OVERVIEWJAN 30 to MAR 13Educational
Dates and Opening hoursJAN 30 to MAR 13, 2013
Cinema and psychoanalysis have emphasized the importance of the imaginary in the construction of subjectivity and have been investigated by various routes, in the forms of access to the reality that facilitate the images. from this confluence of interests, the film has applied several categories of psychoanalysis in the study of the filmic fact and analysis of its language, linking mechanisms of the film with the mechanisms of the unconscious.
along this course will try to treat various variants of established analogies between psychoanalysis and film, preferably those formulated since 1970, moment in which occurs a change of orientation in the analysis of the films as a result of the incorporation of the semiology and of structural linguistics in the field of the theory film. in this new stage of the film studios, psychoanalysis is inserted through the proposals of Lacan, who plays Freud theory from the categories of the linguistic structural studies on the construction of the subject and mechanisms of articulation of speech with the unconscious had special relevance in the theories of recent years that reviewed the epistemological Foundation of images and forms of registration or exclusion of the spectator in the text filmic.
the course program has been organized according to the issues and aspects which we considered most relevant for understanding the current debate about the fate of the images.
film and dream: the life of shadows.
A chien andalou (Luis Buñuel, 1928) and the glace à trois faces (Jean Epstein, 1928)
fantasies and Spectra: reflections and the desire to.
emergency illusion and reality: Federico Fellini (Le Notti di Cabiria, 1957; Otto e mezzo, 1963)
the disturbing strangeness: David Lynch (Mulholland Drive, 2001; Inland Empire, 2006)
the narrative point of view: failure and repair in the film classic.
Alfred Hitchcock, Orson Welles and Fritz Lang
journeys of the gaze: from classicism to the modernity. modalities of representation and forms of Assembly.
new realism of Roberto Rossellini according to André Bazin: Germania, anno zero, 1947; Stromboli, terra di Dio, 1949
registration of the look in the images: suture and range.
Dziga Vértov, Robert Bresson and Harun Farocki.
inquiries about the reality of the images: what is behind an image?
Blow up(Michelangelo Antonioni, 1966); Oh Uomo! (Yervan Gianikian and Angela Ricci Lucchi, 2004); TREN de sombras (José Luis Guerín, 1997); Histoire (s) du Cinéma(Jean-Luc Godard, 1988-1998)
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