- Tytuł:
- Film i psychoanaliza: problem widza
- Autorzy:
-
Godzic, Wiesław
Gazda, Grzegorz
Rosińska, Zofia - Powiązania:
-
https://bibliotekanauki.pl/books/1196862.zip
https://bibliotekanauki.pl/books/1196862.pdf
https://bibliotekanauki.pl/books/1196862.mobi
https://bibliotekanauki.pl/books/1196862.epub - Data publikacji:
- 1991
- Wydawca:
- Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
- Opis:
- The author pursues the aim to investigate the possibilities of looking upon the problem of spectator in view of Freud’s and Lacan’s psychoanalysis. It is an intention of this work to critically reflect on the reasons, why psychoanalytic concepts in film studies are extremely successful, to discuss both their achievements and dangers in interpretative abuses, which may result from this method. The present elaboration is not an attempt, however, to produce a monograph of relationships between film and psychoanalysis, neither to present a complex formulation of the problems linked with psychoanalytic thinking of film. The author considers what the reasons are for the lack of interest (sometimes concealing hostility) towards psychoanalysis in Poland nowadays. Proposing the attitude of methodological eclecticism and „distance tinged with friendliness” towards the problems discussed, the author considers a specific character of. the methodological attitude in film studies in contact with psychoanalysis. It has been stressed that psychoanalysis has a big explaining power in humanistic studies and is „methodologically paradoxical”, i. e. it concerns the situation, when even so an investigator does not accept the contents of a given discipline, he is forced, however, to perceive its methodological usefulness. The second chapter focuses on a question of links between film work and film idea, and psychoanalysis until the mid seventies. The- questions have been put on a character of intertextual factors that determined a film being acknowledged as an art the most susceptible for psychoanalytic outlook. Another matter focuses around Christian Metz’s psychoanalytic film theory, second half of seventies; performed by him an adaptation of Jacques Lacan’s concept is a basis of psychoanalytic thinking of film. An essential part of the work is an attempt to create a psychoanalytical model of film viewer. The author asks about the way, in which the problems connected with film viewer have been comprehended so far and the changes brought in this domain by a psychoanalytic reflection on a subject. Taking advantage, among other things, of the concepts by Christian Metz and Mary Ann Doane, the author presents and discusses other elements constituting a model of „film ego”, namely: A concept of dreaming spectator - the first and fundamental feature of film spectator expressed psychoanalytically is his status similar to the situation of a person dreaming a particular kind of dream: day-dream, a dream of a person woken up, A concept of spectator subject to identification - psychoanalysis integrates all opinions so far in this domain (identification with a hero, actor or film camera), proposing a fundamental identification of a spectator with himself/herself, A concept of desiring spectator - film psychoanalysts indicate two groups of phenomena: the first one includes scopophilia, voyeristic drives and exhibitionism - assuring pleasure of looking, the second one - connected with fetishism, A concept of activity and placement of a spectator in the text - defined by a suture system, described by the author as an „external position of a subject”, A concept of hearing subject - stating about a pleasure in hearing psychoanalysis acknowledges that the meeting of spectator with sound may be that valuable and sense-creative as contact with visuality, A concept of essence in spectator’s sex - feministic theory demands verification of theoretical film theses hitherto existing, formulated in view of male subject. After a theoretical part follows an attempt of empiricism: an examples of analyses have been presented, that consider in detail the features of the viewer’s model in the light of psychoanalysis. In a part entitled „Desire in the text” the author analyzes a plot of such films as: „North by North-West” (dir. A. Hitchcock, 1960) , „Adventure in Marienstadt” (dir J. Rybkowski, 1954) and „The Blue Angel” (dir J. Sternberg, 1930), treating them as examples of developing Freud’s scenarios, mainly Oedipus’ affairs. The part „Desire in the text” deals, among others, with „Chinatown” (dir. R. Polański, 1974), „M” (dir. F. Lang, 1931), which, in the author’s opinion show that film discourse is unconscious. An attempt to integrate these two views is presented in the chapter „A viewer in the world of musical”, in which the author discusses a system of internal viewer and different aspects of illusion identifying with the world of diegesis. In conclusion the author states that the material presented proved the conviction to be true that an essential value of psychoanalytic approach in film studies lies in regaining a viewer totally, revealing the qualities not undertaken so far and joining hitherto existing partial views in a global view, to the methods developed by psychoanalysis, film studies has a serious chance to be a driving force in humanistic research.
- Dostawca treści:
- Biblioteka Nauki
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