HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

Psychoanalytical Film Theory Fionnuala Mc Cann.

Film as dream, film as music. No art passes our conscience in the way
film does, and goes directly to our feelings, deep down into the dark
rooms of our souls.(1)
Ingmar Bergman
(AbstractTask1)

AsBergmansopoeticallydescribedabove,filmisperhapsthemostinfluentialartform
onsocietysincethe19thcentury.Themagicalsenseofescapismfilmgivestoaudiences,
meansweareforeveryearningfornewmovingimagecreations.Filmisoneofthesole
formsofentertainmentandmillionseagerlyattendfilmscreeningseveryday,toneglect
theanxietiesoftheirlives.PsychoanalystAndreaSabbadinisuggeststhatPeoplewho
hideinthedarkofacinemaforhoursadayarecertainlytryingtoavoidsomethingabout
realityoutsidethecinema.(2)Althoughfilmisrichinitssenseofentertainment,ithas
alsobecomeahighlyrespectedacademicsubject.YaleUniversitystatesthatFilm
Studiesisaninterdisciplinaryprogramthatfocusesonthehistory,theory,andcriticismof
cinemaandothermovingimagemedia. (3)Filmacademicshavecometousefilmgenre
andwiderfilmreadingsasatheoreticaltoolfortheunderstandingofhowmeaningis
createdinfilm.AsIhavepreviouslydiscussedgenrestudiesthroughcultclassics,Ihave
cometorealisethereisonlysomuchgenrestudiescando,asIdiscoverwhyafilmis
madethewayitis.However,filmtheorycantakeyouthatonestepfurther.Itcantake
youonanexplorationofhowfamousideologiesareportrayedwithinfilmorhowthey
areusedasplatformofanalysisofsuchfilms.Widerfilmreadingshaveopenedmyeyes
toanewinsightfulapproachtofilmacademiaandfilmmaking.Popularfilmtheories
thathavebeenconveyedinvariousfilmsthroughoutthecenturieshaveincluded
auteurism,Marxism,feminismandpsychoanalysis.Fromdiscussionsandpresentations
inclassfromotherstudents,Ihavebecomeawareofwhatthesetheoriesconsistof.
Auteurtheorysuggeststhatthedirectorisinfacttheauthorofthefilm.Itstatesthat
theirpersonalcreativevisionsareportrayedmorestronglythanthevisionsofstudio
interferenceandinfactthecollectiveprocessit.MarxismistheemploymentofMarxist
idealswithinfilmstolookatsociety,itsorganizingprinciplesandtheireffectsonsocial
groups,characterizedasclasses.Itfocusesonhowcinemaeitherspreadsordivulges
theideologicalmechanismsthatrationalisethebourgeoisworldview.Ihavelearntthat
feministfilmtheoryisamovementcenturiesinthemakingthathasbeenderived
directlyfromwomenslivesanalysedandunderstoodwiththehelpoffeministtheories
andpoliticalreadings.InthisessayIwillexploreindepththehypotheticalconstructsof
psychoanalyticalfilmtheoryanditsproponentswithillustrationfromsomeofthe
greatestdirectorscharacterizedasAuteurs.
Psychoanalysishasbecomeoneofthemostwidelyappliedtheoreticalapproachestofilm
today.Thisisperhapsdowntothefactthatpsychoanalysisandcinemawerebothbornatthe
endofthenineteenthcentury.Theyshareacommonsocial,historicalandcultural
background,eachshapedbymodernism.Psychoanalyticalfilmtheoryisamethodthat
focusesonrevealingthewaysinwhichcinemaingeneralandspecificaspectsinfilmsare
shapedbytheunconscious.However,theunconsciouscanbeofthefilmmaker,thecharacters
ofthefilm,theaudienceorthediscourseofthegivenfilmitself.Atfirst,psychoanalytical
filmtheorycomparedfilmstosuchexpressionsoftheunconsciousasslipsofthetongue,
neuroticsymptomsanddreams.Justastheseexpressionswereconsideredtobeofapatients
unconscious,filmswereconsideredtobeexpressionsofafilmmakersunconscious.Another

