Un-American Psycho
Brian De Palma and the Political Invisible
Distributed for Intellect Ltd
240 pages
|
40 halftones
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7 x 9
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© 2012
- Contents
- Review Quotes
Table of Contents

Contents
List of Illustrations
Acknowledgments
Introduction: The Case of the Missing Disciplinary Object
Chapter 1: Shower Scene
Hitchcock and the Murder of Marion Crane
How to Blame De Palma
How to Operate the Hitchcock Machine
Everything You Ever Wanted to Know about Žižek (But Were Afraid to Ask De Palma)
Chapter 2: Get to Know Your Failure
Death(s) of the Left: An Historical Cartoon
Godard: The Holy Man
Made in U.S.A
Cinema of Failed Revolt
Chapter 3: The Personal and The Political
Bad Objects
The Liberal Gaze
The Political Invisible
Conclusion: Norman Bates and His Doubles
Reference List and Bibliography
Index of Film Titles and Selected Proper Names
Acknowledgments
Introduction: The Case of the Missing Disciplinary Object
Chapter 1: Shower Scene
Hitchcock and the Murder of Marion Crane
How to Blame De Palma
How to Operate the Hitchcock Machine
Everything You Ever Wanted to Know about Žižek (But Were Afraid to Ask De Palma)
Chapter 2: Get to Know Your Failure
Death(s) of the Left: An Historical Cartoon
Godard: The Holy Man
Made in U.S.A
Cinema of Failed Revolt
Chapter 3: The Personal and The Political
Bad Objects
The Liberal Gaze
The Political Invisible
Conclusion: Norman Bates and His Doubles
Reference List and Bibliography
Index of Film Titles and Selected Proper Names
Review Quotes
New York Times
“Well analyzed.”
John Semley | A.V. Club
“Un-American Psycho is organized in large part around salvaging the reputation of Brian De Palma, a filmmaker whose name is commonly—and usually negatively—mentioned in the same breath as Hitchcock’s. . . . Debut author Chris Dumas is giving De Palma his due. And in so doing, he’s arming the next generation of De Palma defenders with some seriously heavy artillery.”
Film Quarterly
“The considerable significance of this book lies not in the critique of that beleaguered discipline it so energetically advances, but rather in what it shows by example— namely that scholarly work on cinema can still dare, as it did in the 1970s, to read philosophy, politics, and history together, to make systematic claims, to overreach, to hyperbolize, to use irony, to venture beyond empiricism, to unapologetically engage psychoanalysis, to not merely apply a method but to radically question the foundations of several.”
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