By Richard Leonard
Interesting, attractive and provocative ... This finely researched learn is a must-read for movie students, movie fans and somebody attracted to the non secular dimensions of pop culture and well known entertainment.Barbara Creed, Professor of monitor experiences, Head of the varsity of tradition and communique, collage of MelbourneA hugely unique paintings of scholarship ...
The Mystical Gaze of the Cinema is meticulously researched, theoretically knowledgeable and written in a method that's instantaneously swish and accessible.Robert Rosen, Dean, UCLA college of Theater, movie and Television‘Magical’, ‘out of this world’, ‘an event you’ll by no means forget’: Peter Weir’s motion pictures have enthralled audiences around the world. no matter if in iconic Australian works akin to Picnic at putting Rock and Gallipoli or foreign mainstream thrillers corresponding to Witness, Weir has intentionally created mystical motion picture studies. sleek cinema reviews is used to dissecting motion pictures at the foundation of gender, category or race: now, for the 1st time, Richard Leonard exhibits mystical gaze additionally exists and is exercised within the secular multiplex temples of today.The Mystical Gaze of the Cinema is a meticulous and available booklet that makes use of a psychoanalytic strategy incorporating the insights of Jung, movie idea and theology to wreck new floor in what remains to be a scorching subject in cinema reviews: the spectator–screen dating. Leonard presents a clean, cutting edge and provocative point of view on what occurs after we behold a movie.
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Extra resources for The Mystical Gaze of the Cinema: The Films of Peter Weir
Second, Creed’s argument for the abject, castrating mother was entirely predicated on a variety of mythological sources. For people who believed in the myths of the goddess of Melanesia, or the first Yanomano woman on earth who possessed a toothed vagina, or the goddess Medusa, an experience of their presence—to behold them— would have been a mystical encounter, filled with dread and horror. Mysticism is not exclusively about light and peace but has been termed by ‘the mysterium tremendum et fascinas’132, the mysterious 34 The Mystical Gaze of the Cinema encounter that is both frightening and fascinating at the same time.
To exclude religion from an analysis of the institutional discourses about ‘meanings, values, knowledge and practises’116 when its liturgical and mystical traditions have exerted the most profound and significant The Mystical Gaze 29 influences on the European artistic and visual imagination for a millennia leaves de Lauretis’ theory on the role of gender in the gaze, at best, incomplete. The recognition of the role of the mystical gaze and its ideological and theological history goes some way to explain how the male gaze has become so entrenched in the cinema.
The cinema, implicitly, and magic, explicitly, promise subjects that they can be perfect or complete if they obtain what they have lost. Nearly every ancient religious belief system, for example, has mythologies that centre on the loss of innocence and the need to regain it. Accompanying this lack is a loss of control over the natural and physical forces impacting upon the individual and the world, which are seen as a disruption of the harmony that once existed. Magic uses story, ritual, time, space, light, dark, smell, sound and people to conjure up the conditions in which a subject or a community might regain lost innocence and reassert control over the material world.