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

approachtopsychoanalysingafilmistoconcentrateonthecharactersofaparticularfilmand
evaluatethebehavioralattributesanddialoguetointerpretthehintsoftheirunconscious.This
isahighlyscrutinisedanalysisascriticshaveclaimedforyearsthatfictionalcharactersare
notrealandhavenosenseofunconsciousorconscious.Theunconsciousoftheaudienceis
determinedbythebehavioranddialogueofsuchcharacterswithinafilmandhowitinterprets
theexpressionsofourunconscious.Weprojectourownfantasies,horrorsandfascinations
ontothesealteregos.Oncethesealteregoscarryoutanythingthatunavoidablylinksonto
thesefantasies,horrorsandfascinations,weareunconsciouslysatisfiedordissatisfied.
SigmundFreud,thefatherofpsychoanalysishasbecomeoneofthemostcontroversial
historicalfiguresinpastandpresentsocieties,heisregardedasoneofthemostinfluential
andcontroversialmindsofthe20thcentury.(4)Althoughhistheoryleavespeoplesomewhat
skeptical,theinfluencehistheoryhasoncinematodayisoverwhelming.Presidentofthefirst
PsychoanalyticFilmFestivalBernardoBertoluccistatesthatIfoundthatIhadinmycamera
anadditionallens,'hesaid,'whichwasnotKodak,notZeiss,butFreud.(5)Throughoutfilm
studiestoday,Freudianterminologyissofrequentlyusedithasalmostbecomepartofa
filmmakerslanguage.PsychoanalystAndreaSabadinnistatesthatbothfilmand
psychoanalysis'shareasimilarlanguage.'(6)Similarly,Hitchcockdescribedpsychoanalysts
asdreamdetectives.(7)Freuddevelopedhistheoryintoabrokendowncategorisationofthe
humanpsyche,dividingthethreeunconsciousforcesofthehumanmindtowhatsknownas
theid,theegoandthesuperego.
Theidactsasourunconsciousanditiswherewegetallofourinstinctsfrom.Theid
containsthepleasureprincipal,wherewehavetheneedtofulfillallofourdesires,whether
itissexualorprimal,nomatterwhattheconsequences.Ifwedonotfulfilltheseneeds,itcan
causeunconscioustension.Theegoistheconsciouspartofthemindanditdealswith
reality.Theegoactsupontheidsdesiresinthemostsociallyacceptableway.Finallythe
superegorepresentsoursenseofrightandwrong,ourmoralsanditsetsinmotionouridea
ofsocialacceptance.Therearetwocomponentstothesuperego;firstlywehavetheego
ideal.Thiscomponentholdstheideasofgoodbehaviorthathavebeeninstilledinusbyour
parentsorguardians.Thesecondcomponentistheconscious.Theconsciousrepresentsthe
ideaswebelievearebadandshouldnotdoduetobeingtoldthisbyourparentsofguardians.
Thisisthepartofourbrainthatmakesusrealise,thatifwecarryoutmorallywrongactions,
weexpecttobepunished.TheexplorationoftheOedipalcomplexisalsoakeyfactorin
psychoanalyticalfilmtheory.AstheOedipalcomplexwasinfactanimportantaspectofhow
Freudpsychoanalysedhispatients,itsimilarlyholdssuchimportanceofpsychoanalysisinga
film.TheOedipalcomplexistheunresolveddesireofachildforthesexualgratification
throughtheparentoftheoppositesex,inparticularthedesireofasonforhismother.This
includesfirstlytheidentificationwithandlater,hatredfortheparentofthesamesex,asthe
childconsidersthemasarival.EachoftheaboveaspectstoFreudspsychoanalysisisvital
contributionstotheanalysisofcinematodayandwillbeexploredthroughoutmydiscussion
inthisessay.
Althoughpsychoanalyticalfilmreadingisanextremelyremarkableapproachtowardscinema,
Imustemphasisethattheliteraluseofpsychoanalytictheoryasafilmplot,simplydoesnot
work.HitchcocksawardwinningSpellboundisaprimeexampleofthisdownfallin
filmmaking.Fromafilmstudentsperspective,Spellboundwasanextremelycaptivating
piece,howeverwhatitupholdswithclassicplottwists,itlacksinpsychoanalyticaldepth.The
plotspeaksfantasticallyforaclassicthriller,howeveritspeaksaimlesslyforthetrue
portrayalofpsychoanalyticalfilmtheory.Infact,usingpsychoanalyticaltheoryuponthis
filmleavesyouwithnoconclusion.Afilmwiththetheoryastheplotmayperhapsbe
Hitchcocksbiggestmistake.Asacinemagoer,filmssuchasSpellbounddonotwork,aswe

