Secrets of a Soul

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After having presented the circumstances of the shooting of “Mysteries of the soul” by Pabst, the author explains the hostile attitude of Freud towards this movie which is actually quite well done. Whatever the absence of interest or reservations Freud might have had for the most advanced forms of a...

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Autor principal: Douville, Olivier
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2018
Materias:
Cine mudo
Historia del Psicoanálisis
Metapsicología
Narración
Trauma
Silent cinema
History of psychoanalysis
Metapsychology
Narration
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22759
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10article-22759
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Cine mudo
Historia del Psicoanálisis
Metapsicología
Narración
Trauma
Silent cinema
History of psychoanalysis
Metapsychology
Narration
Trauma
spellingShingle Cine mudo
Historia del Psicoanálisis
Metapsicología
Narración
Trauma
Silent cinema
History of psychoanalysis
Metapsychology
Narration
Trauma
Douville, Olivier
Secrets of a Soul
topic_facet Cine mudo
Historia del Psicoanálisis
Metapsicología
Narración
Trauma
Silent cinema
History of psychoanalysis
Metapsychology
Narration
Trauma
author Douville, Olivier
author_facet Douville, Olivier
author_sort Douville, Olivier
title Secrets of a Soul
title_short Secrets of a Soul
title_full Secrets of a Soul
title_fullStr Secrets of a Soul
title_full_unstemmed Secrets of a Soul
title_sort secrets of a soul
description After having presented the circumstances of the shooting of “Mysteries of the soul” by Pabst, the author explains the hostile attitude of Freud towards this movie which is actually quite well done. Whatever the absence of interest or reservations Freud might have had for the most advanced forms of art of his time, his theory on the unconscious processus could fit quite perfectly to describe what the cinema invents image wise. Where are we today? In what way do the movies carry the traces of the end of the great collective fictions and violence in history? Psychoanalysis, semiotics and motion science could join to treat movies not only as the narrative art, but also as an art which will articulate in its grammar, inflicted wounds to the common imagination and the ability to dream.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2018
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/22759
work_keys_str_mv AT douvilleolivier secretsofasoul
AT douvilleolivier metapsicologiafreudianaactocinematografico
bdutipo_str Revistas
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