This book presents a new reading of film noir through psychoanalytic
theory. In a field now dominated by Deleuzian and phenomenological
approaches to film-philosophy, this book argues that, far from having
passed, the time for Lacan in Film Studies is only just beginning. The
chapters engage with Lacanian psychoanalysis to perform a meta-critical
analysis of the writing on noir in the last seven decades and to present
an original theory of criticism and historiography for the cinema. The
book is also an act of mourning; for a lost past of the cinema, for a
longstanding critical tradition and for film noir. It asks how we can
talk about film noir when, in fact, film noir doesn't exist. The answer
starts with Lacan and a refusal to relinquish psychoanalysis. Lacanian
theories of retroactivity and ontology can be read together with film
history, genre and narrative to show the ways in which theory and
history, past and present, cinema and psychoanalysis are fundamentally
knotted together. Tyrer also explores Lacan through particular noir
films, such as Double Indemnity andThe Maltese Falcon -- and
demonstrates the possibilities for a Lacanian Film Studies (as one that
engages fully with Lacan's entire body of work) that has hitherto not
been realised.