Journal articles: 'Film psychoanalysis'

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Quigley, Paula. "Undoing the Image: Film Theory and Psychoanalysis." Film-Philosophy 15, no. 1 (February 2011): 13–32. http://dx.doi.org/10.3366/film.2011.0002.

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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.

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Blauth, Angela Cruz. "O fenômeno da autocracia dentro do processo grupal." Barbarói, no. 46 (March 9, 2016): 67. http://dx.doi.org/10.17058/barbaroi.v0i46.5123.

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RESUMO Buscando levantar uma reflexão acerca da autocracia operando em sistemas grupais, foi realizada uma revisão teórica a fim de esclarecer o tema, integrada juntamente à analise do filme A Onda. A experiência autocrata retratada no filme entre professor e alunos, mostra-se compatível às teorias grupais psicanalíticas, que buscam explicar como certos tipos de grupo se formam, qual a característica de seus líderes, e quais as motivações inconscientes que delineiam o funcionamento deste grupo. O presente trabalho revisitou o governo Hitler, sendo este um dos principais modelos de autocracia totalitária da história, além de ter sido tomado como base para a constituição de grupo no filme. A teoria social-histórica e a psicanálise se integram neste trabalho em uma mesma perspectiva. Palavras Chave: Grupos, psicanálise, A Onda, Hitler, autocracia, totalitarismo. ABSTRACT Seeking to raise a debate about autocracy in group operating systems, a literature review was performed to clarify the issue, along with integrated analysis of the film The Wave. The autocrat experience portrayed in the film between teacher and students seems compatible to psychoanalytic group theories that seek to explain how certain types of groups are formed, leader’s characteristic, and which unconscious motivations operated in this kind of group. This article revisited the Hitler government, for being one of the main models of totalitarian autocracy of history, and has been taken as the basis for the formation of the group in the film. The social-historical theory and psychoanalysis integrate this work in the same perspective. Keywords: Groups, psychoanalysis, The Wave, Hitler, autocracy, totalitarism.

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Landesman, Ohad. "Agnieszka Piotrowska (2014) Psychoanalysis and Ethics in Documentary Film." Film-Philosophy 20, no. 2-3 (October 2016): 380–83. http://dx.doi.org/10.3366/film.2016.0022.

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Parker, Ben. "The Western Film and Psychoanalysis." Film Quarterly 68, no. 2 (2014): 22–30. http://dx.doi.org/10.1525/fq.2014.68.2.22.

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Cooper, Anna. "Representative Men: Moral Perfectionism, Masculinity and Psychoanalysis inGood Will Hunting." Film-Philosophy 19, no. 1 (December 2015): 270–88. http://dx.doi.org/10.3366/film.2015.0015.

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Marcus, Laura. "Dreaming and Cinematographic Consciousness." Psychoanalysis and History 3, no. 1 (January 2001): 51–68. http://dx.doi.org/10.3366/pah.2001.3.1.51.

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This paper examines the historical and conceptual relationship between film and psychoanalysis, and, more particularly, film and dream. The advent of cinema, to which Freud was apparently indifferent, in fact produced or focused ambiguities and complexities at the heart of psychoanalytic thought, and dream-theories in particular: the relationship between images and representations (cinematic and psychical) as moving and/or still; visual and/or verbal. The essay closes with an exploration of the interrelationship between film and the borderline between sleeping and waking as a way of understanding the forms of attention and distraction which characterize modernity and its projections, using examples from literary texts, including the writings of the poet H.D.

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Bayley, Nicholas. "Psychoanalysis and ethics in documentary film." European Journal of Psychotherapy & Counselling 16, no. 3 (June 23, 2014): 288–90. http://dx.doi.org/10.1080/13642537.2014.929261.

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Beezer, Anne. "Femmes fatales: feminism, film theory, psychoanalysis." Women's History Review 2, no. 2 (June 1, 1993): 279–91. http://dx.doi.org/10.1080/09612029300200054.

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Loewy, Monika. "Psychoanalysis and Ethics in Documentary Film." International Journal of Psychoanalysis 97, no. 1 (February 2016): 225–28. http://dx.doi.org/10.1111/1745-8315.12300.

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Eadie, Bruce. "Psychoanalysis and ethics in documentary film." New Review of Film and Television Studies 15, no. 3 (August 10, 2016): 381–84. http://dx.doi.org/10.1080/17400309.2016.1219557.

