By Sam B. Girgus
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Extra resources for The Films of Woody Allen (Cambridge Film Classics)
Return toward a relative narcissism, and even more toward a mode of relating to reality which could be deﬁned as enveloping and in which the separation between one’s own body and the exterior world is not well deﬁned. Following this line of reasoning, one may then be able to understand the reasons for the intensity of the subject’s attachment to the images and the process of identiﬁcation created by cinema. A return to a primitive narcissism by the regression of the libido, Freud tells us, noting that the dreamer occupies the entire ﬁeld of the dream scene; the absence of delimitation of the body; the transfusion of the interior out into the exterior .
16. James, “And Here We Thought We Knew Him,” p. 7. 17. William Grimes, “In Chronology: Making of a Film and Unmaking Of a Relationship,” New York Times, August 31, 1992, p. B1. 18. Terrence Rafferty, “Getting Old,” The New Yorker, September 21, 1992, pp. 102, 105. 19. See Mia Farrow, What Falls Away: A Memoir (New York: Talese/Doubleday, 1997) and Maureen North, “Mia’s Story,” Vanity Fair, November 1992, pp. 215–20, 294–300. Also, Dana Kennedy, “A Rare Tour of Woody Allen’s Private Side,” New York Times, Sunday, April 19, 1998, Arts & Leisure, p.
Receptacle . . 12 Lacanian feminist critics such as Juliet Mitchell, Jacqueline Rose, and Jane Gallop discuss this situation as the pre-Oedipal, prelinguistic stage of images that precedes symbolic order and meaning and the Oedipal break into language. Rigid perimeters between fantasy and reality, interior psychological space and external reality, unfulﬁlled desire and moral prohibition become blurred. This stage, which is a semiotic, presymbolic phase of development, describes the condition in which we ﬁnd Allan Felix in the beginning of Play It Again, Sam.
The Films of Woody Allen (Cambridge Film Classics) by Sam B. Girgus