Podcasts about wallflower press

The Celluloid Mirror is a film discussion podcast in which we look at two very different films to see what they reflect about one another, and the audience. On this month's episode, we discuss the Bruce Lee classic The Big Boss (1971) and Boots Riley's Sorry to Bother You (2018) and how envision workers fighting back against capitalist exploitation. Also in this episode we welcome special guest Che Broadnax to the program! Che Broadnax is a Brooklyn-based filmmaking multi-tool. He has been found behind the lens of indie features, in the edit suite for major networks, and hunched over the drafting table creating sequential art.Recently he photographed IFP Films' sci-fi/horror/comedy WELCOME TO WILLITS, singer/songwriter Aria Jay's GROWTH, and MTV's CLIMATE CHANGE CHRISTMAS. His directorial debut, CIVIL WARRIORS won Best Narrative Feature at the 2016 Long Beach Indie International Film Festival. In another life, Che was known as Rev1: Last Revolutionary Emcee and released two politically charged hip hop albums. (imdb) (portfolio) Thanks for listening. If you enjoy the show we'd love it if you could rate, review, and subscribe on your platform of choice as it really helps with the discoverability of the show. As before if you would like to share your thoughts with us on the show, on the questions at the end of either episode, or on pairings you'd like to see reach out here, on social media (@4milecircus everywhere) or info@4milecircus.com All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3788-funkorama License: http://creativecommons.org/licenses/by/4.0/ References & Research: In Boots Riley's Dark Comedy Sorry to Bother You, The Villain Is Capitalism Itself (The New Statesman) Boots Riley: ‘Capitalism must have poverty in order to exist' (Dazed) Sorry to Bother You: is this the most shocking anti-capitalist film ever? (The Guardian) The Dragon Enters: The Big Boss DVD Review (CineOutsider) From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture, Kato, M. T. ( SUNY Series, Explorations in Postcolonial Studies, 2007.) Beyond Bruce Lee: Chasing The Dragon Through film, Philosophy, and Pop Culture, Bowman, Paul.(Wallflower Press, 2013.) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

Russell J. A. Kilbourn’s The Cinema of Paolo Sorrentino: Commitment to Style (Wallflower Press, 2020) is the first comprehensive study published in the English-speaking world on one of the most compelling figures in twenty-first centry European film, Italian 2014 Academy Award recipient Paolo Sorrentino. Kilbourn’s book offers close readings of Sorrentino’s cinema in eight dense and elegantly written chapters and one coda: from the filmmaker’s first feature One Man Up, to The Consequences of Love, The Family Friend, Il Divo, This Must Be the Place, The Great Beauty, Youth, and the TV series The Young Pope, produced by HBO. The coda discusses the biopic on Silvio Berlusconi Loro (Them), which came out in 2018. While contextualizing Sorrentino within the legacy of Italian cinema tradition, Kilbourn establishes meaningful connections with international filmmakers (from Spike Lee’s Do the Right Thing to Mary’s Harron’s American Psycho, among many others), literary texts (such as Primo Levi’s If This is a Man), and artistic works (such as Magritte’s surrealist paintings), showing how Sorrentino is “an exemplary twenty-first-century transnational filmmaker” and “an emergent auteur for the twenty-first century.” His definition of Sorrentino’s cinema as “commitment to style” summarizes his critical perspective on a filmmaker, who, Kilbourn argues, brings to life Godard’s famous statement that “the problem is not to make political films but to make films politically.” Russell J. A. Kilbourn is Professor of English and Film Studies at Wilfrid Lauriel University. His books include Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema (2010) and W.G. Sebald’s Postsecular Redemption: Catastrophe with Spectator (2018) Nicoletta Marini-Maio is co-founder and editor of g/s/i-gender/sexuality/italy. Recent scholarly publications center on Italian cinema, particularly the intersections between politics, gender power relations, and collective memory; and auteur cinema. Her current book project is La nazione Winx: coltivare la future consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Ellen Nerenberg (forthcoming, Rubbettino, Italy). Learn more about your ad choices. Visit megaphone.fm/adchoices

