By Janet Bergstrom
The "endless night" that movie idea and psychoanalysis percentage is the darkness that those disciplines face of their quest for the logics of intelligibility. This assortment emphasizes the historical past of idea to illustrate that movie thought needs to be written with a powerful experience of old recognition, interest, and archaeological craft. the amount brings jointly movie theorists and working towards psychoanalysts to inspire an trade of perspectives among disciplines that come upon one another all too hardly.
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Additional resources for Endless Night: Cinema and Psychoanalysis, Parallel Histories
The unconscious does not give itself to be seen and what analysis comes up with of it in the listening silences and resistances and transferences of the analytic situation does not figure (and if Freud retains confidence in the relation of psychoanalysis in language, he nevertheless has difficulty enough with his own case histories: half novels, half scientific papers, and in addition excessively full of the matter of dreams and Page 42 symptoms, something more). The woman on the cover of Sachs's Enigma of the Unconscious pamphlet puts her finger to her lips for silence but the image speaks loudly, presents the film image par excellence of the mystery of the unconscious as the mystery of the woman: what is the history of film in cinema's institution but that of ever-renewed versions of the always failed resolution of the sexual relation in her image, sheWomanas its idealized and impossible point of attainment, the phallic representation of the Other's enigma.
Hanns Sachs, Psychoanalyse: Rätsel des Unbewussten (Berlin: Lichtbild-Bühne, 1926). Courtesy Stiftung Deutsche Kinemathek. Page 29 Image not available. Figure 5. Sigmund Freud looking out his office window, Vienna, October 1928; © by Lynne Lehrman Weiner (all rights reserved). From the documentary film Sigmund Freud, His Family and Colleagues, 1928–1947, edited and produced by Lynne Lehrman Weiner and photographed by Philip R. D. Darstellung) of the terms of psychoanalysis; he gives no credit to Abraham's assurances that 9 means can be found to make them figurable (darstellbar).
Understanding of the desire at stake in any film analysis can be gained through consideration of what is envisaged as its end (aim and termination). A powerful idea taken over from psychoanalysis is interpretationwhat, Page 35 indeed, does the psychoanalyst do but look to reveal the meanings of dreams and symptoms and all the various manifestations through which the unconscious finds expression? In film analysis, the recourse to psychoanalysis as interpretative source has mostly worked illustratively, resolving things into the confirmation of a set of given themes, a repeatable psychoanalytic story duly repeated.
Endless Night: Cinema and Psychoanalysis, Parallel Histories by Janet Bergstrom