In this Book

summary

In this book, Thomas J. Connelly draws on a number of key psychoanalytic concepts from the works of Jacques Lacan, Slavoj Žižek, Joan Copjec, Michel Chion, and Todd McGowan to identify and describe a genre of cinema characterized by spatial confinement. Examining classic films such as Alfred Hitchcock's Rope and Stanley Kubrick's The Shining, as well as current films such as Room, Green Room, and 10 Cloverfield Lane, Connelly shows that the source of enjoyment of confined spaces lies in the viewer's relationship to excess. 

Cinema of Confinement offers rich insights into the appeal of constricted filmic spaces at a time when one can easily traverse spatial boundaries within the virtual reality of cyberspace.

Table of Contents

  1. Cover
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  1. Title Page, Copyright, Dedication
  2. pp. i-vi
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-xii
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  1. Introduction: Excess, the Gaze, and Cinema of Confinement
  2. pp. 3-16
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  1. 1. Excess in Confinement in Room and Green Room
  2. pp. 17-28
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  1. 2. Big Window, Big Other: Enjoyment and Spectatorship in Alfred Hitchcock’s Rope
  2. pp. 29-42
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  1. 3. Interior Confinement: Shattering and Disintegration in Ingmar Bergman’s The Passion of Anna
  2. pp. 43-61
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  1. 4. It “Over-looks”: Movement and Stillness in Stanley Kubrick’s The Shining
  2. pp. 62-79
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  1. 5. “It’s Just a Show”? Paranoia and Provocation in Oliver Stone’s Talk Radio
  2. pp. 80-97
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  1. 6. Voices, Telephones, and Confined Spaces: Phone Booth and Locke
  2. pp. 98-118
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  1. 7. Captive, Captor, and Aliens: 10 Cloverfield Lane
  2. pp. 119-136
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  1. Conclusion: 127 Hours, The Wall, Panic Room, and Cyberspace
  2. pp. 137-152
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  1. Notes
  2. pp. 153-166
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  1. Index
  2. pp. 167-174
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Additional Information

ISBN
9780810139237
Related ISBN
9780810139220
MARC Record
OCLC
1080201899
Pages
184
Launched on MUSE
2019-01-05
Language
English
Open Access
Yes
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