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Hors-champ. Vom psychoanalytischen Feld am Rand des Films


Binotto, Johannes (2009). Hors-champ. Vom psychoanalytischen Feld am Rand des Films. RISS. Zeitschrift für Psychoanalyse, 23(72/73):77-96.

Abstract

Statt die Handlung und die Figuren von Filmen psychoanalytisch zu deuten, ist es fruchtbarer in der Technik des Films nach Überschneidungen mit der Psychoanalyse zu suchen. Insbesondere der filmische Umgang mit dem Raum ausserhalb des Bildausschnittes weist Verwandtschaften auf mit Freuds und Lacans Überlegungen zur Position des Analytikers und zum Ort der Analyse. Gerade in dem, was der Film nicht, beziehungsweise nur als Grenze seiner Bilder zeigt, gelingt es ihm, die sperrige Wahrheit der Psychoanalyse wahrnehmbar zu machen. Die beiden hier untersuchten Meister solchen Grenzgängertums sind Michelangelo Antonioni und Douglas Sirk.

Whereas it were mostly the stories and characters of movies that are interpreted from a psychoanalytical point of view the much more interesting intersections between film and psychoanalysis are to be found in the technical aspects of moviemaking. Especially in its treatment of the non-visible Off-Space some movies are surprisingly akin to Freudian and Lacanian theory about the position of the analyst and the place of analysis. Exactly by not or only marginally showing a certain space, some movies make the eluding truth of analysis all the more perceptible. Two masters in such a staging of the invisible here to be examined are Michelangelo Antonioni and Douglas Sirk.

Statt die Handlung und die Figuren von Filmen psychoanalytisch zu deuten, ist es fruchtbarer in der Technik des Films nach Überschneidungen mit der Psychoanalyse zu suchen. Insbesondere der filmische Umgang mit dem Raum ausserhalb des Bildausschnittes weist Verwandtschaften auf mit Freuds und Lacans Überlegungen zur Position des Analytikers und zum Ort der Analyse. Gerade in dem, was der Film nicht, beziehungsweise nur als Grenze seiner Bilder zeigt, gelingt es ihm, die sperrige Wahrheit der Psychoanalyse wahrnehmbar zu machen. Die beiden hier untersuchten Meister solchen Grenzgängertums sind Michelangelo Antonioni und Douglas Sirk.

Whereas it were mostly the stories and characters of movies that are interpreted from a psychoanalytical point of view the much more interesting intersections between film and psychoanalysis are to be found in the technical aspects of moviemaking. Especially in its treatment of the non-visible Off-Space some movies are surprisingly akin to Freudian and Lacanian theory about the position of the analyst and the place of analysis. Exactly by not or only marginally showing a certain space, some movies make the eluding truth of analysis all the more perceptible. Two masters in such a staging of the invisible here to be examined are Michelangelo Antonioni and Douglas Sirk.

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Additional indexing

Item Type:Journal Article, refereed, original work
Communities & Collections:06 Faculty of Arts > English Department
Dewey Decimal Classification:820 English & Old English literatures
Language:German
Date:2009
Deposited On:15 Jul 2010 14:38
Last Modified:05 Apr 2016 14:11
Publisher:Turia + Kant
ISSN:1019-1976
ISBN:978-3-85132-572-0
Official URL:http://www.turia.at/reihe_riss.html
Permanent URL: http://doi.org/10.5167/uzh-34883

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