By Candida Yates (auth.)

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Extra resources for Masculine Jealousy and Contemporary Cinema

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Klein distinguishes between envy, jealousy and greed in the following ways: 30 The Psycho-Cultural Shaping of Masculine Jealousy Envy is the angry feeling that another person possesses and enjoys something desirable – the envious impulse being to take it away or to spoil it … envy implies the subject’s relation to one person only and goes back to the earliest exclusive relation with the mother. Jealousy is based on envy, but involves a relation to at least two people; it is mainly concerned with love that the subject feels is his due and has been taken away, or is in danger of being taken away, from him by his rival.

The chapter discusses the implications of these theories for masculine jealousies and the notion of the possessive male gaze. Mulvey’s Lacanian inspired work on the mastery of the male gaze (1975, 1981) set the terms of the debate about gender and cinema within feminist film criticism and cine-psychoanalysis for years to come. Before Mulvey however, the field of 1970s cine-psychoanalysis was dominated by apparatus theory as applied by the male French theorists Jean Baudry (1970, 1975) and later, Christian Metz (1975) who took as given the male spectator and the male unconscious (Kaplan, 1998: 277).

He argues that the flirtatious ‘Don Juans of this world’ are the worst in this respect, because their exaggerated charm implies that they have the most to hide. Thus, from this perspective, flirtation is not always harmless, but rather an example of an attempt to deal with loss by the sadistic mastery of the object. Mitchell takes up this theme in her discussion of the jealous male hysteric, who wards off his own jealous madness by projecting it into others. Mitchell illustrates this with the story of Don Giovanni, which was adapted from Don Juan: The key theme in Don Giovanni is jealousy.

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