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Abstract

Ideological film theory is enjoying somewhat of a resurgence in contemporary film criticism. Most notably, filmmaker Sophie Fiennes' recent collaborations with Slovenian philosopher Slavoj Žižek, The Pervert's Guide to Cinema (2006) and The Pervert's Guide to Ideology (2012). In this essay I attempt to grapple with Harmony Korine's delightfully enigmatic and underrated masterpiece Mister Lonely (2007) through the methodological lens of Ideological film theory. I doing so, I seek to provide insights on the complex nature of ideological categories and the necessity of a more nuanced approach to ideological analysis.

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