The book covers a wide range of cinematic femininities: It starts with Marilyn Monroes cool phrase "We are all of us stars, and we deserve to twinkle", which self-confidently marked her profession - with a wink, because she did not say "to sparkle". The (self-) staging of women also ironically plays its being tailored to the male gaze. In this section we discuss movies like Some like it hot, Breakfast at Tiffanys, Cet obscur objet du désir and Le Mépris - with a notable chapter by Laura Mulvey. Moreover, some fifty films later, the book ends with a section on Self-Empowerment and Identity, featuring films like Thelma & Louise, The Hours, Blue Valentine and Carol.
Are women in film really just those who are seen and displayed? Where are the ones who see and who point to something themselves? Where are the women in the audience, behind the camera? If, as feminist psychoanalytical film criticism rightly observes, the stars and starlets, especially in Hollywood mainstream cinema, are supposed to serve the male gaze as eye candy and self-assurance, what is the role of the women who do not fit into this scheme, the anti-heroes, the women who feel and act, those through whose eyes the world experiences a completely different way of being seen? Not only in arthouse cinema, but also in the mainstream, there is far more to the thousand facets of staged femininity than the simple formula of the male gaze. The book shows the most diverse stagings of femininity in great (and terrible) films, and explores (according to the approach of film psychoanalysis) how these staging affect the unconscious, or also the not-yet-conscious of viewers.
Each of the eight sections deals with a thematic aspect of the staging of suffering or sovereign femininity in feature films. They follow a chronological structure to illustrate how the genre has evolved. Each section is held together by an editorial introduction.
Part I. We are all of us stars, and we deserve to twinkle.
Self-presentations as objects of desire.
Chapter 1 . Sunset Boulevard: Diva
as Demon.
Chapter
2. Breakfast at Tiffany's, style icon as a lifelong lie.-
Chapter
3. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a
fabric of quotations.
Chapter
4. look behind the veil What is actually
"obscure" about Luis Buńuel's film, That Obscure Object of Desire? (Cet
obscur objet du désir, F, ES 1977).- Part II. Strong Feelings. Women as
persistent subjects.
Chapter
5. Poetry and reality. Devastated Landscapes of
the soul: La Strada (The Road, I 1954).
Chapter
6. Woman as a Black Bird
The Presentation of Femininity in Alfred Hitchcock's The Birds (US 1963).-
Chapter
7. Trauma, Depression and Transgenerational Suicidal Tendency
Psychoanalytical Notes on the Film Die Wand [ The Wall] (A, D 2012) .
Chapter
8. Resilient Femininity in Three Billboards Outside Ebbing, Missouri .- Part
III.Mothers and Daughters.
Chapter
9. Why mothers are immortal (All about
my mother) .
Chapter 10 . Understanding Bridget Jones.The staging of
post-feminist female identity in Bridget Jones's Diary (GB, IRL, F 2001).-
Chapter
11. From LA STRADA TO THE HOURS Suffering or Sovereign Femininity
in Feature Films.- Part IV. Women's suffering. Illness and mystery in the
film.
Chapter
12. Black Swan.
Chapter
13. "You Freud, me Jane?" Images of
Womanhood and love in Alfred Hitchcock's Marnie (US 1964).
Chapter
14.
Thrill and Suffering Misery (US 1990).
Chapter
15. You are the only person
who can give me back myself": The passions of self-image and ego distortion
Der Liebeswunsch [ The Love Wish] (D 2006).- Part V. String Pullers. When
women control events.
Chapter
16. Alfred Hitchcocks Rebecca: The
Replacement Wife.
Chapter
17. Womens Truth Witness for the Prosecution, US
1958.
Chapter
18. Im Not Your Nice Girl Gone Girl (US 2014).
Chapter
19.
Gateway to the Night The Night Porter(Il portiere di notte, I 1974) .-
Chapter
20. In Search of the Lost Mother The Piano (NZ, AU, F 1993).- Part
VI . Revolt against the camera. The uprising against male gaze.
Chapter
21. A Woman in Limbo Lost in Translation (US 2003).
Chapter
22. Pursuing
Emptiness - Obsession and (im) potence in Kathryn Bigelow's Blue Steel (US
1990).- Part VII . Artifacts and Fantasized Women.
Chapter
23. S.O.S. -
Spike Jonze's Her as a film about object relations and grief.
Chapter
24.
Vagina dentata Underworld (US, GB, H, D 2003).- Part VIII .
Self-empowerment and identity.
Chapter
25. Keep Going Thelma & Louise (US,
1991).
Chapter
26. From Eternity to Eternity(The Hours, US, 2002).
Chapter
27. Love with a Salty Taste Carol (GB, US 2015).
Chapter
28. The end of a
great love? Blue Valentine (US 2010).
Chapter
29. Said with flowers
bread and tulips (Pane e tulipani, I, CH 2000).
Vivian Pramataroff-Hamburger, Dr. med., specialist in gynaecology and psychotherapy in Munich, board member of the German Society for Psychosomatic Obstetrics and Gynaecology (DGPFG) and the International Society for Psychosomatic Obstetrics and Gynecology (ISPOG), training therapist and supervisor (BLÄK), member of the Munich Study Group on Film and Psychoanalysis since 2007, numerous publications on film and psychoanalysis.
Andreas Hamburger, Prof. Dr. phil. Dipl.-Psych., Professor of Clinical Psychology and Psychoanalysis IPU Berlin, Germanist, psychologist, psychoanalyst (DPG/IPA), training analyst and supervisor (DGPT, DGSv), member of the Munich Study Group on Film and Psychoanalysis since 2007, numerous publications on film and psychoanalysis, including the monograph Relational Film Psychoanalysis.
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