Psychoanalysis and Cinematography

Introduction3

Discussion3

Conclusion12

References13

Introduction

Since the 1960s, the film industry has been dominated by psychoanalysis ideas. This paper aims to investigate the impact of psychoanalysis on film theory. The role psychoanalysis in cinematography can be comprehended from different perspectives.

In the 1920s, film studios capitalize on the curiosity of the public about the science of psychoanalysis. In 1925, Hans Neumann contacted Sigmund Freud's inner circle to make a dramatic film that explores the interpretation of dreams.

Psychoanalysis and cinema share a great deal regarding conceptual and historical perspectives. Psychoanalysis can be defined as a theory of human psychology. It described different ways though which human beings develop a specific personality. The process of psychoanalysis also defines how individuals develop their sexual identity within their culture. The formation of identity takes unconscious, repression, sexuality, and resistance (Decker, 1994, pp. 637).

Discussion

After the First World War, two groups were identified within the criticism on film. The first group of critics was the figure of Sergei Eisenstein. It was not until after the First World War that it became possible According to Eisenstein; the aesthetic value of cinema depends on its ability to transform reality. The opponent groups of critics were impressionists and surrealists. These groups believed that the main function of cinema is to pay its aesthetic role. The emphasis of these groups on cinema was as a form of visual medium. This suggests that the group of impressionist was not suited to the expansion of commercial cinema.

The perceptions and perspectives of Eisenstein and his followers began to overshadow other theoretical groups. As a result of this influence, radical development occurred in the film industry. The development in cinema was particularly because of the influence of Andre Bazin and his writings including the Evolution of the Language of Cinema and the Virtues and Limitations of Montage. According to the claims of Bazin, the true purpose of cinema was to represent reality in an objective manner. However, the other groups including expressionist, surrealists, and Soviet schools believed that the role of cinema was to manipulate reality.

According to the arguments of Bazin, cinema provides the opportunity to represent objectivity. The argument of Bazin was criticized severely from post structuralists. For post structuralists, reality is a subjective experience. It is important to note that the contemporary television is a depiction of the claims of Bazin.

The theories of Bazin had a great impact on film studies. The arguments of Bazin acted as the catalyst for a complete change of direction in cinema. As a result of the arguments of Bazin, cinema became outdated and film studies became political.. There has been an increase in the number of publications related to cinema and psychoanalysis. The studies on the topic highlight both proximity and differences between two areas.

In the 1970s, cinema established itself as the most exciting components in the arts and humanities. At the same time, psychoanalysis was also a major discourse. The status of psychoanalysis was rooted in the fact that cinema is an event that reconstitutes the ...