The experiences of cinema and psychoanalysis. Wartime. The mechanical ear of the analyst. Bion dreaming, buffalo running.
For a film goer to talk about a film they just saw – to truly talk about it: to account for their own experience of a film could be as difficult, or more, as talking in a psychoanalytic session.
Insofar as having an experience means communicating it to others – to oneself, included – can the film goer who, for a reason to be determined, wants to talk about it use an analyst to work him through a film or does he need to be taught how to recount an experience?
« Is there an analyst the filmgoer can see, a class they can take? […]
Lire la suite ... >> “Teacher of Bad Film 1: Prologue”
Psychoanalysis is likened to voodoo, and seen as deriving from dreaming. The fright of the reader of psychoanalytical texts. Also: Masud Khan and the why of art.
I am not a psychoanalyst, nor am I seeing one. But I read psychoanalytical texts, and must ask myself why.
I mean I try to read mostly narratives of the analytical encounter and the analyst’s subsequent attempt to extract or abstract a number of still theoretical formulations that could be useful to him, and then to others. But I prefer it if the texts have an emotional significance, meaning that they are, at the end, tragically useless beyond what they describe. Freud’s “Dora” is a great narrative but is contested because the patient, at the end, does not return. […]
Lire la suite ... >> “The wish to sleep and the wish to wake up and the capacity to dream?”