Russell J. A. Kilbourn’s The Cinema of Paolo Sorrentino: Commitment to Style (Wallflower Press, 2020) is the first comprehensive study published in the English-speaking world on one of the most compelling figures in twenty-first centry European film, Italian 2014 Academy Award recipient Paolo Sorrentino. Kilbourn’s book offers close readings of Sorrentino’s cinema in eight dense and elegantly written chapters and one coda: from the filmmaker’s first feature One Man Up, to The Consequences of Love, The Family Friend, Il Divo, This Must Be the Place, The Great Beauty, Youth, and the TV series The Young Pope, produced by HBO. The coda discusses the biopic on Silvio Berlusconi Loro (Them), which came out in 2018. While contextualizing Sorrentino within the legacy of Italian cinema tradition, Kilbourn establishes meaningful connections with international filmmakers (from Spike Lee’s Do the Right Thing to Mary’s Harron’s American Psycho, among many others), literary texts (such as Primo Levi’s If This is a Man), and artistic works (such as Magritte’s surrealist paintings), showing how Sorrentino is “an exemplary twenty-first-century transnational filmmaker” and “an emergent auteur for the twenty-first century.” His definition of Sorrentino’s cinema as “commitment to style” summarizes his critical perspective on a filmmaker, who, Kilbourn argues, brings to life Godard’s famous statement that “the problem is not to make political films but to make films politically.” Russell J. A. Kilbourn is Professor of English and Film Studies at Wilfrid Lauriel University. His books include Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema (2010) and W.G. Sebald’s Postsecular Redemption: Catastrophe with Spectator (2018) Nicoletta Marini-Maio is co-founder and editor of g/s/i-gender/sexuality/italy. Recent scholarly publications center on Italian cinema, particularly the intersections between politics, gender power relations, and collective memory; and auteur cinema. Her current book project is La nazione Winx: coltivare la future consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Ellen Nerenberg (forthcoming, Rubbettino, Italy). Learn more about your ad choices. Visit megaphone.fm/adchoices

Russell J. A. Kilbourn’s The Cinema of Paolo Sorrentino: Commitment to Style (Wallflower Press, 2020) is the first comprehensive study published in the English-speaking world on one of the most compelling figures in twenty-first centry European film, Italian 2014 Academy Award recipient Paolo Sorrentino. Kilbourn’s book offers close readings of Sorrentino’s cinema in eight dense and elegantly written chapters and one coda: from the filmmaker’s first feature One Man Up, to The Consequences of Love, The Family Friend, Il Divo, This Must Be the Place, The Great Beauty, Youth, and the TV series The Young Pope, produced by HBO. The coda discusses the biopic on Silvio Berlusconi Loro (Them), which came out in 2018. While contextualizing Sorrentino within the legacy of Italian cinema tradition, Kilbourn establishes meaningful connections with international filmmakers (from Spike Lee’s Do the Right Thing to Mary’s Harron’s American Psycho, among many others), literary texts (such as Primo Levi’s If This is a Man), and artistic works (such as Magritte’s surrealist paintings), showing how Sorrentino is “an exemplary twenty-first-century transnational filmmaker” and “an emergent auteur for the twenty-first century.” His definition of Sorrentino’s cinema as “commitment to style” summarizes his critical perspective on a filmmaker, who, Kilbourn argues, brings to life Godard’s famous statement that “the problem is not to make political films but to make films politically.” Russell J. A. Kilbourn is Professor of English and Film Studies at Wilfrid Lauriel University. His books include Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema (2010) and W.G. Sebald’s Postsecular Redemption: Catastrophe with Spectator (2018) Nicoletta Marini-Maio is co-founder and editor of g/s/i-gender/sexuality/italy. Recent scholarly publications center on Italian cinema, particularly the intersections between politics, gender power relations, and collective memory; and auteur cinema. Her current book project is La nazione Winx: coltivare la future consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Ellen Nerenberg (forthcoming, Rubbettino, Italy).

