Editing Psychoanalytic film theory (section)

==Second wave==

A second wave of psychoanalytic film criticism associated with [[Jacqueline Rose]] emphasised the search for the missing [[Objet petit a|object of desire]] on the part of the spectator: in [[Elizabeth Cowie]]'s words, "the pleasure of fantasy lies in the setting out, not in the having of the objects".<ref>Quoted in Lapsley, p. 93</ref>

From 1990 onward the Matrixial theory of artist and psychoanalyst [[Bracha L. Ettinger]]<ref>[[Bracha L. Ettinger]], ''The Matrixial Borderspace'', University of Minnesota Press, 2006</ref> revolutionized feminist film theory. Her concept [[The Matrixial Gaze]],<ref>Bracha L. Ettinger, ''The Matrixial Gaze''. Published by Leeds University, 1995. Reprinted in: ''Drawing Papers'', nº 24, 2001.</ref> that has established a feminine gaze and has articulated its differences from the phallic gaze and its relation to feminine as well as maternal specificities and potentialities of "coemergence", offering a critique of [[Sigmund Freud]]'s and [[Jacques Lacan]]'s psychoanalysis, is extensively used in analysis of films,<ref>[[Griselda Pollock]], ''After-effects - After-images''. Manchester University Press, 2013</ref><ref>[[Maggie Humm]], ''Feminism and Film''. Edinburgh University Press, 1997</ref> by female authors, like [[Chantal Akerman]],<ref>Lucia Nagib and Anne Jerslev (ends.), ''Impure Cinema''. London: I.B.Tauris.</ref> as well as by male authors, like [[Pedro Almodovar]].<ref>Julian Daniel Gutierrez-Arbilla, ''Aesthetics, Ethics and Trauma in the Cinema of [[Pedro Almodovar]]''. Edinburgh University Press, 2017</ref> The matrixial gaze offers the female the position of a subject, not of an object, of the gaze, while deconstructing the structure of the subject itself, and offers border-time, border-space and a possibility for compassion and witnessing. Ettinger's notions articulate the links between aesthetics, ethics and trauma.<ref>Griselda Pollock, ''Encounters in the Virtual Feminist Museum: Time, Space and the Archive''. Routledge, 2007.</ref>

As [[post-structuralism]] took an increasingly pragmatic approach to the possibilities Theory offered, so too [[Joan Copjec]] criticised early work around the gaze in the light of the work of [[Michel Foucault]].<ref>[http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0052.xml Todd McGowan, 'Psychoanalytic Film Theory]</ref> The role of [[Psychological trauma|trauma]] in cinematic representation came more to the fore,<ref>[http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0052.xml McGowan]</ref> and Lacanian analysis was seen to offer fertile ways of speaking of film rather than definitive answers or conclusive self-knowledge.<ref>Lapsley, p. 273-6</ref>