Terrorism and the Movies Sara Groff, commenting on a recent article by Slavoj Zizek: Here is my attempt at making Zizek's article a little more understandable in a shortened format. I hope this helps everyone as I think he has some profound insights into this topic. As we all watched the horrific events of Tuesday, September 11, unfold before our very eyes - the strategically planned date of 9-1-1 appeared as if it were the setting for a big budget special effects film. The only problem -
A Psychoanalytic Analysis of Pretty Woman In the introduction to his book, The Sublime Object of Ideology, Slavoj Zizek acquaints readers with his book’s tripartite aim. He plans, among other things, to illustrate concepts fundamental to Lacanian psychoanalysis – an intention which will serve to further his more ambitious goal “to reactualize Hegelian dialectics by giving it a new reading” in the light of Lacanian psychoanalysis – and “to contribute to the theory of ideology via a new reading
collective norms of human satisfaction it implies (Lacan 1986: 78, 281; Zizek 1991: 25). Hers is a position that transcends the comfortable binary oppositions that structure our daily ethical and social lives. Because her choice of death cannot be understood according to strictly rational norms, she cannot be read as representing some simple antithesis of freedom to tyranny, or the individual to the state (Lacan 1986: 281; Zizek 1992: 77-78). In fact, as she acknowledges, she had chosen death before
Slavoj Zizek is a Slovenian Marxist philosopher and cultural critic. He is currently a senior researcher at the Institute for Sociology and Philosophy, University of Ljubljana in Slovenia, Global Distinguished Professor of German at New York University, and international director of the Birkbeck Institute for the Humanities. He writes widely on a diverse range of topics, including political theory, film theory, cultural studies, theology, and psychoanalysis. (Wikipedia) Although, Slavoj Zizek was
“Cinema is the ultimate pervert art. It doesn’t give you what to desire — it tells you what to desire,” according to Slavoj Zizek, a Slovenian Marxist philosopher. Just like in the article “The MP3 as a Cultural Artifact” by Jonathan Sterne, where an MP3 is said to be promiscuous, Cinema; according to Zizeki — said to be the same. This point will be further discussed later in the paper. This paper aims to show cinema as a medium of communication by explaining what cinema is, and relating it to different
Wilhoit (2009) explains building an argument is a complex task that does not require adhering to a specific rules and methods prescribed to you throughout your high school career. Although they certainly have a place in arguments in that they provide the infrastructure, the key premised to building an academic argument is understanding and establishing the rhetorical situation. It will give you an understanding of who the writer and the audience is, what is the subject or topic, the reason or occasion
they want to donate to a charity or someone in need, some will donate a few dollars. Simply, when consumers donate something, the idea of doing a good deed makes them feel accomplished. A philosopher, critical theorist, and author of many books, Slavoj Zizek, who wrote “How Corporations Make Profits by Associating Themselves with Charitable Causes,” published on AlterNet in September of 2010, argues that corporations target consumers to give to charity, claiming that they will donate. A corporation
According to Zizek, subjective violence is the visible and tangible violence within the society and individuals, while objective violence is the cause of violence which remains invisible and unknown. Objective violence includes symbolic and systemic violence. Symbolic violence is inherited in language and systemic violence is inherited in the system of government. Zizek elaborates on the violent and unexplainable bursts of violence within the
Deleuze, and Slavoj Zizek all go beyond the simple definition of capitalism to point out some flaws that are often unseen but could prove to be detrimental for a democratic society. In his lecture "Society Must Be Defended" Foucault says that the emergence of “population” as a political problem is directly tied to the growth of capitalism. Deleuze’s paper “Society of Control” argues that modern capitalism has mutated greatly from the 19th century “ideal” form of capitalism. And Slavoj Zizek, in his article
it from my paper. And that is what we call advertisement. Works Cited Hayward, Susan. Key concepts in Cinema studies. Chennai: Rutledge, 2004. Print. Revson, Charles, Wikipedia. Web. 13 Dec.2013 Zizek,Slavoj. The Metastases of Enjoyment. New York: Verso, 1994. Print. Zizek,Slavoj. The Parallax View. Cambridge: The MIT Press, 2006. Print.
