the first time an image of the world is formed automatically, without the creative intervention of man” (WC1 13). This of course points to a crucial difference with Derrida’s position.