The British Trauma Film: Psychoanalysis and Popular British Cinema in the Immediate Aftermath of the Second World War

Cover\nContents\nIllustrations\nAcknowledgments\nIntroduction\n1 Althusser and Foucault, Psychoanalysis as Ideology and Discourse, and the Place of the British Trauma Film in British Immediate Post-War Cinema\n2 “Broken Attachments and Traumatic Repetition”: Psychoanalytic Perspectives on Loss, Trauma, Anxiety, and the Fragmentation of the Family Unit in The Halfway House\n3 “The Perpetual Recurrence of the Same Thing”: The Compulsion to Repeat the Trauma ad Infinitum, Male Anxiety, Sexual Difference and Motherhood, and the Interplay between Subjectivity and Objectivity in Dead of Night\n4 “What Does a Woman Want?”: Childhood Trauma, Female Desire, and Female Subjectivity in The Seventh Veil and Madonna of the Seven Moons\n5 “The World Is Full of Neurotics”: The Traumatized Serviceman, the Collapse of Maternal and Paternal Functions, and the Effects of Post-War Cultural Malaise in They Made Me a Fugitive and Mine Own Executioner\nConcluding Remarks\nBibliography\nThe British Trauma Film—a Filmography\nGeneral Filmography\nIndex