The analysis of a film and psychoanalysis

From a psychoanalytical point of view, the cinematographic art can be understood – most of the time- either from the logic of applied psychoanalysis or as isomorphic terms. This limits the contribution that the combination of film and psychoanalysis can be made when both those fields are given recog...

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Autor principal: Weyl, Dimitri
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2017
Materias:
Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinematography
Psychoanalysis
Image-Movement
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/19719
Aporte de:
Ética y Cine Journal de Universidad Nacional de Córdoba
id I10-R324-article-19719
record_format ojs
spelling I10-R324-article-197192020-02-06T11:30:26Z The analysis of a film and psychoanalysis El análisis de un film y el psicoanálisis Weyl, Dimitri Análisis fílmico Cine Psicoanálisis Imagen-movimiento Film analysis Cinematography Psychoanalysis Image-Movement From a psychoanalytical point of view, the cinematographic art can be understood – most of the time- either from the logic of applied psychoanalysis or as isomorphic terms. This limits the contribution that the combination of film and psychoanalysis can be made when both those fields are given recognition in their power and singularity. The purpose of this article is to identify what is revealed as essential in an investigation process to make film analysis the most useful as possible. From an early time, Walter Benjamin noticed that both psychoanalysis and film had opened fields of the senses that, up until then, could not be seen or heard; and that both of these fields, sight and sound combined, could be very powerful. Cinematographic language - when recognized in its full potential – can capture the effects of reality like no other material can. Because of this, our hypothesis is to consider that bonding the psychoanalytical point of view with the cinematographic point of view can open a “double focal distance”. These two focal distances, when they converge together, tend to bond what can be seen with what can´t be seen; the invisibility of the unconscious problematic, with the visibility of image and movement. Desde la mirada psicoanalítica, el arte cinematográfico se comprende –la mayor parte del tiempo– sea desde una lógica de psicoanálisis aplicado, sea en términos “isomórficos”. Eso limita el aporte que la confluencia entre cine y psicoanálisis puede generar cuando a esos dos campos se los reconoce en su potencia y singularidad respectivas. Este artículo se propone identificar sintéticamente lo que se revela esencial en un proceso de investigación para que el análisis de un film pueda ser lo más fructífero posible. Walter Benjamín vio muy tempranamente que el psicoanálisis y el cine habían abierto campos de la mirada y de la escucha de lo que hasta entonces no podía ser visto ni oído. Y que esos campos podían ser poderosamente complementarios. El lenguaje cinematográfico –cuando se lo reconoce en su plena potencia– permite captar efectos de realidad como ningún otro material lo hace. En consecuencia, nuestra hipótesis es considerar que ligar armoniosamente la mirada cinematográfica a la mirada psicoanalítica es abrir una “doble distancia focal”. Dos distancias focales que cuando confluyen tienden a ligar lo invisible con lo visible. Lo invisible de las problemáticas inconscientes con lo visible de la imagen-movimiento. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2017-03-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/19719 10.31056/2250.5415.v7.n1.19719 Ética y Cine Journal; Vol. 7 Núm. 1 (2017): No hay relación sexual; 9-19 2250-5415 2250-5660 10.31056/2250.5415.v7.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/19719/19845 Derechos de autor 2017 Ética&Cine Journal
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-324
container_title_str Ética y Cine Journal
language Español
format Artículo revista
topic Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinematography
Psychoanalysis
Image-Movement
spellingShingle Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinematography
Psychoanalysis
Image-Movement
Weyl, Dimitri
The analysis of a film and psychoanalysis
topic_facet Análisis fílmico
Cine
Psicoanálisis
Imagen-movimiento
Film analysis
Cinematography
Psychoanalysis
Image-Movement
author Weyl, Dimitri
author_facet Weyl, Dimitri
author_sort Weyl, Dimitri
title The analysis of a film and psychoanalysis
title_short The analysis of a film and psychoanalysis
title_full The analysis of a film and psychoanalysis
title_fullStr The analysis of a film and psychoanalysis
title_full_unstemmed The analysis of a film and psychoanalysis
title_sort analysis of a film and psychoanalysis
description From a psychoanalytical point of view, the cinematographic art can be understood – most of the time- either from the logic of applied psychoanalysis or as isomorphic terms. This limits the contribution that the combination of film and psychoanalysis can be made when both those fields are given recognition in their power and singularity. The purpose of this article is to identify what is revealed as essential in an investigation process to make film analysis the most useful as possible. From an early time, Walter Benjamin noticed that both psychoanalysis and film had opened fields of the senses that, up until then, could not be seen or heard; and that both of these fields, sight and sound combined, could be very powerful. Cinematographic language - when recognized in its full potential – can capture the effects of reality like no other material can. Because of this, our hypothesis is to consider that bonding the psychoanalytical point of view with the cinematographic point of view can open a “double focal distance”. These two focal distances, when they converge together, tend to bond what can be seen with what can´t be seen; the invisibility of the unconscious problematic, with the visibility of image and movement.
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2017
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/19719
work_keys_str_mv AT weyldimitri theanalysisofafilmandpsychoanalysis
AT weyldimitri elanalisisdeunfilmyelpsicoanalisis
AT weyldimitri analysisofafilmandpsychoanalysis
first_indexed 2024-09-03T20:50:46Z
last_indexed 2024-09-03T20:50:46Z
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