Abstract
A family-oriented PG-13 film of the 1990s illustrates an argument for a more grounded sense of developmental trauma and social antagonism in studies of ideological fantasy. The paper argues that Hollywood films are often most ideological when production of the romantic couple is tied to resolving the split between domestic and commercial spaces. The analysis suggests that Freud's views of the intimate relation and society can serve as a corrective to overly reified and socially detached uses of Lacan in film studies.
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