"With extraordinary perseverance I happen to do the same dream: it is as if he wanted to make me inexorably back to those places dear to me so painfully, to a time where there was the house of my Grandpa, I saw the light in which more than 40 years ago, right on the dining table, covered with a starched white tablecloth. And every time I try to enter the house, something stops me. I often dream, I'm used to, and as soon as I see the wooden walls darkened by time and the half-open door that opens into the dark entry, I know, even in sleep, it's only a dream and my irrepressible Joy is waiting off the wake. Sometimes something happens that I cease to dream of my childhood home and the pines, then comes over me and I began longing to look forward to the return of the dream in which I shall be a child again and I'll be happy, because everything is in front me and everything is still possible. " In this short passage
dense voiceover spoken by the character of the films of Tarkovsky, The Mirror, are low, almost exemplary, a multitude of topics of psychoanalytic interest. The repetition, the force of attraction exerted by the conflict mixed motions of the infantile wish, the theme of the threshold is doubled in both the description of memory, that in the long tracking shot (with the image of the mother who acts as liaison between the two shots), and suggests a transposition of the ghost in the dream, the dream finally awareness in sleep and arousal in the face of excess satisfaction of desire. Unconscious desire to return in the form of infantile omnipotence can break the time and the choices that its flow is exhausted.
Cinema and Psychoanalysis, and then, but what is the relationship between therapeutic practice invented by Freud, based on listening and size of the word, and the last born of the arts, based on the possibilities offered by the technique of building a language of images ?
Cinema and psychoanalysis come together in 1895, the year of publication of "Studies on Hysteria" and the first screening of the Lumiere brothers in Paris, but in fact, this co-creation does not entail an immediate Connaissance, faithfully, perhaps the assumption of Lacan that all knowledge is ultimately a bit 'paranoid. Be reunited after a long period in which the study of film is given to the processes of cognitive psychology. The question that Lou Andreas-Salome when he noted on his personal diary, yet not a psychoanalyst, attended the meeting Wednesday of the society of Vienna: "why the movie does not play absolutely no role for us? "
[1] will have to wait many years before being formalized in a theory of unconscious processes, triggered by the film medium. As a first step will be a series of papers on the psychology of perception, which appeared in the Revue internationale de filmology, the school's first international magazine filmology, who will investigate the particular psychological situation that involves watching a movie: the system of segregation of spaces separation and opposition between "visual range" is reported on television and "proprioceptive sensations" that belong to the subjectivity of the viewer. The incompatibility between these two spaces, the room darkened and the screen light on which scroll through the images, whose movement is able to mimic the psychological view, compels the viewer to sacrifice the other series (the series in favor of the visual proprioceptive), and enable the situation of passivity and the belief basic processes of identification and 'impression of reality. "I am no longer in my life, I'm in the movie that is projected in front of me," writes Henri Wallon in his article on 'percetiv Act and the cinema. "
[2] But for a change of coordinates from the centrality of cognitive processes, studies on the prevalence of serious underlying visual perception of the translation, the receipt of the Freudian implications of the revolution it was not until studies Baudry and Metz 70s. Underlying all'éffet cinema is not just a device that can create the impression of reality with the terms of the projection is involved but a desiring subject, a subject divided by his own desire and, Baudry said: "we can assume that it is this desire that influence the long history of the invention of cinema: to manufacture a car simulator capable of proposing the subject of perceptions in the nature of representations. "
[3] The image of Plato's cave is called by Baudry to evoke the position imprisoned in the state of the viewer film. As the latter are victims of a hallucination or a dream, an illusion of knowledge in relation to reality, just as the status and position of the viewer are similar to those of the dreamer or who are prey to hallucinations.
unknown space de "die andere Szene" structuralist analysis of the meaning of the dream film are the two pillars of the absorption of the lesson Freud and the return to Freud that Lacan's structuralism brand allowed.
This change of perspective in the analysis of spettorialità convene in fact a new character: the subject of the unconscious, distinct from the ego. The first, Je French terminology in relation to the Other of language in a relationship of ethical choice with the inaugural symbolic system, the second, the moi, still struggling with the replacement mirror image of the first sale. The superiority of visual series thus receives the imprimatur of the mirror stage of Lacan and Baudry, in front of the mirror to duplicate this strange childhood is the movie screen (where it is reflected not appear), distinguish two types of identification : secondary to the characters of the story and the primary omnivedente eye of the camera. The imaginary signifier, the cinema itself as a signifier of desire is the text with which Christian Metz,
[4] in the wake of Baudry, moved in terms of Lacan's theory of film trying to tie around the character of the phallus the size of the imaginary and symbolic. The phallus is the instrument able to play with his dual nature and lack of symbolic image, the articulation between the two registers and to transfer the libido imaginary in terms of desire and signification to the subject. The identification with the characters of the story thus becomes possible by ghostly through permutation subject of the signifier (the subject of the lack of it) - foul. To fully complete the other side of the ghost, the one that has an extension Hereafter, the support that the other has to be able to imagine it as being in a scene privileged to be integrated phase of Lacan's teaching after the structural phase, the object of the invention as a logical support of the drive.
