This is good: Freud and intimacy in the cinema (referring to your
postmodernism point, Jude Welles). Now we're cooking.
How about: it's my feeling that critical intimacy in cinema (referring to
the building as well as the wider critical discourse of academia) can only
be achieved by reference to Freud or to auteurist notions. This being the
case: the popularity of Freud for cinema theorists results from a
dissatisfaction with auteurist positions, borne out of contemporary angst
about the role of the individual in an increasingly technological and,
incorrectly labelled, "thus anti-humanist" society.
Any takers?
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G.Harper [log in to unmask]
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