Moving between Jerry Lewis and Andy Warhol, between Fassbinder’s gay sex icons and George Romero’s flesh-eating zombies, Shaviro radically critiques the Lacanian model currently popular in film theory and film studies, arguing against that model’s obsessive emphasis on the phallus, castration anxiety, sadistic mastery, ideology, and the structure of the signifier. Shaviro also explores issues of popular culture, postmodernism, the politics of the body, the construction of masculinity and of homo/heterosexualities, the nature and uses of pornography, and the aesthetics of masochism. “Invokes and evokes the force and sensation of film from within a Deleuze-Guattarian perspective. . . . well-written, elegant, and eloquent.” --Dana Polan
Subjects: Film Studies
Table of Contents
You are viewing the table of contents
You do not have access to this
on JSTOR. Try logging in through your institution for access.