Screen theory

Screen theory is a Marxist–psychoanalytic film theory associated with the British journal Screen in the early 1970s.^[1] It considers filmic images as signifiers that do not only encode meanings but also mirrors in which viewers accede to subjectivity.^[2] The theory attempts to discover a way of theorizing a politics of freedom through cinema that focuses on diversity instead of unity.^[3] Here, the Marxist emphasis on universal consciousness as a basis for defining emancipation shifted to the articulation of diversities and multiplicities of individual and collective experience due to the psychoanalytic elaboration of the unconscious.^[3]

^ Miklitsch, Robert (2006). "The Suture Scenario: Audiovisuality and Post-Screen Theory". Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. Albany: SUNY. p. 69. ISBN 978-0-7914-6733-6. Retrieved May 16, 2017.
^ Zizek, Slavoj (2003). Jacques Lacan: Society, politics, ideology. London: Routledge. p. 163. ISBN 0415278627.
^ ^a ^b Rushton, Richard (2010). What Is Film Theory?. New York: McGraw-Hill Open University Press. p. 52. ISBN 9780335234226.

[roll-1] Miklitsch, Robert (2006). "The Suture Scenario: Audiovisuality and Post-Screen Theory". Roll Over Adorno: Critical Theory, Popular Culture, Audiovisual Media. Albany: SUNY. p. 69. ISBN 978-0-7914-6733-6. Retrieved May 16, 2017.

[2] Zizek, Slavoj (2003). Jacques Lacan: Society, politics, ideology. London: Routledge. p. 163. ISBN 0415278627.

[:0-3] Rushton, Richard (2010). What Is Film Theory?. New York: McGraw-Hill Open University Press. p. 52. ISBN 9780335234226.

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