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

arefullyawaretheplotwillinvolvepsychoanalysis.Thissetsinmotionthatweknowwhatto
expect,especiallyinthesensethattherewillbesomeinvolvementwithpsychosisandmind
manipulation.Howeverfilmsthatintentionallyleavethepsychoanalysinguptotheaudience,
singtruetopsychoanalyticalfilmtheory.Forexample,IwilldiscussFightClub,Secret
WindowandInception.Thesefilmsdonotinvolvepsychoanalysisintheplot,sowhilst
viewingthemforthefirsttimewearetakenonajourneythroughthemindsofthecharacters,
sometimesunconsciously.Directorscanapplypsychoanalyticaltheorytotheirfilmswitha
mixoftruthsandillusions,allowingtheaudiencetofigureoutaconclusionastheplot
develops.Thisideaoffilmmakingispossiblythebestportrayalofpsychoanalyticalfilm
reading.
Aspreviouslyexploredthroughmygenrestudiesofcultclassics,DavidFinchersFight
Clubclearlyhasavarietyofplatformsfordiscussion.Oneofthemostintriguing,isthe
analysisoftheFreudianpsycheportrayedwithinthefilm,includingtheidtheegoandthe
superego.IwillalsobediscussinghowFincherportraysastrongsenseoftheOedipal
complexwithinFightClub.FightClubdepictsastoryofanextremelyaverageman,so
averagehehasnonameandisonlyreferredtoasthenarrator(EdwardNorton)inthe
credits.HislifeisplainandsimpleuntilhemeetsTylerDurden,whoiseverythingthe
narratorisnt.Tylerembodiesthelifeandsexappealthenarratorurges.Thetwistattheend
ofthefilmconcludesthatTylerandthenarratorareinfactthesameperson.Froma
psychoanalyticalpointofview,itisclearthatTylerportraysthesuppressedunconscious
wantsanddesiresofthenarratorandTylerrepresentsthenarratorsid.Throughoutthefilm
weseethenarratorsid,egoandsuperegocometolifeandhowTylerrepresentsevery
suppresseddesireofhis,whetheritbefromchildhoodoradulthood.
TheOedipalcomplexisstoredwithintheid,asthemalechildwantsthegratificationofhis
mother;healsowantstotakeplaceofhisfather.InFightClubwegettheslightestglimpse
astowhatthenarratorschildhoodwaslike.WegetasenseofabandonmentwhenTyler
statesthatourfatherswereourmodelsforGod.Ifourfathersbailed,whatdoesthattellyou
aboutGod.(8)Thisinfacttellsus,thathisfather,atsomepointinhislife,abandonedthe
narrator.Weknowthis,asTylerandthenarratorarethesameperson.Aswecanseesome
backgroundtothenarratorschildhood,wecanseehowhespeakshintsoftheOedipal
complex.InascenewherethenarratoraskstheTylerwhohewouldliketofightthemost,
Tyleranswerswithhisfather.Fromthis,wecanunderstandthatthenarratorhasharsh
feelingstowardshisfatherandhewasinfactaboyraisedbyawoman.Howherefersto
himselfasaboyemphasisestheOedipalstage.FreudstatesthatThelittleboynoticesthat
hisfatherstandsinhiswaywithhismother.Hisidentificationwithhisfatherthentakesona
hostilecoloring.(9)AsweareawarethatthenarratorandTylerarethesameperson,wecan
concludethatthenarratorsfeelingstowardshisfatherarestrictlyunconscious.Weknowthis
asTylerrepresentsthenarratorsid,theunconsciouspartofthemind.Fortheanalysisofthe
representationoftheego,itisimportantthatweunderstandFreudswords,Itisnoticeable
thattheegosometimescopiesthepersonwhoisnotlovedandsometimestheonewhois
loved.Itmustalsostrikeusthatinbothcasestheidentificationisapartialandextremely
limitedoneandonlyborrowsasingletraitfromthepersonwhoisitsobject.(10)Itisclear
thatthenarratorslowlypicksuptraitsofTylers,usingtheminhisconsciousandeveryday
life,provingFreudspointthattheegosometimescopiestheonewhoisloved.Itis
importanttonoticethatalthoughtheidandtheegoaremostlyportrayed,hissuperegoisstill
intact.InarobberyscenewhereTylerputsaguntoaworkershead,thenarratorbegshimto
stop,showingheisstillfullyawareofwhatismorallyrightandwrong.Froma

