Structuring of the cinema shows similarity with the therapeutic setting. In the interest of the appropriate psychological effect both suspend awareness of the actual environment, to activate representations and unconscious relational experiences.
The camera obscura as a dark box is the cine camera , and the camera obscura as a dark hall is the cinema resulting in the illusion of extending the self, as the eye enters the field of vision.
From the phylogenetic and ontogenetic point of view the unconscious is mostly characterised by more ancient images. In communication psychoanalysis relies on verbalization while the film presents the audience with visualised space. In psychoanalysis visualisation becomes characteristic by the patient’s narrative appearing on the screen of imagination. With other words, the story can be shared in visual form in the analytic process. We assume that the feeling regulation function of the therapist is also visual.
The cinema and the psychoanalytic situation are connected by the reception of the film and the intersubjective aspects of the therapeutic process. During the process assimilation of the experiential world of the other is decisive in the receptive psychological configuration.
During the reception of the film the overt and covert desire to identify provides one of the therapeutic motivations. The similar nature of visual composition shows that such desire may come about in psychoanalysis as well. The process can be common motivational base that connects the viewer-receptive field and the analyst-receptive field. One of the specific motivations of psychoanalytic work can be the creative form of relating and attuning as they may be captured via the art of cinema.
Key words: film theory – psychoanalysis – representation – identification – imageryVissza az előzőre