Psicanálise e Cinema: em busca de uma aproximação

• Autor(a) principal: Lemos, Moisés Fernandes
• Data de Publicação: 2014
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/3406
• topic: Cinema; Inconsciente; Linguagem; Psicanálise; Sonhos; Cinema; Dreams; Language; Psychoanalysis; Unconscious; CIENCIAS HUMANAS::EDUCACAO

Considering the challenging relationship between psychoanalysis and the cinema, both products from the same period although constituted as separate fields, this study intends to answer the following questions: How to produce an approach between psychoanalysis and the cinema field? What is the importance of the language in the intended approach? In view of the existing relationship between these fields and that the psychoanalytic theory has become a method of film analysis in the 1960s, what can be inferred from its relationship with the cinema? Therefore, this study overall goal this produce an approximation between psychoanalysis and the cinema field nowadays. It specifically aims to: a) analyze the importance of the language in the intended approach b) contemplate the psychoanalytic thinking of art c) ask what psychoanalytic theory as a method of film analysis infers by its relationship with the cinema; d) understand both the history and the evolution of the cinema, especially at times when there is an approximation to the history of psychoanalysis. It is a theoretical study of sociocultural processes, elapsed outside the analytic situation, which made use of Freud's both work and writings of his commentators, especially Lacan to articulate psychoanalysis and the cinema field nowadays. The movie Three Colors: Blue, by Krzysztof Kieslowski, is taken into analysis, as an example of the extended psychoanalysis as it proves itself suited to our research project. Because our object of study and the nature of our research are qualitative it is impossible to cover everything, considering that the fullness of the subject is inaccessible. However, this research enables us to think about the field in analysis making room for new questions. The study moves through an arduous journey, implying the recapture of a complex part of Freudian’s theory related to several changes in the course of his career. The Lacanian recapture of Freud's theory raises a number of questions, expanding the understanding of the topic. Finally, although the research is not conclusive, it allows us to better understand how the conceptual development of the interface psychoanalysis and the cinema. It is evident that there are gaps in the theory and open concepts, lacking research and reformulations.