By Jeffrey M. Willardson
The NSCA, the world’s best activity conditioning association, deals its unequalled services in a publication ideal for any athlete trying to boost the center and increase athletic functionality. that includes eleven ready-to-use sport-specific courses, constructing the middle presents greater than 50 of the simplest workouts besides science-based tests to aid athletes comprehend their person wishes.
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Extra resources for Developing the Core (Sport Performance Series)
The power of recall then, of a plunging in and out of a subjective temporality that is engaged with, but not identical to, the temporality of ﬁlm, is a signiﬁcant, if difﬁcult to articulate, aspect of the habitual making and breaking of contact between subjective temporality and cinematic temporality. Between the contact of the two emerges the possibility of a cinematic subjectivity, whose possibility resides somewhere in that state of betweenness. The continuous and non-selective recording of real time has been consistently subverted and diverted by ﬁlmmakers, particularly those with an investment in experimental ﬁlm forms.
The ready appeal of cinema as an analogy for mental processes – cinema regarded from the start as a good way of imaging the workings of the mind [ . . ] brings exactly by its readiness the danger of the loss of the speciﬁcity of psychoanalytic understanding, of the originality of its grasp of psychical apparatus, unconscious and sexuality. (Heath 1999: 26) In spite of Heath’s somewhat pessimistic outlook on the disinterest of psychoanalysis with relation to the cinema, cinema has nevertheless become signiﬁcant to psychoanalytic ﬁlm theory, and possibly even psychoanalysis itself, as an allegorical illustrator of the constitutive 42 Phenomenology and the Future of Film unconscious and pre-conscious structures of the subject.
3 As a viewer of ﬁlm, I would agree with Vivian Sobchack when she states in The Address of the Eye: A Phenomenology of Film Experience: Even – or, perhaps, especially – because it has grounded and circumscribed feminist ﬁlm theory, neo-Freudian psychoanalysis has not exhausted my experience [ . . ]. I refuse to be completely contained within its structures and described by its terms. Psychoanalysis is ﬁne, perhaps, for disclosing the ‘unconscious’ of patriarchal texts and the power and constitutive nature of an experienced ‘lack’, but it is not so ﬁne for describing the pleasure and plenitude of an experience that includes – but is also in excess of ‘sexual difference’.
Developing the Core (Sport Performance Series) by Jeffrey M. Willardson