Lacan’s three orders, the graphe complet and music in film:
This article engages with the Lacanian tradition of film theory in order to suggest some of the ways in which music in film may be understood to contribute significantly to subject identification in filmic experience. Two points are argued: 1) that Lacan’s distinction between the three orders - the...
Saved in:
Main Author: | Zelda Potgieter |
---|---|
Format: | Article |
Language: | English |
Published: |
University of Johannesburg
2022-10-01
|
Series: | Communicare |
Subjects: | |
Online Access: | https://journals.uj.ac.za/index.php/jcsa/article/view/1708 |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
Similar Items
-
A Critical Review of "Theoretical and Practical Bases of Film Music: An Essay on Film Music in the World of Islam"
by: Hamid Askari Rabori
Published: (2017-09-01) -
CONCERT MUSIC VERSUS THE MUSIC OF THE SOUND FILMS
by: Aaron FAZAKAS
Published: (2011-06-01) -
Film music and construction of tourist imaginaries in Hollywood blockbusters
by: Marie-Hélène Chevrier, et al.
Published: (2023-07-01) -
“Enfoncer une porte ouverte”. Madame Bovary sounds as music
by: Roberto Doati
Published: (2019-06-01) -
“One Long Frightening Climax”: Gillian Flynn’s Gone Girl and Lacan’s The Other Side of Psychoanalysis
by: Erica D. GALIOTO
Published: (2014-12-01)