Russell J. A. Kilbourn’s The Cinema of Paolo Sorrentino: Commitment to Style (Wallflower Press, 2020) is the first comprehensive study published in the English-speaking world on one of the most compelling figures in twenty-first centry European film, Italian 2014 Academy Award recipient Paolo Sorrentino. Kilbourn’s book offers close readings of Sorrentino’s cinema in eight dense and elegantly written chapters and one coda: from the filmmaker’s first feature One Man Up, to The Consequences of Love, The Family Friend, Il Divo, This Must Be the Place, The Great Beauty, Youth, and the TV series The Young Pope, produced by HBO. The coda discusses the biopic on Silvio Berlusconi Loro (Them), which came out in 2018. While contextualizing Sorrentino within the legacy of Italian cinema tradition, Kilbourn establishes meaningful connections with international filmmakers (from Spike Lee’s Do the Right Thing to Mary’s Harron’s American Psycho, among many others), literary texts (such as Primo Levi’s If This is a Man), and artistic works (such as Magritte’s surrealist paintings), showing how Sorrentino is “an exemplary twenty-first-century transnational filmmaker” and “an emergent auteur for the twenty-first century.” His definition of Sorrentino’s cinema as “commitment to style” summarizes his critical perspective on a filmmaker, who, Kilbourn argues, brings to life Godard’s famous statement that “the problem is not to make political films but to make films politically.” Russell J. A. Kilbourn is Professor of English and Film Studies at Wilfrid Lauriel University. His books include Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema (2010) and W.G. Sebald’s Postsecular Redemption: Catastrophe with Spectator (2018) Nicoletta Marini-Maio is co-founder and editor of g/s/i-gender/sexuality/italy. Recent scholarly publications center on Italian cinema, particularly the intersections between politics, gender power relations, and collective memory; and auteur cinema. Her current book project is La nazione Winx: coltivare la future consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Ellen Nerenberg (forthcoming, Rubbettino, Italy). Learn more about your ad choices. Visit megaphone.fm/adchoices