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Fair, Alan. "Domietta Torlasco (2008) The Time of the Crime: Phenomenology, Psychoanalysis, Italian Film." Film-Philosophy 14, no. 1 (February 2010): 303–9. http://dx.doi.org/10.3366/film.2010.0012.

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Kley, Herbert. "Das Höhlenhaus der Träume: Film, Kino und Psychoanalyse [The Cavern of Dreams: Films, Cinema and Psychoanalysis]." International Journal of Psychoanalysis 90, no. 3 (June 2009): 675–78. http://dx.doi.org/10.1111/j.1745-8315.2009.00159_3.x.

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Rickels, Laurence A. "Psychoanalysis and the Two Orifices of Film." American Journal of Semiotics 5, no. 3 (1987): 419–45. http://dx.doi.org/10.5840/ajs198753/47.

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Brearley, Michael. "On making a documentary film on psychoanalysis." Psychoanalytic Psychotherapy 14, no. 2 (January 2000): 163–74. http://dx.doi.org/10.1080/02668730000700161.

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Ricciardi (book author), Alessia, and Millicent Marcus (review author). "The Ends of Mourning: Psychoanalysis, Literature, Film." Quaderni d'italianistica 26, no. 1 (January 1, 2005): 141–43. http://dx.doi.org/10.33137/q.i..v26i1.9126.

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Winter, Alison. "Cats on the Couch: The Experimental Production of Animal Neurosis." Science in Context 29, no. 1 (February 23, 2016): 77–105. http://dx.doi.org/10.1017/s0269889715000393.

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ArgumentIn the 1940s–50s, one of the most central questions in psychological research related to the nature of neurosis. In the final years of the Second World War and the following decade, neurosis became one of the most prominent psychiatric disorders, afflicting a high proportion of military casualties and veterans. The condition became central to the concerns of several psychological fields, from psychoanalysis to Pavlovian psychology. This paper reconstructs the efforts of Chicago psychiatrist Jules Masserman to study neurosis in the laboratory during the 1940s and 1950s. Masserman used Pavlovian techniques in a bid to subject this central psychoanalytic subject to disciplined scientific experimentation. More generally, his project was an effort to bolster the legitimacy of psychoanalysis as a human science by articulating a convergence of psychoanalytic categories across multiple species. Masserman sought to orchestrate a convergence of psychological knowledge between fields that were often taken to be irreconcilable. A central focus of this paper is the role of moving images in this project, not only as a means of recording experimental data but also as a rhetorical device. The paper argues that for Masserman film played an important role in enabling scientific observers (and then subsequent viewers) to see agency and emotion in the animals they observed.

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Parker, Ian. "Psychology, Science Fiction and Postmodern Space." South African Journal of Psychology 26, no. 3 (September 1996): 143–49. http://dx.doi.org/10.1177/008124639602600303.

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This article traces the development of postmodern spaces in psychology and its wider culture through a consideration of new forms of virtual reality represented in science fiction writing. Psychology is a thoroughly modern discipline which rests upon the fantasy of observing behaviour directly. Recently, however, postmodern debates in the discipline have drawn attention to the construction of behaviour and experience in language organized through discourse. A correlative shift toward a postmodern sensitivity to language has also occurred in the neighbouring discipline of psychoanalysis, and discourse analysis thus provides the opportunity to link these two hitherto divided approaches to subjectivity. It is argued that discourse analysis combined with psychoanalysis can be employed to comprehend changes in culture which are anticipated and expressed in science fiction. Psychoanalytic theory is used alongside discourse analysis to read the film Total Recall and stories by Philip K. Dick. The analytic device of the ‘discursive complex’ is used to draw out patterns of meaning that structure the text. It is argued that this form of analysis is particularly appropriate to the subject matter, and to the new forms of subjectivity that necessarily escape the gaze of modern psychology. Virtual reality understood by way of a psychoanalytic discourse reading is able to make explicit the forms of subjectivity that inhabit varieties of postmodern space.

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Kirkwood, Jeffrey West. "The Cinema of Afflictions." October 159 (January 2017): 37–54. http://dx.doi.org/10.1162/octo_a_00281.

