In "Out of Time," Todd McGowan offers a bold work of psychoanalytic film theory. But I already feel this description, "psychoanalytic film theory," falls short. What mcGowan in fact does is engage with the contemporary philosophical preoccupation with time. To this discussion, he represents the psychoanalytic position of the timelessness of the drive. Why then a book on film? He argues, and I think he is right, that it is in film where a reformulation of time, one that tends towards the psychoanalytic conception, is most clearly articulated. Most clearly because film is the form that is most bound with the modern sense of linear time, as Deleuze importantly showed us.
Though this is essentially a theoretical reenvisioning of time, I must say I found the individual analyses of films just as valuable. Of course, the films present clear examples of very complicated ideas. But they are not treated simply as examples, and therefore are not made secondary to theory. In fact there are moments where the films "answer back" to theory, showing theory where it falls short. Thus the engagement is dialectical.
So what will the reader find? One will find thoughtful, intelligent, and intricate analyses of films, that carefully argue for a different conception of time--a concept of time that challenges us to rethink ourselves and the world. Analyses that connect the aesthetic with the political. Analyses that bring together an electic mix of films--from Butterfly Effect, through Eternal Sunshine and Constant Gardner, to the Korean film Peppermint Candy--to form a periodization and totalization of the contemporary moment.
Simply put, Out of Time is the best work of film theory I have read in a very long time. I cannot imagine this book NOT becoming mandatory reading for any film studies class. But psychoanalytic theorists will want to read this. So will those concerned with the connection between the aesthetic and the political.
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