Russell J. A. Kilbourn’s The Cinema of Paolo Sorrentino: Commitment to Style (Wallflower Press, 2020) is the first comprehensive study published in the English-speaking world on one of the most compelling figures in twenty-first centry European film, Italian 2014 Academy Award recipient Paolo Sorrentino. Kilbourn’s book offers close readings of Sorrentino’s cinema in eight dense and elegantly written chapters and one coda: from the filmmaker’s first feature One Man Up, to The Consequences of Love, The Family Friend, Il Divo, This Must Be the Place, The Great Beauty, Youth, and the TV series The Young Pope, produced by HBO. The coda discusses the biopic on Silvio Berlusconi Loro (Them), which came out in 2018. While contextualizing Sorrentino within the legacy of Italian cinema tradition, Kilbourn establishes meaningful connections with international filmmakers (from Spike Lee’s Do the Right Thing to Mary’s Harron’s American Psycho, among many others), literary texts (such as Primo Levi’s If This is a Man), and artistic works (such as Magritte’s surrealist paintings), showing how Sorrentino is “an exemplary twenty-first-century transnational filmmaker” and “an emergent auteur for the twenty-first century.” His definition of Sorrentino’s cinema as “commitment to style” summarizes his critical perspective on a filmmaker, who, Kilbourn argues, brings to life Godard’s famous statement that “the problem is not to make political films but to make films politically.” Russell J. A. Kilbourn is Professor of English and Film Studies at Wilfrid Lauriel University. His books include Cinema, Memory, Modernity: The Representation of Memory from the Art Film to Transnational Cinema (2010) and W.G. Sebald’s Postsecular Redemption: Catastrophe with Spectator (2018) Nicoletta Marini-Maio is co-founder and editor of g/s/i-gender/sexuality/italy. Recent scholarly publications center on Italian cinema, particularly the intersections between politics, gender power relations, and collective memory; and auteur cinema. Her current book project is La nazione Winx: coltivare la future consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Ellen Nerenberg (forthcoming, Rubbettino, Italy). Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Brown is a film and television scholar at Liverpool Hope University. His research has focused on Hollywood and British cinema (classical and contemporary), family entertainment, children’s culture and animation. His first three books were published by I.B. Tauris and include, The Hollywood Family Film: from Shirley Temple to Harry Potter, Family Films in Global Cinema: The World Beyond Disney, and British Children’s Cinema: from The Thief of Bagdad to Wallace and Gromit. Now his newest, The Children’s Film: Genre, Nation and Narrative (Wallflower Press, 2017) looks at children’s film to explore its cultural and social impact, and it shows the evolution of a beloved genre that has resonated across ages and generations. The Children’s Film is part of the Short Cuts Series published by Wallflower Press, an imprint of Columbia University Press. Information on Noel Brown’s work is available at http://lhu.academia.edu/NoelBrown. Susan Raab is president of Raab Associates, an internationally recognized agency that specializes in marketing literature, products and initiatives that help improve the lives of young people. Clients have includedNational Geographic, Scholastic, the International Board on Books for Young People, and bestselling authors and illustrators. Susan is marketing advisor for the Society of Children’sBook Writers and Illustrators (SCBWI). She’salso a journalist reporting on publishing, education and human rights. Her work as a broadcast correspondent has been hosted by the University of Connecticut, and by the University of Florida’s Recess Radio, a program syndicated to 500 public radio stations. Her many interviews, including with Art Spiegelman, Jon Scieszka, Norton Juster, Laurie Halse Anderson and many others talking about art and literature can be heard here. Follow Susan at: https://twitter.com/sraab18 Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Brown is a film and television scholar at Liverpool Hope University. His research has focused on Hollywood and British cinema (classical and contemporary), family entertainment, children’s culture and animation. His first three books were published by I.B. Tauris and include, The Hollywood Family Film: from Shirley Temple to Harry Potter, Family Films in Global Cinema: The World Beyond Disney, and British Children’s Cinema: from The Thief of Bagdad to Wallace and Gromit. Now his newest, The Children’s Film: Genre, Nation and Narrative (Wallflower Press, 2017) looks at children’s film to explore its cultural and social impact, and it shows the evolution of a beloved genre that has resonated across ages and generations. The Children’s Film is part of the Short Cuts Series published by Wallflower Press, an imprint of Columbia University Press. Information on Noel Brown’s work is available at http://lhu.academia.edu/NoelBrown. Susan Raab is president of Raab Associates, an internationally recognized agency that specializes in marketing literature, products and initiatives that help improve the lives of young people. Clients have includedNational Geographic, Scholastic, the International Board on Books for Young People, and bestselling authors and illustrators. Susan is marketing advisor for the Society of Children’sBook Writers and Illustrators (SCBWI). She’salso a journalist reporting on publishing, education and human rights. Her work as a broadcast correspondent has been hosted by the University of Connecticut, and by the University of Florida’s Recess Radio, a program syndicated to 500 public radio stations. Her many interviews, including with Art Spiegelman, Jon Scieszka, Norton Juster, Laurie Halse Anderson and many others talking about art and literature can be heard here. Follow Susan at: https://twitter.com/sraab18 Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Brown is a film and television scholar at Liverpool Hope University. His research has focused on Hollywood and British cinema (classical and contemporary), family entertainment, children’s culture and animation. His first three books were published by I.B. Tauris and include, The Hollywood Family Film: from Shirley Temple to Harry... Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Brown is a film and television scholar at Liverpool Hope University. His research has focused on Hollywood and British cinema (classical and contemporary), family entertainment, children’s culture and animation. His first three books were published by I.B. Tauris and include, The Hollywood Family Film: from Shirley Temple to Harry Potter, Family Films in Global Cinema: The World Beyond Disney, and British Children’s Cinema: from The Thief of Bagdad to Wallace and Gromit. Now his newest, The Children’s Film: Genre, Nation and Narrative (Wallflower Press, 2017) looks at children’s film to explore its cultural and social impact, and it shows the evolution of a beloved genre that has resonated across ages and generations. The Children’s Film is part of the Short Cuts Series published by Wallflower Press, an imprint of Columbia University Press. Information on Noel Brown’s work is available at http://lhu.academia.edu/NoelBrown. Susan Raab is president of Raab Associates, an internationally recognized agency that specializes in marketing literature, products and initiatives that help improve the lives of young people. Clients have includedNational Geographic, Scholastic, the International Board on Books for Young People, and bestselling authors and illustrators. Susan is marketing advisor for the Society of Children’sBook Writers and Illustrators (SCBWI). She’salso a journalist reporting on publishing, education and human rights. Her work as a broadcast correspondent has been hosted by the University of Connecticut, and by the University of Florida’s Recess Radio, a program syndicated to 500 public radio stations. Her many interviews, including with Art Spiegelman, Jon Scieszka, Norton Juster, Laurie Halse Anderson and many others talking about art and literature can be heard here. Follow Susan at: https://twitter.com/sraab18 Learn more about your ad choices. Visit megaphone.fm/adchoices