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Viktor Tausk was an early member of the Vienna Psychoanalytic Society whom Freud described as “clever and dangerous.” In his now famous paper „On the Origin of the ‘Influencing Machine’ in Schizophrenia,” Tausk discussed a rare variant of schizophrenia in which patients hallucinated persecution by a mysterious cinematographic machine. As Kirkwood argues, the paper surreptitiously offered the first psychoanalytic theory of film by explaining how a machine-and particularly an image-machine-could produce conditions of subjective identification, even if only in cases of extreme pathology. This was a threatening proposal to Freudian orthodoxy, as it not only drew an analogy between psychoanalysis and the cinema, which had long remained a forbidden object for members of Freud's circle but also seemed to resolve, at least partially, the long-standing agon between the psychophysiological apparatus and the symbolic operations of the ego.

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Kaufman, Bonnie S. "Cinematic Techniques and Psychic Mechanisms - Psychoanalysis and Film." International Journal of Applied Psychoanalytic Studies 8, no. 4 (December 2011): 366–78. http://dx.doi.org/10.1002/aps.299.

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Winter, Alison. "Film and the Construction of Memory in Psychoanalysis, 1940–1960." Science in Context 19, no. 1 (March 2006): 111–36. http://dx.doi.org/10.1017/s0269889705000785.

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ArgumentThis paper explores the relationship between the medium of motion-picture film and the representation of autobiographical memory during the middle decades of the twentieth century. The paper argues that a reciprocal relationship developed between film and memory, in which film was understood as an externalized form of memory, and memory an internalized record of personal experience similar in many respects to film. Memory was often represented as an object-like entity, preserved in stable form within the body, and able to be extracted by the right stimulus or trigger. A particularly important community in which this representation was developed was psychotherapeutic practitioners with psychoanalytic orientations, particularly during and shortly after the Second World War. In special circumstances, therapists and others claimed, records of past life events could be projected, film-like, onto the screen of an individual's conscious, replaying previous experiences in real time. The paper develops a social historical account of this relationship, and reflects on its significance for the history of selfhood in the twentieth century.

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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.

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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.

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Shortland, Michael. "Screen Memories: Towards a History of Psychiatry and Psychoanalysis in the Movies." British Journal for the History of Science 20, no. 4 (October 1987): 421–52. http://dx.doi.org/10.1017/s0007087400024213.

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In his famous biography, Ernest Jones turns aside from his central theme at one point to relate a curious episode involving psychoanalysis and Hollywood, in the persons of Freud and the well-known film producer Samuel Goldwyn. Like many others in the film industry, Goldwyn was fascinated with the challenge of exploiting the association between psychoanalysis and sex on screen, but although he approached ‘the greatest love specialist in the world’ with an offer of $100 000 for his co-operation in making a movie, Freud declined and even refused to see him. To some degree, Freud's antagonism sprang from his distaste for America and its values, which he contemptuously dismissed as a blend of crude behaviourism, materialism and consumerism, epitomized in the figure of Goldwyn, whose reputation for vulgarity had preceded his arrival in Europe. But for the most part, he remained sceptical that the theories of psychoanalysis could ever be properly expressed on the silver screen, even when the attempt was made by two close acquaintances, Hanns Sachs and Karl Abraham.

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Prinsloo, J. "Beyond Propp and Oedipus: Towards expanding narrative theory." Literator 13, no. 3 (May 6, 1992): 65–82. http://dx.doi.org/10.4102/lit.v13i3.771.

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Aspects of theory surrounding both narrative and reception of film is examined and interrogated. The structural analysis offered by Propp, among other theorists, and insights of psychoanalysis are considered to rework the Oedipal scenario. This paper draws on ideas around transgression and refers to aspects of Oedipus’s life which are largely ignored as the focus of psychic scenario. The narratives of two films. On the Wire and Mississippi Masala are examined in relation to contradictions surrounding their reception.

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Penley, Constance. "The Future of an Illusion: Film, Feminism, and Psychoanalysis." Journal of Aesthetics and Art Criticism 48, no. 1 (1990): 103. http://dx.doi.org/10.2307/431221.

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Waldman, Diane, and Constance Penley. "The Future of an Illusion: Film, Feminism, and Psychoanalysis." Rocky Mountain Review of Language and Literature 44, no. 1/2 (1990): 123. http://dx.doi.org/10.2307/1347082.

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Newman, Kathleen, and Constance Penley. "The Future of an Illusion: Film, Feminism, and Psychoanalysis." Journal of the Midwest Modern Language Association 23, no. 2 (1990): 42. http://dx.doi.org/10.2307/1315221.

