Film, Lacan and the subject of religion : a psychoanalytic approach to religious film analysis

Content: Introduction --
An overview --
With thanks --
Part one. Current approaches to religious film analysis --
Introduction to Part one --
1 Phenomenological interpretations : film as sacrament --
André Bazin : the parameters of cinematic Protestantism --
Paul Schrader : 'Protestant cinematic sacramentalism' --
Other cinematic sacramentalists : Cunneen, Bird and Fraser --
Critique of cinematic style as sacarment --
Two other phenomenological interpretations : Martin and Thompson --
Literary interpretations : film as visual story --
The auteur in theological film criticism : Kreitzer --
The missed point of the emerging orthodoxy : Deacy --
Anthropological interpretations : film as religion --
Lyden : 'film itself functions as a religion' --
Marsh : 'the religion-like function of film' --
Part two. Representation in liturgy and film --
Introduction to Part two --
Liturgical representation : 'others', narratives and ideological 'realities' --
The liturgical 'other' : priestly representation --
Sacramental narrative of the cross --
Participation in the ideological 'reality' of episcopal/ecclesial authority --
Cinematic representation : 'others', Narratives and ideological 'realities' --
The cinematic 'other' : the film star/hero --
'Ordinary guy/extraordinary situation' : the overcoming-the-other narrative --
Soviet satellites --
Islamist militants --
Participation in the ideological 'reality' of Hollywood realism --
The siege (1998). Part three. What can film theory offer liturgy? --
Introduction to Part three --
Cinematic identification : suture and narrative space --
Cinematic perspective and narrative space --
Jean-Pierre Oudart and Stephen Heath : suturing the subject in cinematic discourse --
Slavoj Žižek : when suture fails --
Critique of the subject sutured in cinematic discourse --
Suturing suture : joining the theory together --
Cinematic impression of reality as unconscious effect --
Symbolic reality, imaginary reality and the real of the subject's truth --
Imagos and the representational nature of the complex --
Anamnesis : the subject's participation in the impression of reality --
Mapping imaginary reality to cinema's impression of reality --
Cinematic discourse and Lacan's linguistic theory of dreams --
The (overdetermined) 'thing' : 'dumb reality' and (forbidden) objet petit a --
Lacan's linguistic theory of dreams --
The signifier as representative not significant --
The repeated real, the real as missed encounter --
Mapping unconscious desire to cinematic discourse --
Suturing identity with a cinematic other, suturing subjectivity --
Identification with represented desire : a 'genetic theory of the ego' --
Libidinal investment, narcissistic identification : 'dialectic of identification' --
The confusion of identity : jealousy, paranoiac knowledge and transitivism --
Procuring subjectivity : circulating the 'rim' and superimposing the lack --
Procuring subjectivity : the double operation of the 'rim' --
Representation and the fading of the subject --
Procuring subjectivity : the superimposition of the two lacks --
Modes of subject identification : the ideal-I and the ego-ideal --
Symmetrical identifications : imaginary projection and symbolic introjection --
Mapping suture to identification with a cinematic other --
Suturing religious identity in the sacramental narrative --
Identification with the priest as a liturgical representation --
Constructing the priest as a liturgical representation --
Priestly representation (i) : a fiction sustained by erotic attraction --
The mission (1986) --
Priestly representation (ii) : a fiction sustained by negation/disavowal --
Father John McNeill --
The worshipper's solipsistic identification with priestly representation --
Joining the narrative and participating in its 'reality' --
Signifying for : the reinscription of desire into the sacramental narrative --
The exorcist (1973) --
On the waterfront (1954) --
The fugitive (1947) --
The worshipper's participation as a subject of episcopal/ecclesial 'reality' --
By way of analysis --
Batman begins (Christopher Nolan) --
Bewitched (Nora Ephron) --
Charlie and the chocolate factory (Tim Burton) --
Conclusion : a third task --
moving beyond the 'so what!'.