Ensayo sobre una película

Referencias

• Adorno TW (2006). Minima moralia. Reflections from a damaged life. Trans. E.F.N. Jephcott. London: Verso.
   Google Scholar
• Adorno TW (2004). Aesthetic Theory. Trans. Robert Hullot-Kentor. London: Bloomsbury.
   Google Scholar
• Bergande W (2007). Die Logik des Unbewussten in der Kunst. Subjekttheorie und €Asthetik nach Hegel und Lacan [The logic of the unconscious in art. The theory of the subject and aesthetics in Hegel and Lacan]. Vienna: Turia + Kant.
   Google Scholar
• Bion WR (1959). Attacks on linking. Int J Psychoanal, 40:308–315.
   Google Scholar
• Blümle C, von der Heiden A (2005). (ed.). Blickzähmung und Augentäuschung: zu Jacques Lacans Bildtheorie [The taming of the gaze and optical illusion: on Jacques Lacan’s visual theory]. Zürich: diaphanes.
   Google Scholar
• Freud S (1905). Three Essays on the Theory of Sexuality. SE7.
   Google Scholar
• Freud S (1915a). Instincts and their vicissitudes. SE 14.
   Google Scholar
• Freud S (1915b). Thoughts for The Times on war and death. SE 14.
   Google Scholar
• Freud S (1920). Beyond the Pleasure Principle. SE18.
   Google Scholar
• Freud S (1924). The economic problem of masochism. SE 19.
   Google Scholar
• Freud S (1933a). New Introductory Lectures on Psycho-Analysis. SE22.
   Google Scholar
• Freud S (1933b). Why war? SE 22.
   Google Scholar
• Gabbard GO (2001). (ed.). Psychoanalysis and Film. London: Karnac.
   Google Scholar
• Gethmann-Siefert A (2004). Erhabene, das [The sublime]. In: Mittelstraß, J. (ed.). (2004). Enzyklop€adie Philosophie und Wissenschaftstheorie. [Encyclopaedia of philosophy and scientific theory]. Vol. 1. Stuttgart: Metzler.
   Google Scholar
• Green A (2001). The dead mother complex. In Life Narcissism, Death Narcissism. London: Free Association Books.
   Google Scholar
• Hock U (2013). Einblicke aus Frankreich. Eine metapsychologische Studie zum Unbewussten und seinen Repr€asentanzen [Insights from France. A metapsychological study of the unconscious and its representatives]. Psyche – Z Psychoanal, 67, 931–961.
   Google Scholar
• Ishiguro K (2005). Never Let Me Go. London: Faber.
   Google Scholar
• Kant I (1764). Observations on the Feeling of the Beautiful and Sublime and Other Writings. Ed. P. Frierson and Paul Guyer. Cambridge and New York: Cambridge University Press, 2011.
   Google Scholar
• Kristeva J (1987). Tales of Love. Trans. L. Roudiez. Columbia: Columbia University Press.
   Google Scholar
• Küchenhoff J (2008). Tertium datur: zur dialektischen Vermittlung von Eros und Thanatos in der Anerkennung von Differenz [Terium datur: on the dialectical transmission of Eros and Thanatos in the recognition of difference]. Psyche – Z Psychoanal, 62, 476–497.
   Google Scholar
• Küchenhoff J (2012). K€orper und Sprache. [Body and language]. Gießen: Psychosozial.
   Google Scholar
• Lacan J (2002). The Seminar, Book VIII. The Transference. Trans. Cormac Gallagher. London: Karnac.
   Google Scholar
• Laplanche J (1989). New Foundations for Psychoanalysis. Trans. David Macey. Oxford: Blackwell.
   Google Scholar
• Laplanche J (2004). Die r€atselhafte Botschaft des Anderen und ihre Konsequenzen f€ur den Begriff des ›Unbewußten‹ im Rahmen der Allgemeinen Verf€uhrungstheorie [The enigmatic message of the other and its implications for the concept of the ‘unconscious’ in the context of the general seduction theory]. Psyche – Z Psychoanal, 58, 898–913.
   Google Scholar
• Lorenzer A (1986). Tiefenhermeneutische Kulturanalyse [Cultural analysis in depth hermeneutics]. In: Lorenzer (ed.). Kultur-Analysen [Cultural analyses]. Frankfurt a.M: Fischer, pp. 7–98.
   Google Scholar
• MacGowan T (2008). The real gaze: Film theory after Lacan. New York: SUNY.
   Google Scholar
• Mahler-Bungers A, Zwiebel R (2007). Die unbewusste Botschaft des Films. €Uberlegungen zur Film-Psychoanalyse [The unconscious message of the film. Reflections on the psychoanalysis of film]. In: Zwiebel, R & Mahler-Bungers, A (ed.). Projektion und Wirklichkeit. Die unbewusste Botschaft des Films [Projection and reality. The unconscious message of the film]. G€ottingen: Vandenhoek & Ruprecht, pp. 14–37.
   Google Scholar
• Merleau-Ponty M (2002). Phenomenology of Perception. London: Routledge.
   Google Scholar
• Reiche R (2001). Mutterseelenallein [All alone]. Frankfurt a.M.: Stroemfeld.
   Google Scholar
• Sabbadini A (2003). The couch and the silver screen. London: Routledge.
   Google Scholar
• Sabbadini A (2014). Moving images: psychoanalytic reflections on film. London: Routledge.
   Google Scholar
• Scarfone D (2013). A brief introduction to the work of Jean Laplanche. Int J Psychoanal, 94:545–566. doi: 10.1111/1745-8315.12063
   PubMed Web of Science ®Google Scholar
• Schiller F (1966). On the sublime. In Naive and sentimental poetry and On the sublime: two essays. Trans. Julius A. Elias. New York: Ungar.
   Google Scholar
• Schneider G (2008). Filmpsychoanalyse – Zugangswege zur psychoanalytischen Interpretation von Filmen [Psychoanalysis of film – pathways into the psychoanalytic interpretation of films]. In: Laszig, P & Schneider, G (ed.). Film und Psychoanalyse. Kinofilme als kulturelle Symptome. [Film and psychoanalysis. Cinema films and cultural symptoms]. Gießen: Psychosozial, pp. 19–38.
   Google Scholar
• Smadja C (2005). The psychosomatic paradox: psychoanalytical studies. London: Free Association Books.
   Google Scholar
• Soldt P, Nitzschmann K (2009). (eds.). Arbeit der Bilder. [Paintings at work]. Gießen: Psychosozial.
   Google Scholar
• Storck T (2010). »Call it.«. Schwere altersdepressive Episode. [Major depressive episode]. In: M€oller, H. & Doering, S. (Hg.). Batman und andere himmlische Kreaturen - Nochmal 30 Filmcharaktere und ihre psychischen St€orungen. [Batman and other heavenly creatures. Once again, 30 film characters and their psychic disorders]. Berlin u.a.: Springer, S. 83–98.
   Google Scholar
• Storck T (2011). Spiel am Werk. K€unstlerisches Arbeiten als Subjektivierung. [Play at work. Artistic working processes as subjectivation]. Psyche – Z Psychoanal, 65, 1156–1178.
   Google Scholar
• Storck T (2015). Das nachtragende Kunstwerk. Fort/Da in Malerei, Film und Popul€armusik. [The resentful work of art. Ford/Da in painting, film and pop music]. In: Leikert, S. (Hg.). Zur Psychoanalyse €asthetischer Prozesse in Musik, Film und Malerei. [On the psychoanalysis of artistic processes in music, film and painting]. Gießen: Psychosozial, S. 139–174.
   Google Scholar