- Romance Studies Department (Duke University); 205 Language Bldg; Campus Box 90257; Durham, NC 27708
Pietro Bianchi
Duke University, Romance Studies, Graduate Student
- Jan van Eyck Academie, Theory, Department MemberUniversità degli Studi di Udine / University of Udine, Dipartimento di Storia e Tutela dei Beni Culturali, Department Member, and 2 moreadd
- Pietro Bianchi (Bergamo, 1979) is PhD candidate in Romance Studies at Duke University. He previously completed a PhD ... morePietro Bianchi (Bergamo, 1979) is PhD candidate in Romance Studies at Duke University. He previously completed a PhD in Italy in Audiovisual Studies at the University of Udine in 2012 and was a researcher fellow at the Theory Department at the Jan Van Eyck Academy in Maastricht in 2009 and 2010. He works on Film Studies, Italian and French Cinema and Psychoanalysis. His first monographic work "Jacques Lacan and Cinema: Imaginary, Gaze, Formalisation" came out in 2017 for Karnac Books. He also regularly writes as a film critic for the monthly magazine Cineforum and the web journals Doppiozero, Dinamopress and Le parole e le cose.edit
Psychoanalysis has always been based on the eclipse of the visual and on the primacy of speech. The work of Jacques Lacan though, is strangely full of references to the visual field, from the intervention on the mirror stage in the... more
Psychoanalysis has always been based on the eclipse of the visual and on the primacy of speech. The work of Jacques Lacan though, is strangely full of references to the visual field, from the intervention on the mirror stage in the Forties to the elaboration of the object-gaze in the Sixties.
As a consequence, a long tradition of film studies used Lacanian psychoanalysis in order to explain the influence of the subject of the unconscious on the cinematographic experience. What is less known is how the late Lacanian reflection on the topic of analytic formalization opened up a further dimension of the visual that goes beyond the subjective experience of vision: not in the direction of a mystical ineffable but rather toward a subtractive mathematisation of space like in non-Euclidean geometries.
In an exhaustive overview of the whole Lacanian theorization of the visual counterpointed by a confrontation with several thinkers of cinema (Eisenstein, Straub-Huillet, Deleuze, Rancière) the book will lead the reader toward the discovery of the most counterintuitive approaches of Lacanian psychoanalysis to the topic of vision. The outcome may have a major impact on the way we understand cinema and visual studies: sometimes abstract formalization can help us looking at the space surrounding us even better than our eyes.
As a consequence, a long tradition of film studies used Lacanian psychoanalysis in order to explain the influence of the subject of the unconscious on the cinematographic experience. What is less known is how the late Lacanian reflection on the topic of analytic formalization opened up a further dimension of the visual that goes beyond the subjective experience of vision: not in the direction of a mystical ineffable but rather toward a subtractive mathematisation of space like in non-Euclidean geometries.
In an exhaustive overview of the whole Lacanian theorization of the visual counterpointed by a confrontation with several thinkers of cinema (Eisenstein, Straub-Huillet, Deleuze, Rancière) the book will lead the reader toward the discovery of the most counterintuitive approaches of Lacanian psychoanalysis to the topic of vision. The outcome may have a major impact on the way we understand cinema and visual studies: sometimes abstract formalization can help us looking at the space surrounding us even better than our eyes.
Research Interests: Psychoanalysis, Film Studies, Film Theory, Gilles Deleuze, Jacques Lacan, and 11 moreLacanian theory, Cinema, Psychoanalytic Theory, Film and Media Studies, Lacanian psychoanalysis, Vision and the Gaze, Sergei Eisenstein, Gaze and Representation, Christian Metz, Jean-Louis Baudry, and Straub/Huillet
Il canone cinematografico può essere forse ricondotto ad un film, ad una serie di film, o ai film di una scuola? Un ‘classico’ è un testo canonizzato? Chi ha definito storicamente il canone? La critica ne è un luogo di elaborazione? E... more
Il canone cinematografico può essere forse ricondotto ad un film, ad una serie di film, o ai film di una scuola? Un ‘classico’ è un testo canonizzato? Chi ha definito storicamente il canone? La critica ne è un luogo di elaborazione? E quali sono i legami con i generi, gli stili, le scuole, la storia delle tecniche, i modi di produzione? Ha la storiografia cinematografica aiutato a produrre canoni formali, opere, autori e generi a discapito di altri? In che modo, inoltre, ripensare il canone significa ripensare la storia del cinema? A questi e molti altri interrogativi risponde l’edizione 2011 degli atti della rassegna internazionale ‘FilmForum’ con saggi, in italiano, inglese, francese, di alcuni tra i più importanti studiosi di cinema, tra cui Raimond Bellour, Adriano Aprà, Frank Kessler, Marc Vernet, Sergio Toffetti.