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Holmlund, Christine, and Constance Penley. "The Future of an Illusion: Film, Feminism, and Psychoanalysis." South Atlantic Review 55, no. 4 (November 1990): 158. http://dx.doi.org/10.2307/3200470.

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Castaldi, Simone. "The Time of the Crime. Phenomenology, Psychoanalysis, Italian Film." Journal of Modern Italian Studies 15, no. 1 (January 2010): 168–69. http://dx.doi.org/10.1080/13545710903465671.

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Reyes, Xavier Aldana. "Beyond psychoanalysis: Post-millennial horror film and affect theory." Horror Studies 3, no. 2 (September 26, 2012): 243–61. http://dx.doi.org/10.1386/host.3.2.243_1.

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Higashi, Sumiko. ": Femmes Fatales: Feminism, Film Theory, Psychoanalysis . Mary Ann Doane." Film Quarterly 45, no. 4 (July 1992): 35–36. http://dx.doi.org/10.1525/fq.1992.45.4.04a00130.

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Chatziagorakis, Alex. "Psychoanalysis and hidden narrative in film: reading the symptom." Psychodynamic Practice 25, no. 4 (August 5, 2019): 402–6. http://dx.doi.org/10.1080/14753634.2019.1650664.

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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.

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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.

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Gook, Ben, and Slavoj Žižek. "Ideology isn’t in the Answer, it’s in the Question: An Interview with Slavoj Žižek." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 18, no. 1 (March 24, 2020): 360–74. http://dx.doi.org/10.31269/triplec.v18i1.1163.

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An interview with Slavoj Žižek, in which he discusses crucial topics central to both his thought (psychoanalysis, philosophy, Hegel, film) as well as broader conversations over the past decade (capitalism, China, universal basic income, ecology, authoritarianism, protest movements).

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Karydaki, Danae. "Freud under the Acropolis: The challenging journey of psychoanalysis in 20th-century Greece (1915–1995)." History of the Human Sciences 31, no. 4 (October 2018): 13–37. http://dx.doi.org/10.1177/0952695118791719.

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Psychoanalysis was introduced to Greece in 1915 by the progressive educator Manolis Triantafyllidis and was further elaborated by Marie Bonaparte, Freud’s friend and member of the Greek royal family, and her psychoanalytic group in the aftermath of the Second World War. However, the accumulated traumas of the Nazi occupation (1941–1944), the Greek Civil War (1946–1949), the post-Civil-War tension between the Left and the Right, the military junta (1967–1974) and the social and political conditions of post-war Greece led this project and all attempts to establish psychoanalysis in Greece, to failure and dissolution. The restoration of democracy in 1974 and the rapid social changes it brought was a turning point in the history of Greek psychoanalysis: numerous psychoanalysts, who had trained abroad and returned after the fall of the dictatorship, were hired in the newly established Greek National Health Service (NHS), and contributed to the reform of Greek psychiatry by offering the option of psychoanalytic psychotherapy to the non-privileged. This article draws on a range of unexplored primary sources and oral history interview material, in order to provide the first systematic historical account in the English language of the complex relationship between psychoanalysis and Greek society, and the contribution of psychoanalytic psychotherapy to the creation of the Greek welfare state. In so doing, it not only attempts to fill a lacuna in the history of contemporary Greece, but also contributes to the broader historiography of psychotherapy and of Europe.

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Weitzenkorn, Rachel. "Boundaries of reasoning in cases: The visual psychoanalysis of René Spitz." History of the Human Sciences 33, no. 3-4 (September 1, 2020): 66–84. http://dx.doi.org/10.1177/0952695120908491.

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This article argues that the foundational separation between psychoanalysis and experimental psychology was challenged in important ways by psychoanalytic infant researchers. Through a close examination of American psychoanalyst René Spitz (1887–1974), it extends John Forrester’s conception of reasoning in cases outside classic psychoanalytic practices. Specifically, the article interrogates the foundations of reasoning in cases—the individual, language, and the doctor–patient relationship—to show how these are reimagined in relation to the structures of American developmental psychology. The article argues that the staunch separation of experimental psychology and psychoanalysis, reiterated by philosophers and historians of psychology, is flimsy at best—and, conversely, that the maintenance of these boundaries enabled the production of a cinematic case study. Spitz created films that used little language and took place outside the consulting room with institutionalized infants. Yet key aspects of the psychoanalytic case, as put forth by John Forrester, were depicted visually. These visual displays of transference, failure, and interpersonal emotions highlight the foundations of what Forrester means by reasoning in cases. The article concludes that Spitz failed at creating classic psychoanalytic evidence, but in so doing stretched the epistemology of the case.

