2024 Author: Harry Day | [email protected]. Last modified: 2023-12-17 15:43
Cinema operates in many ways according to the same principles as the work of dreams. Dream language is filled with images that have hidden meanings.
Only a certain part of the cinema affects the viewer in the form of a narrative; the visual image and sound exert most of the influence. While words are understood consciously, images and sounds have a large amount of content that speaks to us only in the language of the unconscious. Words are the most distant human invention from things-as-they-are.
Unlike painting, in the act of contemplation of which it is possible to closely examine the details and analyze their influence, the images in the cinema, as well as the images of dreams, are presented briefly, and we are not able to stop the cinema and focus on a specific image. The speed with which we unfold images allows most of what we see to be perceived only at an unconscious level. It is impossible to focus on all the visual flow appearing on the screen at the same time. Especially if we are watching a picture of a talented director. We always have to neglect some part of what we see in order to focus on some other part. But what we are not able to see consciously, we still see unconsciously. This is a process that takes place for everyone without conscious processing. This is how the unconscious aspect of the imaginative work of cinema takes place.
Thus, the meaning conveyed through cinema is often as hidden as the meaning conveyed in a dream. Hence, sometimes people say: "It seems that there is nothing like that in this film, but I am not like that all day after watching it." Both cinema and dreams carry out their mental work, resorting to the encrypted language of the unconscious.
Another aspect that brings movie work and sleep work together is regression. Some degree of regression is present when watching movies, especially in dark theaters. Everything that the viewer can see and hear is controlled by the film. The viewer, to some extent, loses the feeling of his real (physical and mental) presence in the hall. Most people allow themselves to “put off distrust” or enter a state similar to the state of daydreaming. The ego weakens and more access to the unconscious opens up. We can say that the viewer is busy with the work of "film-vision".
Apparently, this is what Pedro Almodovar had in mind when he said at the Cannes Film Festival this year:
“This does not mean that I do not welcome new technologies and opportunities, but as long as I am alive, I will fight for the hypnotic influence of the big screen on the viewer. The viewer should bow before the big screen."
In addition to this, it must be said that the role of the viewer presupposes a certain amount of passivity, the viewer accepts what is shown to him, and additional pleasure is hidden in such a passive position. The fictional status of endless murders, catastrophes, sex crimes, which is often included in motion pictures, heightens pleasure by ensuring that contemplation never turns into action.
Just like in dreams, in the cinema there is an opportunity to master universal conflicts and traumatic complexes. At all times, people have looked in art for the possibility of solving problems. In this sense, the screen is a suitable container for the projection of personal unconscious anxieties and drives. During the study of the film, there is a study of oneself. The most successful films tend to deal with the viewer's repressed desires and fears, we see in the films reflections of identity problems, grief, fear of annihilation and narcissistic fears.
In the therapeutic process, the analysis of dreams or movies is a habitual process that rarely goes wrong, the reason for which is rhetorical weakness. Dreaming and cinematographic vision are associated with such a powerful force of the unconscious that consciousness is simply not able to express in words a dream or cinematic experience. In these cases, the most effective is the use of any other means and modal inputs for deciphering the messages of the unconscious: drawings, modeling, dance, work with the body, etc.
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