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

psychoanalyticalpointofview,IbelieveFinchersFightClubhasbuiltaplatformforthe
explorationoftheconsciousandunconsciousmindinanextremelyconcealedway.
TheFreudianterminologyandpsycheisfurtherexploredin David Koepps Secret Window.
The story depicts the life of fictional author Mort Rainey, after having witnessed his wife
cheating on him with another man. Rainey, who becomes distraught by the betrayal of his
wife, moves to a secluded lakeside home, living his life without motivation or purpose.
Instead of coping with his problems, Rainey chooses to suppress and deny them. This
therefore creates his alter ego, Shooter. Throughout the film we are given hints to the
importance of the ending. Rainey himself states that You know the only thing that matters is
the ending. Its the most important part of the story, the ending. And this one.. is very good.
This ones perfect. (11) At first, we believe Shooter is a real person and not the suppressed
desires of Rainey coming to life. Shooter arrives at Raineys door with the implication that
Rainey has plagiarised his story called Secret Window. As the plot develops, Shooter
threatens Rainey with force against his dog, home and wife. However, from a
psychoanalytical point of view, it is clear that Rainey created a split personality disorder, in
order to escape into a fantasy realm, where he did not have to deal with the problem of his
cheating ex-wife, but that he had to deal with the problem of Shooter. Rainey unconsciously
created an alter ego who carried out his suppressed desires that are hidden within the id. The
story written by Rainey called Secret Window, deals with the tale of a man who has been
betrayed by his wife, who murders her and buries her in his garden. Rainey had extreme
unconscious hostile feeling towards his ex-wife, therefore the suppressed desires of carrying
out this hostility came to life through his alter ego, Shooter. He used his alter ego Shooter to
carry out the plot of his story, which was ultimately his hidden desire all along.
As we can see, Shooter is the prime portrayal of Raineys id. The hints of Freudian theory
are valid to the development of this plot. Again from a psychoanalytical standpoint, the ego
is the reality principle, and Rainey carries out the ego when he lives his own day-to-day life.
It is portrayed when he reacts badly to his dog being killed by Shooter and when he fears he
needs help from Shooters threats and contacts a bodyguard. The superego is Raineys drive
to protect himself from Shooter as he acknowledges what Shooter is doing is wrong and
Rainey is morally aware. It is clear that the repression of behavior and thoughts as a response
to a traumatic experience can cause disastrous consequences, and I believe Koepp portrayed
this fantastically.
Not only do we see Freudian terminology and ideals so famously portrayed in cinema, but we
also can see a wide range of ideologies from Freuds successor Carl Jung. Similar to Freud,
Jungs work can be portrayed within film and has become a strong platform again for
psychoanalysing a film. His ideals are often referred to as Jungian. We can clearly see that
his work has influenced Christopher Nolans Inception, where the film is rich with both
implicit and explicit references to his work. As with all psychoanalysts, Jung was fascinated
with the subconscious mind and believed that it has powerful emotional processes that if it
were disturbed, distressful consequences would be carried out upon our conscious lives. To
protect us, the subconscious most often hides these forces behind cyphers, which most vividly
appear as dreams.
Inception tells the tale of Cobb (Leonardo DiCaprio) who steals ideas from the
subconscious of others by entering a dream state. He is the best in the business of extraction
but he has become a fugitive in his own home country and can no longer see his children. He
receives a job offer that could offer him his permanent freedom, however it is not to steal an
idea from the subconscious, it is to plant one and this is the skeptical task of inception that
only Cobb can pursue. Freud stated that dreams are theroyalroadtotheunconscious(12)
andthisistheideathatInception follows. Similarly,inInception,dreamsareawayof
openingandaccessingthesubconsciousofthedreamer,tothepointwheretheycanbeused
tostealsecrets.Thisdreaminvasionisextremelydifficult,primarilybecausethe

