Psychoanalytic Film Theory Essay

Psychoanalytic Film Theory Essay-55
As in America, women have had fewer opportunities to make movies and so are less represented on the list.In fact, the only woman on the world list is Oscar-winning Australian film director Jane Campion.

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The attractiveness of this idea for film theory is readily apparent if we can accept the analogy between Lacan's infant and the cinematic spectator.

Psychoanalytic film theorists such as Christian Metz and Jean-Louis Baudry took this analogy as their point of departure.

Some prominent filmmakers who missed the cut because there was limited criticism in English include Theo Angelopoulos, Claude Chabrol, Werner Herzog, Louis Malle, and Carlos Saura.

In addition, the same patterns we found in the American list manifested themselves in the world list.

The list is dominated by European filmmakers, with the most represented countries being Italy (Michelangelo Antonioni, Bernardo Bertolucci, Federico Fellini, Pier Paolo Pasolini, and Luchino Visconti), Great Britain (Peter Greenaway, Derek Jarman, Mike Leigh, and Nicolas Roeg), and France (Robert Bresson, Jean-Luc Godard, and François Truffaut).

Two filmmakers are included for Australia (Jane Campion and Peter Weir), Japan (Akira Kurosawa and Kenji Mizoguchi), and Russia (Sergei Eisenstein and Andrei Tarkovsky).

This is the second of two essays; the first, published in the June 2012 issue of , discussed American filmmakers.[1] This essay covers filmmakers primarily associated with other countries of the world.

The list includes directors who spent the majority of their careers working outside the United States.

Represented by one filmmaker each are Denmark (Lars von Trier), Germany (Max Ophüls), India (Satyajit Ray), Poland (Krzysztof Kieślowski), Spain (Luis Buñuel), and Sweden (Ingmar Bergman).

The most studied world filmmakers in the English language, covered by at least five books each, are Ingmar Bergman, Jean-Luc Godard, and Akira Kurosawa.


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