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Sklarew, Bruce. "Introduction to “Cinematic Techniques and Psychic Mechanisms - Psychoanalysis and Film”." International Journal of Applied Psychoanalytic Studies 8, no. 4 (December 2011): 364–65. http://dx.doi.org/10.1002/aps.325.

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Lauer, A. Robert. "Freud's Drive: Psychoanalysis, Literature and Film. By Teresa de Lauretis." European Legacy 17, no. 4 (July 2012): 549–50. http://dx.doi.org/10.1080/10848770.2012.686758.

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Lebeau, Vicky. "Feeling Poor: D.W. Winnicott and Daniel Blake." New Formations 96, no. 96 (March 1, 2019): 160–76. http://dx.doi.org/10.3898/newf:96/97.07.2019.

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This article draws on Donald Winnicott's understanding of human dependence and Ken Loach's film I, Daniel Blake (2015) to open up a new space between 'psychoanalysis' and 'politics'. Its starting-point is what Stuart Hall has described as the 'ferocious onslaught' on the post-war social-democratic settlement and its initial commitments to the idea of the 'full life' and 'social security for all'. Putting dependence at the heart of human experience, Winnicott's psychoanalysis is especially attuned to the individual and collective harms imposed by this new 'age of austerity'. 'Feeling Poor' explores the structures of material and psychic dispossession at work in contemporary regimes of austerity – in particular, the neoliberal denial of human dependence and vulnerability. What does the neoliberal world, its reformations of the social state, make of the primal situation of dependence – its terrors and dreads as well as its impulses towards culture and community? How might we reconceive vulnerability in solidarity rather than stigma? What might a psychoanalysis attuned to 'dependence as a living fact' contribute to the cultures of protest mobilized through the aesthetics of British social realism? Part of a wider exploration of the question of psychoanalysis and class, this article attempts to think about the symbolic functions of care embedded in the post-war welfare state and engages the potential of Winnicott's psychoanalysis as a means to social critique.

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Putra, Destha Pratama, and Endang Yuliani Rahayu. "CHARACTER BELIEF AND BEHAVIOUR POTRAYED IN M.NIGHT SHYMALAN’S DEVIL (2010) AS A PSYCHOANALYSIS STUDY." Dinamika Bahasa dan Budaya 15, no. 1 (June 19, 2020): 20–28. http://dx.doi.org/10.35315/bb.v15i1.7891.

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This research entitled Character Belief and Behaviour Potrayed in M. Night Shyamalan’s Devil (2010) As A Psychoanalysis Study. In this research the researcher analyzes the character belief and behaviour toward superstition in M. Night Shyamalan’s Devil (2010). The object used in this research is a film by M. Night Shyamalan entitled Devil In analyzing the data researcher applied a qualitative research. The technique that used to analyze the film is by reading the script and watching the movie and then the researcher applied Carl Gustav Jung's theory of consciousness, namely personal unconscious, collective unconscious, and archetype. Data is collected by watching films and reading dialogue scripts. After analyzing the data it can be concluded that the reason why the character believes in superstition is due to the story of the character's mother and opinions that are repeated over and over. The behavior that is reflected by the character after believing in superstition is the character trying to solve the case using a religious point of view. Meanwhile the effect that arises after believing in superstition is that they succeed in knowing and realizing that the mastermind behind the case is devil.

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Higashi, Sumiko. "Review: Femmes Fatales: Feminism, Film Theory, Psychoanalysis by Mary Ann Doane." Film Quarterly 45, no. 4 (1992): 35–36. http://dx.doi.org/10.2307/1212870.

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Tay, Sharon. "Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis." Women: A Cultural Review 14, no. 3 (January 2003): 263–80. http://dx.doi.org/10.1080/0957404032000140380.

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Schwartz, Leonard. ": The Future of an Illusion: Film, Feminism, and Psychoanalysis . Constance Penley." Film Quarterly 45, no. 1 (October 1991): 59–60. http://dx.doi.org/10.1525/fq.1991.45.1.04a00220.