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

subconsciousmindattemptstodefendagainsttrespassers,psychoanalyticallythiswouldbea
defensemechanismandthedreamspaceneedstobeexploredandinterpretedbytheinvaders
togettothesecretitself.Thepeopleandplacesinthedreamsareoftenprojectionsfromthe
subconsciousofthedreamer.Inthefilm,Ariadne,thearchitectmustbuildthelayersof
dreamsasaplatformfortheinceptiontobecarriedout.Shemustbuildthemintheformof
mazesandthelabyrinthmazeisthecentralsymbolforthefilm.ThenameAriadnecomes
fromaGreeklegendwheresheleadsThesusoutofaMinotaursLabyrinth,andJungonce
referredtobeinglostinlifeaslosingtheAriadnethread.(13)
WecanseemoreJungianideals,asCobbmustinvadethedreamsofRobertFischertoplant
anideainhismind.Fischersfatherisdying,theownerofamultinationalcorporation,which
leavestherelationshipbetweenhimandhisfatherandthestateofthefamilycorporation
unresolved.ThisisarepresentationoftheArthuriangraillegend,theFisherKingandCarl
Jungwasalwaysextremelyinterestedinthistalethroughouthislife.Jungbelievedittobea
worthyrepresentationofthecollectiveunconsciousnesswherecommonpsychologicalideas
ofhumanityappearedastowhathecalledarchetypes.AnotherJungianhinttoInception
andanotherbasisofpsychoanalysingforthisfilmisthatAriadnegetsthejobofCobbs
architectbydrawingamandalastylemaze,whichisasymbolthatJungbelievedwasa
representationoftheunconsciousself.Toconclude,itisobviousChristopherNolancreated
thisthoughtprovokingfilmwithCarlJungsinfluences,idealsandhistoryinmind.
AsIhavediscussedthebasisofpsychoanalysingthefilmsmentionedabovethroughFreudian
andJungiantheory,Ifeelitisnecessarytomentionanauteurthatportraysthistheoryso
effortlesslywell.Inmyopinion,directorDavidLynchisanauteurwhodemonstratesthis
theorybeautifullyinhisbodyofwork.TheAuteurTheoryhasitsoriginsina1948articleby
AlexandreAstrucinthefilmmagazineCahiersduCinema.Howeverthisarticlesparked
muchcriticism,suchasthefactthatanyproduction,nomatterhowsmall,isacollaborative
effort,andtoraisethedirectorasthesoleroleofimportance,wastobelittletocontributionof
thoseservingotherkeyroles,suchasthecinematographer,actorsetc. In1962Andrew
SarrispublishedNotesontheAuteurTheoryin1962. 1
Inthesehedemandedamoredetailedexplanationofauteurtheory.Heproposedthethree
premisesonhowtospotanauteur.Thefirstisthetechnicalcompetenceofadirectorasa
criterionofvalue. Thesecondpremiseisthedistinguishablepersonalityofthedirectoras
acriterionofvalue.Adirectormustexhibitcertaincharacteristicsofstyle,which
serveashissignature. Thethirdandlastpointbroughtupistheinteriormeaningofafilm.
Interiormeaningisextrapolatedfromthetensionbetweenadirectorspersonalityandhis
material.ThisconceptionofinteriormeaningcomesclosetowhatAstrucdefinesasmiseen
scene,butnotquite.Thispremiseisvaguelyambiguousandineffable.Itisacombinationof
thisandthesecondpointthatisreferredtoasLynchianTRADEMARKS. DavidLynch
hasbeenmostnotablyreferredtoasifnotoneofthegreatestAuteuriststhenatleastoneof
themostoriginal.2HismostrecurrentthemesarehavinghisfilmsbasedinsmalltownUSA
locations,low/middlefrequencynoise,Darkandrottingenvironments,distortedcharacters,
Polarizationofcharacters(e.g.Madonna'svs.Whores),physicaldamagetotheskullorbrain,
dreamstoconnecttheplotandcloseupshotsofeyesInmanyofhispieceshismaincharacter
(especiallyinfilms)aremale,withfemalesbeingevil,Deathisfemale,theseductress,the
derangedwifeandeventoacertainextentthechildfeaturedinEraserhead.Lynchalso
showshismalecharacters(inmostproductions)generallyafraidofsexasitisshowntobe
eitherunsanitaryormorbid.

