Dutch Post-war Fiction Film through a Lens of Psychoanalysis

2021 ◽  
Author(s):  
Peter Verstraten
Keyword(s):  
Art Cinema ◽  
War Fiction ◽  
Father Figures ◽  
Post War ◽  
Psychoanalytic Theories ◽  
Genre Film

Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers's oeuvre, which spans 'art' cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but psychoanalytic theories on desire and fantasy are employed to put this idea into perspective. In the vein of cinephilia, this study brings together canonical titles (ALS TWEE DRUPPELS WATER; SOLDAAT VAN ORANJE) and little gems (MONSIEUR HAWARDEN; KRACHT). It juxtaposes among others GLUCKAUF and DE VLIEGENDE HOLLANDER (on father figures); FLANAGAN and SPOORLOOS (on rabbles and heroes); DE AANSLAG and LEEDVERMAAK (on historical traumas); ANTONIA and BLUEBIRD (on aphanisis).

Global Paris: Topographies and Dwelling Spaces

2015 ◽  
Author(s):  
Malini Guha
Keyword(s):  
Spatial Dynamics ◽  
Global City ◽  
Art Cinema ◽  
The Past ◽  
Post War

This chapter explores the film Deux ou trois choses que je sais d'elle (1967) and discusses how its staging of the spatial dynamics of the modernized post-war Paris lays a foundation for the analysis of topographical space and dwelling space. It establishes the concept of “network narrative,” which, when subjected to particular modes of reconfiguration, tells a series of migrant narratives that bring the past and present together through encounters and collisions. The network narrative, as rendered in its modernist, art cinema form, gives rise to an exorbitant experience of the global city. This exorbitance becomes a way of grasping the kinds of relationships between the imperial past and the global present as they emerge through distinctly topographical means.

scholarly journals ‘If We Are to Believe the Psychologists …’: Medicine, Psychoanalysis and Breastfeeding in Britain, 1900–55

2018 ◽  
Vol 63 (1) ◽  
pp. 61-81 ◽  
Author(s):  
Katharina Rowold
Keyword(s):  
Infant Feeding ◽  
Interwar Period ◽  
Private Practice ◽  
Expert Testimony ◽  
Medical Profession ◽  
Medical Professionals ◽  
Innovative Development ◽  
Health Visitors ◽  
Post War ◽  
Psychoanalytic Theories

In 1942, the British Minister of Health commissioned a report from the newly established Advisory Committee on Mothers and Young Children into ‘What can be done to intensify the effort to secure more breast feeding of infants?’. To make their case, the members of the sub-committee put in charge of the report sought expert testimony on the benefits of breastfeeding. They consulted medical officers of health, maternity and child-welfare officers, health visitors, midwives, obstetricians, paediatricians and a physician in private practice. They also consulted five ‘psychologists’ (a contemporary umbrella term for psychologists, psychoanalysts and psychiatrists). It is not surprising that the committee turned to medical professionals, as infant feeding had long been an area of their expertise. However, seeking the views of ‘psychologists’ when establishing the benefits of breastfeeding marked a more innovative development, one which suggested that a shift in conceptualising the significance of breastfeeding was gathering pace. In the interwar period, psychoanalysts and psychoanalytically oriented psychiatrists showed growing interest in early infancy. It led to an extensive psychoanalytic engagement with contemporary feeding advice disseminated by the medical profession. This article will explore the divergences and intersections of medical and psychoanalytic theories on breastfeeding in the first half of the twentieth century, concluding with a consideration of how medical ideas on breastfeeding had absorbed some of the contentions of ‘psy’-approaches to infant feeding by the post-war period.

Conclusion: Imagined States

2019 ◽  
pp. 181-194
Author(s):  
Katherine Isobel Baxter
Keyword(s):  
Political Influence ◽  
The State ◽  
War Fiction ◽  
The Law ◽  
Post War

The conclusion reflects on the prior chapters of the book. It also considers the literary and political influence of the period under discussion on later Nigerian fiction. The conclusion provides a brief account of the Biafran War, its relationship to the reception of Nigerian fiction at the time, and its impact on post-war fiction. The conclusion argues that the imaginative space of fiction has continued to be a crucial site of negotiation for ideas of statehood and the law. Moreover, fiction has continued to be a powerful tool for shedding light on the imaginative operations of the law and the state.

Baldwin’s Giovanni’s Room (1956) as a Transgressive White-Life Novel

2021 ◽  
Vol 66 (1) ◽  
pp. 191-204
Author(s):  
Loredana Bercuci
Keyword(s):  
American Literature ◽  
Second World War ◽  
Black Writers ◽  
The Novel ◽  
World War ◽  
White Masculinity ◽  
War Fiction ◽  
Visual Metaphors ◽  
Post War ◽  
Second World

"James Baldwin’s Giovanni’s Room (1956) as a Transgressive White-Life Novel. In the wake of the Second World War, American literature saw the rise of a type of novel that is little known today: the white-life novel. This type of novel is written by black writers but describes white characters acting in a mostly white milieu. While at the time African-American critics praised this new way of writing as a sign of maturity, many have since criticized it for being regressive by pandering to white tastes. This paper sets out to analyze the most famous of these novels, namely James Baldwin’s Giovanni’s Room (1956). It is my contention that Giovanni’s Room connects blackness and queerness through the use of visual metaphors in the novel, disrupting thus the post-war consensus on ideals of white masculinity. The novel, while seemingly abandoning black protagonists, enacts a subtle critique of white heteronormativity akin to Baldwin’s own positioning within American thought of the post-war era. Keywords: blackness, James Baldwin, post-war fiction, queer, white-life novel "

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