By Frances Pheasant-Kelly
American cinema abounds with motion pictures set in prisons, asylums, hospitals and different associations. instead of orderly areas of restoration and rehabilitation, those institutional settings come to be abject areas of regulate and repression within which grownup identification is threatened as a story impetus. Exploring the abject via concerns as various as racism, psychological disease or the renovation of our bodies for organ donation, this e-book analyses more than a few movies together with 'The Shawshank Redemption' (1994), 'Full steel Jacket' (1987) and 'Girl, Interrupted' (1999) via to cult movies comparable to 'Carrie' (1976) and 'Bubba Ho-tep' (2002). via analysing scenes of horror and disgust in the context of abject house, Frances Pheasant-Kelly unearths how threats to id appear in scenes of torture, horror and psychosexual repression and are resolved both notwithstanding loss of life or via annoying re-entry into the surface international. This readable and fascinating travel of the abject within the establishment film...
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Additional resources for Abject Spaces in American Cinema. Institutional Settings, Identity and Psychoanalysis in Film
The civilizing process is concerned with repressing certain aspects of the self, predominantly those concerned with bodily function that may incite disgust, as well as public displays of emotion. Elias notes that ‘with this growing division of behaviour into what is and what is not publicly permitted, the psychic structure of people is also transformed. 28 The child’s development is discernible in a growing awareness of bodily functions and a sense of shame or privacy associated with these, manifesting in the demarcation of boundaries and the segregation of specific spaces for these functions.
However, in her reversion to an infantilized state, she ultimately returns to the semiotic space of the prayer closet. Her subjectivity thus reflects the space to which she has access. Within spaces of restriction, she is childlike, while in spaces of freedom there is clear evidence of an adult identity constituted through the conventions of femininity. However, when private space becomes public (as in the shower scene and, effectively, in its reiteration at the prom), she becomes a source of abjection through the cruelty of the others.
Moreover, Foucault centres on the collective body and the environment of the institution, while Kristeva and Freud focus on the individual in relation to the maternal or parental world. For Foucault, generalized surveillance, physical coordination and knowledge govern the institutional body, while Kristeva’s maternal world is concerned with mapping the abject, corporeal body. These two approaches are further dissonant in that Foucault is a critic of Freudianism and though Foucault’s concerns with ordering and discipline are similar to those of Freud and Kristeva, his ideas are essentially anti-psychoanalytic.
Abject Spaces in American Cinema. Institutional Settings, Identity and Psychoanalysis in Film by Frances Pheasant-Kelly
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