Put aside the ego so that, as Lacan said shooting Rimbaud "is always another"
[5] , we must return to the dream, to explain, in addition to the belief in the characters of the story (based as we have seen the identification secondary path foul) other aspects of the illusion of reality that is created in the state of film. The dream is a
internal construction of a plastic character images, which have a connotation multisensory perception (sense of reality) with fluctuating very logical connections or absent, produced by a man who is sleeping, the film consists of the reproduction of images outside in a story with a force diegetic coherent, flowing in front of a man awake. Despite all these differences, however, the relationships are closer than expected: an activation state of consciousness is also present in the dream, moments away from an awareness of film, similar to a fall in the dream are also present during the screening of the film, the degree of secondary elaboration is, however, varies from dream to dream. The regression perception is the element that Freud in Chapter VII of the Traumdeutung identifies as the gambit offered by the preconscious desire, the risings of desire removed, continue to sleep. The force of attraction exerted by them on the pole of perception, allowing the reverse flow direction progressing, allows the hallucinatory satisfaction of conscience, (under the watchful eye of the instance of censorship which, with its deviations contains excess). It is always a bit 'when you wake up dreaming, even if you are not able to control the course of their dreams as the Marquis d'Hervey de Saint-Denys
[6] where the desire for sleep had given way to preconscious desire to see their dreams and delight, it also tends a bit 'a dream in the cinema when our fantasies are fulfilled (but not too much) from the countenance of the history and images.
the movies (and others) has always been a bit 'gullible as the character of Pridamant Corneille (mentioned by Metz)
[7] dismissing his disbelief on the other, in order to continue to believe. The seduction magic lantern that gives us the protection of the impossible real, allows us to be perfect dupe in disbelief. It 's the value of Lacan's face.
If we wanted to find a connection between Freud and Lacan in relation to the inclusion of psychoanalysis in cinema we could think of these two inaugural moments of truth and symmetrical, these two points of emergency are to Freud, the dream of Irma and the Lacan Seminar II, both converging on the subject of the unconscious and its shift from the ego.
Freud is immersed in the dream, self-analyze their dreams, after the first moment of disappointment and false "truth of his neurotic" almost driven by a power of divination. Modern pledge, in the phrase dell'esergo "Flectar you nequeo Superos, Acheronta movebo" contains the determination of the researcher who, with knowledge of diving in an area that had wrapped the romantic tradition of a mysterious aura and hell, he wants to come up with a method of deciphering the structure of the dream, driven by the traces left on the track the movements of the unconscious wish, its advances and its waste.
In this way the dream of Irma
[8] is the point of entry when Freud gets rid of the imaginary identification of his ego and the unconscious as a subject moves beyond the distressing spectacle of diphtheria of the throat plate of Irma, authentic columns Hercules contemporary. Freud over the image, which is untenable for the eyes, throat, Irma, this kind of infernal cave, a sort of dream symbolism in the passage of the threshold, the second depicted Silberer,
[9] to the purpose of awakening dall'insopportabile caused anxiety. Freud, however, does not wake up, and critical observation that makes use of abstract-symbolic function of the phenomenon, I discovered another possibility, that of a control activity, the censor, who remains awake during sleep, addressed to dream.
So stay awake, Zenzor himself to spy for us the secret of the dream even while sleeping, passing with his desire to know, the navel of the hellish dream in which it concluded the series of images of women enshrined in the mixed picture of Irma , continuing the fight against imaginary antagonists of his desire to exculpate himself in front of the failures of neurosis. What enables him? Lacan has no doubts: Freud is a "hard"
[10] (as subject of the unconscious) and go to dream beyond the imaginary ego breakdown for us to understand the relationship of man with the last symbol, the word (for Lacan's Seminar II). But the image of the formula of trimethylamine, the end point of the defensive line through the series of sexual association Fleisch, opposite to that of Otto, the last element will be screened in the 'other scene "of the court with a dream of Freud's final ruling it provides, but not with full formula. The cognitive process has been dall'irrappresentabile Irma's throat wide open, impenetrable darkness, formless sort of reverse of the flesh, like a painting by Bacon, to the chemical formula of Freud's last attempt to give a representability to sexual intercourse that is not there to write it in a chain of bonding between atoms. For Lacan the blame last of which Freud tries to free himself, speaking to analysts that the future will look in later generations, it will be the boldness of this desire for knowledge with the excuse of having been requested and granted only the mediator of the birth of the truth of 'unconscious' is my unconscious, is the word that speaks to me, beyond me. "
[11] Even today when one thinks of his imagination sent to Fliess ("In this house July 24, 1895 to Dr. Sigmund Freud was revealed the secret of the dream") is impossible not to be crossed by a shiver. The cinema, this "vibration de la real" in the words of Helene Cixous,
[12] there forward after more than a hundred years.
notes:
[1] L. Andreas Salome, My years with Freud, Newton Compton, Roma 1980, p. 114-115.
[2] H. Wallon, L'acte et le cinéma perceptif, Revue International de filmology, n.13, 1953.
[3] JLBaudry, L'effet cinéma, Albatros Edition, Paris 1978, p.47 in L. Albano screen dreams, p.24.
[4] C. Metz, Psychoanalysis and Cinema, Marsilio, Venice 2006.
[5] J. Lacan, The Seminar II, Einaudi, Torino, 2006, p.10.
[6] S. Freud, The Interpretation of Dreams, Basic Books, Torino, 1966 p.521
[7] C. Metz, Psychoanalysis and Cinema, Marsilio, Venice 2006, p.87.
[8] S. Freud, The Interpretation of Dreams, Basic Books Bollati, Torino, 1966, p.108.
[9] ibid, p.461, 462.
[10] J. Lacan, The Seminar II, Einaudi, Torino, 2006, p.179.
[11] ibid, p. 197.
[12] H. Cixous, La fiction et ses fantómes. Une lecture de l'Unheimliche de Freud, Poétique 1972, p.204.
