Psychoanalytical Film Theory

 Been looking into the study of psychoanalysis and what happens when this is intermingled with film.  I am curious to see how this could be incorporated into our short, especially because we are using dreams and symbols to communicate themes from Sleeping Beauty and both have been found to be communicative through the unconscious mind.

"Psychoanalytic film theory emphasizes the notion of production in itsdescription, considering the viewer as a kind of desiring producer of thecinematic fiction. According to this idea, then, when we watch a film itis as if we were somehow dreaming it as well; our unconscious desireswork in tandem with those that generated the film-dream."

http://jcomm.uoregon.edu/~cbybee/j388/psych.html#Anchor-Psychoanalysis-11481 


Dreams provide access to unconscious--- produces a symbolic text, which must be read, but it uses various techniques to hide its desiring:


The unconscious and conscious are linked through language. "As dreams, slips of the tongue, failures of memory, jokes, puns indicate unconscious wishes and desires---- with a logic of their own--- underlie even the most innocent activity.


http://www.dspp.com/papers/kluge.htm - Scholarship Psychoanalysis & Film






Maya Deren - Meshes of the Afternoon 1943


Meshes of the Afternoon (1943) is a short experimental film directed by wife and husband team, Maya Deren and Alexander Hammid. The film's narrative is circular, and repeats a number of psychologically symbolic images, including a flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a mysterious Grim Reaper–like cloaked figure with a mirror for a face, a phone off the hook and an ocean. Through creative editing, distinct camera angles, and slow motion, the surrealist film depicts a world in which it is more and more difficult to catch reality. (Wikipedia)

♥ Charlotte