Noel Brown is a film and television scholar at Liverpool Hope University. His research has focused on Hollywood and British cinema (classical and contemporary), family entertainment, children’s culture and animation. His first three books were published by I.B. Tauris and include, The Hollywood Family Film: from Shirley Temple to Harry Potter, Family Films in Global Cinema: The World Beyond Disney, and British Children’s Cinema: from The Thief of Bagdad to Wallace and Gromit. Now his newest, The Children’s Film: Genre, Nation and Narrative (Wallflower Press, 2017) looks at children’s film to explore its cultural and social impact, and it shows the evolution of a beloved genre that has resonated across ages and generations. The Children’s Film is part of the Short Cuts Series published by Wallflower Press, an imprint of Columbia University Press. Information on Noel Brown’s work is available at http://lhu.academia.edu/NoelBrown. Susan Raab is president of Raab Associates, an internationally recognized agency that specializes in marketing literature, products and initiatives that help improve the lives of young people. Clients have includedNational Geographic, Scholastic, the International Board on Books for Young People, and bestselling authors and illustrators. Susan is marketing advisor for the Society of Children’sBook Writers and Illustrators (SCBWI). She’salso a journalist reporting on publishing, education and human rights. Her work as a broadcast correspondent has been hosted by the University of Connecticut, and by the University of Florida’s Recess Radio, a program syndicated to 500 public radio stations. Her many interviews, including with Art Spiegelman, Jon Scieszka, Norton Juster, Laurie Halse Anderson and many others talking about art and literature can be heard here. Follow Susan at: https://twitter.com/sraab18 Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock's famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott's papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels' books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins... Learn more about your ad choices. Visit megaphone.fm/adchoices

Stanley Kubrick is justly considered one of the greatest filmmakers, even with his limited output over his career. The first film he both produced and directed was Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, released in 1964. Mick Broderick has written an extensive overview of the film in his book Reconstructing Strangelove: Inside Stanley Kubrick’s ‘Nightmare Comedy’ (Wallflower Press, 2016). In addition to reviewing the creative, scientific, and political background of the screenplay, he also presents other interesting details, many of them based on his review of Stanley Kubrick’s private archives. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stanley Kubrick is justly considered one of the greatest filmmakers, even with his limited output over his career. The first film he both produced and directed was Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, released in 1964. Mick Broderick has written an extensive overview of the film in his book Reconstructing Strangelove: Inside Stanley Kubrick’s ‘Nightmare Comedy’ (Wallflower Press, 2016). In addition to reviewing the creative, scientific, and political background of the screenplay, he also presents other interesting details, many of them based on his review of Stanley Kubrick’s private archives. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stanley Kubrick is justly considered one of the greatest filmmakers, even with his limited output over his career. The first film he both produced and directed was Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, released in 1964. Mick Broderick has written an extensive overview... Learn more about your ad choices. Visit megaphone.fm/adchoices

The United States and the world underwent a fundamental change because of the terrorist attacks of September 11, 2001. In addition to major wars, the event has brought up themes of security, torture, and the overall issue of terrorism in the 21st century. In Parallel Lines: Post-9/11 American Cinema (Wallflower Press, 2014), Guy Westwell, Senior Lecturer in Film Studies at Queen Mary, University of London discusses a large number of feature films related to the attacks. From documentaries to narrative films, Westwell presents a great survey of a still-growing topic. Learn more about your ad choices. Visit megaphone.fm/adchoices

The United States and the world underwent a fundamental change because of the terrorist attacks of September 11, 2001. In addition to major wars, the event has brought up themes of security, torture, and the overall issue of terrorism in the 21st century. In Parallel Lines: Post-9/11 American Cinema (Wallflower Press, 2014),... Learn more about your ad choices. Visit megaphone.fm/adchoices

