Psihoanaliza in filmska teorija

Svenšek, Aleš (author), Dolar Bahovec, Eva (mentor)

Cilj diplomskega dela je boljše razumevanje psihoanalize v povezavi s filmom in filmsko teorijo. Diplomsko delo osvetljuje nekatere temeljne koncepte psihoanalize, v povezavi z filmsko umetnostjo ter filmsko teorijo in njenimi pomembnimi vejami. V uvodnem delu diplomskega dela na kratko opišem samo zgodovino filma, ter kako film dobi naziv sedma umetnost, izpostavim tudi nekaj zgodnjih ključnih filmskih teoretikov, ter nadalje opišem zaradi česar ima filmska umetnost poseben pomen za psihoanalizo. Jedro diplomskega dela, je sestavljeno iz naslednjih poglavij: psihoanaliza in filmska umetnost, psihoanalitična filmska teorija, feministična filmska teorija ter pogled pod drobnogledom. V poglavju psihoanaliza in filmska umetnost opišem skupne začetke psihoanalize in filmske umetnosti, omenjen je tudi »oče psihoanalize« Sigmund Freud in njegove teorije ki so imele velik vpliv na filmske študije. V naslednjem poglavju se osredotočim na psihoanalitično filmsko teorijo in njene pomembne avtorje kot sta na primer Christian Metz ter Laura Mulvey. Omenjen je članek »Imaginarni označevalec: psihoanaliza in film« (The Imaginary Signifier: Psychoanalysis and the Cinema) s strani Christiana Metza. V poglavju feministična filmska teorija so v ospredju spolne stereotipizacije žensk v medijih. Laura Mulvey je tukaj močno prispevala k feministični filmski teoriji s svojim odmevnim člankom z naslovom Vizualni užitek in pripovedni film (Visual Pleasure and Narrative Cinema). Govora je tudi o moškem pogledu. Nadalje v poglavju pogled pod drobnogledom še malce razširim obravnavano tematiko pogleda. Tukaj je govora o tem ali je ženska samo pasivna gledalka ter pogled postane žarišče zanimanja feministične filmske teorije. Laura Mulvey je bila tukaj deležna kritik, ker naj bi opredelila samo moški pogled ter spregledala vprašanje ženskega gledalstva. Na koncu dela opišem kakšna vprašanja sem si zastavil pred začetkom pisanja in kaj sem med pisanjem diplomskega dela spoznal. Naštejem tudi nekaj filmov ki so v meni spodbudili zanimanje za psihoanalizo in filmsko teorijo ter zaključim z izjavo Andrewa Sarrisa.

• Language: Slovenian
• Keywords: Psihoanaliza, film, filmska teorija, feministična filmska teorija, pogled.
• Work type: Bachelor thesis/paper
• Organization: FF - Faculty of Arts
• Year: 2022
• PID: 20.500.12556/RUL-140123
• COBISS.SI-ID: 133986051
• Publication date in RUL: 11.09.2022

Secondary language

• Language: English
• Title: Psychoanalysis and film theory

Abstract

The aim of the thesis is a better understanding of psychoanalysis in connection with film and film theory. The thesis sheds light on some fundamental concepts of psychoanalysis, in connection with film art and film theory and its important branches. In the introductory part of the diploma thesis, I briefly describe the history of film itself, and how film gets the title of the seventh art, I also point out some early key film theorists, and further describe why film art has a special significance for psychoanalysis. The core of the thesis consists of the following chapters: psychoanalysis and film art, psychoanalytic film theory, feminist film theory and the gaze under the microscope. In the chapter psychoanalysis and film art, I describe the common beginnings of psychoanalysis and film art, the "father of psychoanalysis" Sigmund Freud and his theories, which had a great influence on film studies, are also mentioned. In the next chapter, I focus on psychoanalytic film theory and its important authors, such as Christian Metz and Laura Mulvey. The article "The Imaginary Signifier: Psychoanalysis and the Cinema" by Christian Metz is mentioned. In the feminist film theory chapter, gender stereotyping of women in the media is in the foreground. Laura Mulvey has made a major contribution to feminist film theory here with her seminal article Visual Pleasure and Narrative Cinema. There is also talk about the male gaze. Further, in the chapter, the gaze under the microscope, I expand a little more on the subject of the view. Here we are talking about whether the woman is just a passive spectator and the gaze becomes the focus of interest of feminist film theory. Laura Mulvey was criticized here for defining only the male gaze and overlooking the issue of female viewership. At the end of the work, I describe what questions I asked myself before starting to write and what I learned while writing the thesis. I also list a few films that stimulated my interest in psychoanalysis and film theory and conclude with a statement by Andrew Sarris.

• Keywords: Psychoanalysis, film, film theory, feminist film theory, the gaze.