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The concept of lack in Lacan can be understood as a clinical concept and as one of the fundamental conditions of the parlêtre and one of the privilege ways in order to conceptualize subjectivity as a desiring manque à être. As we can see... more
The concept of lack in Lacan can be understood as a clinical concept and as one of the fundamental conditions of the parlêtre and one of the privilege ways in order to conceptualize subjectivity as a desiring manque à être. As we can see from the debate occurred during the years of the Cahiers pour l’analyse though, lack can also acquire a more formalized meaning: in Jacques-Alain Miller seminal article La suture: éléments pour une logique du signifiant published in 1966, it becomes a building block in order to address “the relation of the subject to the chain of its discourse.” Miller believes that lack serves the purpose to conceptually ground the act of cancellation that the discourse of science would operate on the subject of the unconscious; an argument that will be echoed in Lacan’s text La Science et la vérité of the same year. The consequences of such an understanding of lack will be extremely burdensome in the way Lacanian psychoanalysis will address its relationship with science for many years until nowadays. In this intervention we will discuss the importance of such a concept for psychoanalysis and why it is a symptomatic point through which articulating the relationship between psychoanalysis and science.
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Essays by Pietro Bianchi "Il buco nero del comunismo" [The Black Hole of Communism]; Dominiek Hoens "Okinawa mon amour: commenti su Leven Five" [Okinawa Mon Amour: Comments on Level Five]; Maria Muhle "Il gruppo Medvedkin. Un... more
Essays by
Pietro Bianchi "Il buco nero del comunismo" [The Black Hole of Communism];
Dominiek Hoens "Okinawa mon amour: commenti su Leven Five" [Okinawa Mon Amour: Comments on Level Five];
Maria Muhle "Il gruppo Medvedkin. Un esempio di realismo estetico" [The Medvedkin Group. A case study in Aesthetic Realism];
Alessandra Mallamo "L’oltrepassamento verso il mondo. La Jetée" [The Transcension Toward the World. La Jetée]
Pietro Bianchi "Il buco nero del comunismo" [The Black Hole of Communism];
Dominiek Hoens "Okinawa mon amour: commenti su Leven Five" [Okinawa Mon Amour: Comments on Level Five];
Maria Muhle "Il gruppo Medvedkin. Un esempio di realismo estetico" [The Medvedkin Group. A case study in Aesthetic Realism];
Alessandra Mallamo "L’oltrepassamento verso il mondo. La Jetée" [The Transcension Toward the World. La Jetée]
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ABSTRACT: The contributions included in this section of S&F_ focus on the problem of the epistemological status of psychoanalysis and its object, the unconscious. They were originally presented in Venice at the Ca' Foscari University in... more
ABSTRACT: The contributions included in this section of S&F_ focus on the problem of the epistemological status of psychoanalysis and its object, the unconscious. They were originally presented in Venice at the Ca' Foscari University in December 2014, during a debate organized by Maria Turchetto and the Associazione Louis Althusser, following the first Italian translation of the two conferences on psychoanalysis delivered by Althusser at the École Normale in 1963‐64 (L. Althusser, Psicoanalisi e scienze umane, Mimesis, Milano 2014). The two conferences, centred around the alleged " epistemological break " brought about by the work of Lacan in the domain of human sciences, provide the authors with the opportunity to examine the relationship between Marxism, psychoanalysis and philosophy in the current theoretical context, and to address such problems as the relationship between the discourse of the unconscious and the theory of ideology, transindividual imaginary and subjective Cogito, body and language, as well as the status of scientific truth. The authors attempt to show the fecundity of an epistemological approach which allows us to reposition the problem of the unconscious in an " interstitial gap " separating body from language, phenomenology from biology, corporeal linguistic signifier (lalangue) from the pure axiomatic of science (matema).