The United States and the world underwent a fundamental change because of the terrorist attacks of September 11, 2001. In addition to major wars, the event has brought up themes of security, torture, and the overall issue of terrorism in the 21st century. In Parallel Lines: Post-9/11 American Cinema (Wallflower Press, 2014), Guy Westwell, Senior Lecturer in Film Studies at Queen Mary, University of London discusses a large number of feature films related to the attacks. From documentaries to narrative films, Westwell presents a great survey of a still-growing topic. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most enduring film genres is the sports movie. From the earliest attempts at narrative motion pictures to the present day, movies devoted to athletic competition are both popular and lasting. In The Sports Film: Games People Play (Wallflower Press, 2014), Bruce Babington presents an historical overview of the genre. He also details four specific films that cover a wide range of sports and national cinema. Drawing upon a large body of knowledge as a writer and professor of film, Babington discusses the importance of the sports film, as well as why it remains so popular. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most enduring film genres is the sports movie. From the earliest attempts at narrative motion pictures to the present day, movies devoted to athletic competition are both popular and lasting. In The Sports Film: Games People Play (Wallflower Press, 2014), Bruce Babington presents an historical overview of... Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most enduring film genres is the sports movie. From the earliest attempts at narrative motion pictures to the present day, movies devoted to athletic competition are both popular and lasting. In The Sports Film: Games People Play (Wallflower Press, 2014), Bruce Babington presents an historical overview of... Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the most enduring film genres is the sports movie. From the earliest attempts at narrative motion pictures to the present day, movies devoted to athletic competition are both popular and lasting. In The Sports Film: Games People Play (Wallflower Press, 2014), Bruce Babington presents an historical overview of the genre. He also details four specific films that cover a wide range of sports and national cinema. Drawing upon a large body of knowledge as a writer and professor of film, Babington discusses the importance of the sports film, as well as why it remains so popular. Learn more about your ad choices. Visit megaphone.fm/adchoices

As each frame of a film goes by we witness a new world that is situated in space and time. This process of worldmaking happens through the cinematic lens but also through the myths and rituals of religious traditions. Or so argues S. Brent Plate, Visiting Associate Professor of Religious... Learn more about your ad choices. Visit megaphone.fm/adchoices

As each frame of a film goes by we witness a new world that is situated in space and time. This process of worldmaking happens through the cinematic lens but also through the myths and rituals of religious traditions. Or so argues S. Brent Plate, Visiting Associate Professor of Religious Studies at Hamilton College, in his book Religion and Film: Cinema and the Re-Creation of the World (Wallflower Press, 2008). In this short work Plate sets out to create a “critical religious film theory” and demonstrates how understanding religion and film can help us comprehend the other in more nuanced ways. Through a close examination of mise-en-scene, editing, and cinematics we discover the interrelationship of the world we live and the one on the screen. Plate reveals that film serves many of the same functions myth and ritual do in defining space and time. Both Hollywood blockbusters and avante-garde films present a way of understanding the world and reveal a new visual ethics for understanding reality. Plate also tells us what happens when film leaves the movie theatre and re-ritualizes contemporary experience. In our conversation we discuss film techniques, Star Wars, Blue Velvet, The Matrix, Chocolat, Rocky Horror Picture Show, sensual aspects of religion, the altar and the screen, ethics, aesthetics, myth, ritual, and Plates role in developing new features in the Journal of the American Academy of Religion. Learn more about your ad choices. Visit megaphone.fm/adchoices

As each frame of a film goes by we witness a new world that is situated in space and time. This process of worldmaking happens through the cinematic lens but also through the myths and rituals of religious traditions. Or so argues S. Brent Plate, Visiting Associate Professor of Religious Studies at Hamilton College, in his book Religion and Film: Cinema and the Re-Creation of the World (Wallflower Press, 2008). In this short work Plate sets out to create a “critical religious film theory” and demonstrates how understanding religion and film can help us comprehend the other in more nuanced ways. Through a close examination of mise-en-scene, editing, and cinematics we discover the interrelationship of the world we live and the one on the screen. Plate reveals that film serves many of the same functions myth and ritual do in defining space and time. Both Hollywood blockbusters and avante-garde films present a way of understanding the world and reveal a new visual ethics for understanding reality. Plate also tells us what happens when film leaves the movie theatre and re-ritualizes contemporary experience. In our conversation we discuss film techniques, Star Wars, Blue Velvet, The Matrix, Chocolat, Rocky Horror Picture Show, sensual aspects of religion, the altar and the screen, ethics, aesthetics, myth, ritual, and Plates role in developing new features in the Journal of the American Academy of Religion. Learn more about your ad choices. Visit megaphone.fm/adchoices