1 http://alexwinter.com/media/pdfs/andrew_sarris_notes_on_theauteur_theory_in_1962.pdf
2 Ibid

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett

Hehasbecomeanauteurduetohishorrificsurrealism,hisstrayfromanonlinearnarrative,
hisoftenuseofviolenceandhisabilitytomystifyaudiencesandcriticsalike.Ibelievehis
bestportrayalofpsychoanalyticfilmtheoryiswithinhisfilmsBlueVelvetandMulholland
Drive
Bywayofconclusion,IfeelthatIhavediscussedthetheoriesanddemonstratedthe
usefulnessofwiderfilmreadingsasaplatformforanalysisusingarangeoftextualand
intertextualreferencesfrommyownfilmographyandclassscreenings.Inparticular,Ibelieve
psychoanalyticalfilmtheoryhasbecomeoneofmostusedapparatussforfilmanalysisand
beyond,intodayssocietyanditisextremelyworthyofitsuse.IfeelIhavejustlyexplored
JungianandFreudiantheoriesandterminologyandhowfilmsandpeoplealikecreateegosto
suppressandexpressallourwants,needsanddesires.Iwouldliketoemphasisethatinour
busyandstressfullives,whilstwegotoviewfilmandwatchnumerousalteregosonscreen,
wemustrealisethatcinemaisthemostcommonandaccessibleformofescapism.Indeed,
cinemaisinfact,theultimatealterego.

Bibliography
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http://www.goodreads.com/quotes/67416filmasdreamfilmasmusicnoartpassesour
[Accessed12Jan.2016].
(2)TheGuardian,(2001).TheinfluenceofFreudonthemovies.[Online]Availableat:
http://www.theguardian.com/film/2001/jun/17/features.review[Accessed13Jan.2016].
(3)Filmstudies.yale.edu,(2016).Introduction|FilmandMediaStudies.[online]Availableat:
http://filmstudies.yale.edu[Accessed11Jan.2016].
(4)Bbc.co.uk,(2016).BBCHistorySigmundFreud.[online]Availableat:
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(5)TheGuardian,(2001).TheinfluenceofFreudonthemovies.[online]Availableat:
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(6)TheGuardian,(2001).TheinfluenceofFreudonthemovies.[Online]Availableat:
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(7)TheGuardian,(2001).TheinfluenceofFreudonthemovies.[Online]Availableat:
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(8)Imsdb.com,(2016).FightClubScriptatIMSDb.[Online]Availableat:
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(9)Freud,S.(1975).Grouppsychologyandtheanalysisoftheego.NewYork:Norton.
(10)Freud,S.(1975).Grouppsychologyandtheanalysisoftheego.NewYork:Norton.

HNCY1 SEM1 Unit11 (& 2) - Film Studies & Research 2016

Lecturer: Faustina Starrett
(11)Scriptorama.com,(2016).SecretWindowScripttranscriptfromthescreenplayand/or
JohnnyDeppmovie.[Online]Availableat:http://www.scriptorama.com/movie_scripts/s/secret
windowscripttranscriptdepp.html[Accessed15Jan.2016].
(12)PsychologyToday,(2016).FreudianExpress:Dreams,TheRoyalRoadtotheUnconscious.
[Online]Availableat:https://www.psychologytoday.com/blog/freudiansip/201101/freudian
expressdreamstheroyalroadtheunconscious[Accessed14Jan.2016].

(13)Lawson,T.(2008).CarlJung,Darwinofthemind.London:Karnac.
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AcinemawithoutwallsTimothyCorriganMoodlesources
WeirdsVilleUSA:theobsessiveuniverseofDavidLynchPaulWoods
WikipediaDavidLynch,AuteurTheory