In his book In Defense of Lost Causes, Slavoj Zizek demonstrates a connection between Mary Shelley’s novel Frankenstein and the French Revolution. Zizek shows us that Frankenstein focuses on family drama to obfuscate its true historical nature. Zizek also acknowledges that there are many different interpretations of the monster created by Dr. Frankenstein. The monster can be interpreted as…. Through the definition of a monster that Zizek gives us, we can conclude that there is a monster in Hilary
~The Problem with American Democracy is not too Little Democracy, but too much. Discuss ~ American democracy is "power of, by, and for the people." It is, as Slavoj Zizek so eloquently puts, "the will and interests of the majority that determine state decisions" (Zizek, 2003). The problem with American democracy is not that there is too little democracy, but that there is too much. Alexander Hamilton tried to make sure there wasn't too much when he advocated for the Electoral College. All
Cultural capitalism, as explained by Slavoj Žižek, states that charity has now become the core of the economy. When we purchase and item, our anti-consumerist duty is doing something for others or the environment—to compensate for our egoistic needs. This is a form of consumerist redemption. There are companies that follow a “social” business model, which does the anti-consumerist duty for us, thus the charitable act is included in the purchase of the product. Social business models are used by companies
p.: CrossWay Bibles, 2001. BibleGateway. Web. 24 Apr. 2014. Vogel, Paula. How I Learned to Drive. The Norton Introduction to Literature. Ed. Spencer Richardson-Jones. 11th ed. New York: Norton., 2013. 2227-2267. Print. Žižek, Slavoj. "Liberation Hurts: An Interview with Slavoj Žižek." Interview by Eric D. Rassmusen. Electronic Book Review. N.p., 1 July 2004. Web. 23 Apr. 2014.
Slavoj Žižek believes the world perceived by humans to be “real” is isolated from a more authentic reality due to it being distorted by one’s own fantasies and desires (Žižek 335). He believes that it is only through fantasies that humans learn what they truly desire (Žižek 335). In the film The Matrix, the protagonist, Neo, attempts to escape the fantasy world (called “the Matrix”) to live in true reality. Neo’s desire to escape the Matrix and live in a real world symbolizes how we, as humans, have
primary motivation is Marlow's search for some kernel of essential meaning at the core of Kurtz's tale. Reading in a Lacanian register, I argue instead that the search for meaning plays a secondary role to the telling of the tale itself. Indeed, as Slavoj Zizek notes, symptoms have no meaning outside the context of the recreated scene of trauma: "The analysis produces the truth, i.e., the signifying frame which gives to the symptoms their symbolic place and meaning... ... middle of paper ... ...tial
Autobiographical Writings (p277-300). [O] Available: http://english.columbia.edu/files/english/content/Critique_of_Violence.pdf Accessed: 16 April 2014 De Sanctis, S. 2012. From Psychoanalysis to Politics, Antigone as a Revolutionary in Judith Butler and Slavoj Žižek. [O]. Available: http://dx.doi.org/10.5334/opt.ai Accessed: 8 May 2014 Larson, S. 2013. Notes on the thought of Walter Benjamin: Critique of violence. [O]. Available: http://criticallegalthinking.com/2013/10/11/notes-thought-walter-benjamin-critique-violence/
two deaths" and live again only to fulfill insistent, mechanical drive. This drive, often centered on killing, vengeance, or some other quest for closure, is distinct from desire in that it is not "caught up in dialectical trickery" (Zizek 21). According to Zizek [ditto], normal desires are not always what they seem, for when we desire something, we may be seeking something else entirely (21). Most of the vampires in Buffy the Vampire Slayer fit Lacan's profile of between the two deaths, and
his concepts ‘interpassivity’, ‘thievish joy’ and ‘illusions without owners’. The term interpassivity, which Pfaller has developed incooperation with Slavoj Zizek, combines the words interactivity and passivity and presents a condition of passivity in the presence of the potential of interactivity. Pfaller’s idea was originally motivated by Slavoj Zizek’s observation that our own laughter could not activated by the canned laughter of sitcoms as substitute for it. An example of interpassivity is the
is a perfect combination between humor and grief that stays with us from the first to the last line. Works Cited Geldzahler, Justin. “We Laugh So We Don't Cry: The Humor in Holocaust Films.” Splitsider. N.p., 31 May 2012. Web. 02 Mar. 2014. Zizek, Slavoj. “Laugh Yourself to Death: The New Wave of Holocaust Comedies!” N.p., 15 Dec. 1999. Web. 05 Mar. 2014.