Movies: “Rear Window” (directed by Alfred Hitchcock, 1954), “Peeping Tom” (directed by Michael Powell, 1960), “The Tenant” (directed by Roman Polanski, 1971), and “Gran Torino” (directed by Clint Eastwood, 2008).
Given the unified chorus of religious dictates, the palpable presence in humanity's canon, and the pervasive representation in popular media, it is striking to note that the role of neighbors has received relatively little attention from psychoanalysts, while Freud (1927, 1930, 1932) did take an opportunity to argue with the religious dictates in this realm and Ferenczi (1913) and Klein (1961) noted that their celebrated child patients, Little Chanticleer and Richard included neighbors in their daydreams, there is little else of significance to be found on this topic.
(2008). Directed by Clint Eastwood. Double Nickel Entertainment.
He dresses the part, riding a horse onto the off-limits Quabbin, “surrounding [himself] in an essence of maleness” and machismo, as his partner Ruth mockingly puts it; she even compares him to Clint Eastwood (Murphy & Zulli, 2015, pp.
Nobody is the true, rather than the nominal, hero of Dead Man, and he is clearly a different species of being from a lean, laconic, Henry Fonda or Clint Eastwood. Nobody is overweight and rather ungainly.
Baker, 2020; Stolorow & Atwood, 2019, pp. 13, 68, 82, 130).
This “Clint Eastwood” (Stolorow & Atwood, 2019, p. 130) persona runs through a three-paragraph rebuke of Kohut’s (1971, 1977, 1984) self psychology.
1999804821-824Deconstructing Dirty HarryClint Eastwood's Undoing of the Hollywood Myth of Screen MasculinityRonald Baker
12 Southwood Lawn RoadLondon N6 5SFronald.email@example.com
Play Misty For Me (1971)
Director: Clint Eastwood
Clint Eastwood attained super-star box office status as ‘The Man with No Name’ through Sergio Leone's spaghetti westerns in the sixties and Don Siegel films, especially Dirty Harry (1971), in which he played the title part.
Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson and Clint Eastwood. New Brunswick, NJ: Rutgers Univ.
He focuses particularly on the Clint Eastwood film Unforgiven.
Anita Katz's analysis of the 1974 film A Woman Under the Influence addresses the subtle but nevertheless deadly emotional and physical violence in a marriage.
His eroticised curiosity about me avoided acknowledging my wedding-ring, and when I pointed this out, his fantasies were of the Clint Eastwood ‘man with no name’ who rides into town, cuckolds the other man and leaves the wife in a state of yearning as he rides out of town.
Argomento tutt'oggi fortemente controverso, l'elettroshock è diventato “simbolo” della repressione psichiatrica e per certi versi della psichiatria stessa, simbolo a tal punto da venire utilizzato anche nella letteratura o in campo cinematografico in modo spesso impreciso e anacronistico, come è avvenuto nel recente film diretto da Clint Eastwood, Changeling (2008), in cui la protagonista viene sottoposta al trattamento nell'America di fine anni 1920, quando l'elettroshock non era ancora stato inventato.
Quelques jours après le début de sa thérapie avec moi: nouvelle crise de panique au cinéma, nouveau retour aux urgences, arrêt sur image: celle de Clint Eastwood, chasseur tirant entre les yeux d'un éléphant à la trompe levée.
Although famous for his action movies such as Sergio Leone's ‘Spaghetti Westerns’ and the violent thriller Dirty Harry and its sequels, Clint Eastwood is in fact a liberal-minded and thoughtful individual (Bingham, 1994; Douglas, 1974; Smith, 1993) who detests violence and has shown its horrific consequences in many of his later films.
Unlike millions of other people who idolize Hollywood stars (Clint Eastwood included!), pop musicians or football champions, Evelyn acts as if her phantasized relationship with Garver is a real relationship and not one only played out through the airways, or inside her mind, but actualized by meeting the object of her desire in person.
Acting male: Masculinities in the films of James Stewart, Jack Nicholson and Clint Eastwood. New Brunswick, NJ: Rutgers UP.
Douglas P (1974). Clint Eastwood: Movin’ on.
Smith P (1993). Clint Eastwood: A cultural production.
In spite of what the advertising campaign for The Quick and the Dead promised, Sharon Stone does not become the female Clint Eastwood. In the previews and television spots for the film, Stone squinted, smoked cigarettes, and spoke in an affectless monotone as she taunted the various threatening characters. Although she does all these things in the film, she is also extremely emotional, often breaking down and crying when the killing becomes too much for her. I don't recall Clint Eastwood ever having this problem. Perhaps The Quick and the Dead was meant to show what a “feminized” Clint Eastwood might look like. In Hollywood today, however, this kind of gender-bending remains an oxymoron.
The Quick and the Dead also proves that the Western is still tied to a deeply patriarchal strain in the American unconscious and that even a woman as aggressive as Stone cannot get away with the kind of murder that Clint Eastwood so triumphantly commits in Unforgiven.