The Symbolic, the Sublime, and Slavoj Žižek’s Theory of Film

Returning to questions about ideology and subjectivity, Flisfeder argues that Slavoj Žižek's theory of film aims to re-politicize film studies and film theory, bringing cinema into the fold of twenty-first century politics. Slavoj Žižek is one of the world's most important contemporary public intellectuals. Much of his popularity stems from his constant and recurring references to popular culture and cinema, as well as his own appearances in films such as "The Pervert's Guide to Cinema" and "Examined Life". Although Slavoj Žižek refers to cinema in order to help explain difficult concepts in his theoretical writing, film scholars question whether Slavoj Žižek has his own theory of film. This book argues that Slavoj Žižek's writing on film radically reorients the scope of contemporary film studies. Returning to questions about ideology and subjectivity, Flisfeder argues that Slavoj Žižek's theory of film aims to re-politicize film studies and film theory, bringing cinema into the fold of twenty-first century politics Front Matter....Pages i-xi Conclusion....Pages 161-167 Introduction....Pages 1-14 From Film Theory to Post-Theory....Pages 15-39 Sublime Objects of Cinema....Pages 41-66 Class Struggle in Film Studies....Pages 67-93 Interlude....Pages 95-103 Cinema, Ideology, and Form....Pages 105-131 Enjoyment in the Cinema....Pages 133-159 Back Matter....Pages 169-195 Returning to questions about ideology and subjectivity, Flisfeder argues that Slavoj Zizek's theory of film aims to re-politicize film studies and film theory, bringing cinema into the fold of twenty-first century politics.