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Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.

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Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective. Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis. Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions. Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.

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Rose, Alexander S. "Star Wars: The Force Awakens [the Western Pleasure Principle]." CINEJ Cinema Journal 7, no. 2 (September 20, 2019): 48–81. http://dx.doi.org/10.5195/cinej.2019.216.

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It is difficult to identify the contradictions that serve as the foundation for value propositions in the cultural branding model. To address this, I propose the use of psychoanalysissto analyze market- and cultural-level collectives. To demonstrate, I analyze a recent installment in the popular film franchise Star Wars in order to demonstrate how extant product preferences can be used as subjects of analysis much like dream images in traditional psychoanalysis. I find that the western market which enjoys the films likely does so due to a defense mechanism known as inversion. On the market level, this offers opportunities for identity-related branding. Implications for the cultural branding model and commercial mythologizing are discussed.

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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.

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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.

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Peters, Gary. "Barbara Creed. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge, 1993." Canadian Journal of Film Studies 3, no. 2 (October 1994): 108–13. http://dx.doi.org/10.3138/cjfs.3.2.108.

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Waldman, Diane. "The Future of an Illusion: Film, Feminism, and Psychoanalysis by Constance Penley." Rocky Mountain Review 44, no. 1-2 (1990): 123–25. http://dx.doi.org/10.1353/rmr.1990.0050.

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Mikulic, Borislav. "Perversion and method. Zizek’s "platonic love" for film, dialectics of exemplification and the catastrophe of psychoanalysis in the cinematic discourse of philosophy." Filozofija i drustvo 24, no. 1 (2013): 381–422. http://dx.doi.org/10.2298/fid1301381m.

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The article discusses the relation between the paradigmatic status of film and use of film analogies in the psychoanalytic discourse on society and culture by Slavoj Zizek, which represents the very ground of his philosophical discourse in general. In the first part, starting with a recent discussion by different English and American scholars on controversial aspects of Slavoj Zizek?s activity in academia and on a broader public scene, the paper discusses on some parallel examples and inherent motivators of the form-content controversy in philosophy and pop-culture as well as Zizek?s interpretation of his position. In the second part, the article discusses Zizek?s sporadic meta-reflection on exemplification and provides arguments for the thesis that, in Zizek, on the ground of his ontology of the virtual, one encounters a double conception of ?inherence? (paradigmatic and analogical) between instance and principle, its consequence is a shift in the use of film examples from analogy of objects to analogy of analyses, which invents a typical conflict between the metonymic and metaphorical evasion of discourse. On this background, the article reexamines the general contention against Zizek of a ?virtual totalitarianism? without contingency of meaning and sense, and points to the position of the subject without discourse as another ground for the condition of analysis of truth. In the third part, the paper analyses and evaluates Zizek?s own understanding of his cinematographic illustrations and his peculiar, performing and self-referential, method of resolving the epistemological problem of film interpretation through imaginary identification or ?empathy? with film objects. In the fourth part, the paper discusses the apparent asymmetry between Zizek?s application of psychoanalytic doctrines onto film criticism, on one side, and, on the other, his little elaborated apotheosis of so-called ?cinematic materialism?. It is argued that this asymmetry ultimately causes what Zizek rejects in principle: a substitution of materialism and contingency of truth-search for a holism of sense. Consequently this seems to turn the psychoanalytic discourse on cinematography into a hermeneutic one.

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Ruebsaat Trott, Adam. "Dr. Wonderful and the big bad asylum: Dissecting simplicty in The Snake Pit." SURG Journal 7, no. 2 (June 2, 2014): 18–23. http://dx.doi.org/10.21083/surg.v7i2.2949.

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On the surface, Anatole Livak’s The Snake Pit (1974) contains little more than a socially conservative overuse of pseudo-Freudianism. The film has been rightfully criticized for its departure from the novel on which it was based, specifically in its more traditional approach to Virginia, its female protagonist. To simply dismiss The Snake Pit for these reasons, however, would not do justice to the film’s importance within the history of cinema and psychiatry. This article will analyze the historical and cinematic factors that influenced Litvak’s The Snake Pit, a film worthy of both praise for its social impact and blame for its failure to go far enough. Keywords: Anatole Livak; cinema; history of psychoanalysis; Sigmund Freud; Hollywood

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Journal articles on the topic 'Film psychoanalysis'

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