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The Master in Lacanian Psychoanalytic Theory of the National University of Córdoba has its magazine. His name is LAPSO. Electronic, free, annual and bilingual, LAPSO publishes research articles and original works with a captivating visual display. LAPSO N ° 2 entitled "Dark Gods" gives an account of Jacques Lacan's anticipations regarding segregation and the role of psychoanalysis in civilization. In turn, he asks in his bet, who were the dark gods of yesteryear and who were today.

This article assumes that instinct proposes an expeditious solution for contemporary culture, homogenizing multiple manifestations from the protective intensity of the maternal and the irremissible loss of the sexual, to the unstoppable murderous yearning. Our hypothesis holds that this category is conformed as a “semiotic scaffolding” whose function would be to translate human irrationality. In dialogue with the semiologist Yuri Lotman and the philosopher Michel Foucault, we will say that artistic texts such as TV series will be a fertile ground for questioning how hypothetical instincts are reactivated, around a notion of “anomaly” and the complex mechanisms that ensure their domestication and control. We will analyze The Fall, narrative where the polyhedral construction of an instinct in the fictional figure of the serial killer does not flow in an isolated manner, since sexuality appears to conform a complex instinctual order. In this sense, the story captures that the problem of instinct recalls individual and collective identities, as well as regimes that sustain them. Based on this, instinct would be partially detached from its biological character, becoming semiotic category of analysis: textual operative that allows to attend to cognitive domains, and to show ethical aspects in a deterministic understanding of subjectivities on which each cultures inscribe meanings.

This article is part of an investigation about the representation of genocides in documentary film. On this occasion, we will concentrate on exposing some ethical problems that may arise in the representation of genocide in documentary films. Documentary theorists such as Brian Winston, Carl Plantinga, and Bill Nichols have set out two main axes around ethics and documentary: the duties of the filmmaker towards the spectator –in terms of truth-falsehood– and towards the subjects represented. The analysis of this last direction leads to coincide those investigations with the analysis of the genocide studies; that is, the analysis of the “human element”. This article, then, proposes a cross between the analysis of the perpetrator-victimbystander theorized in the context of the genocide studies with those perspectives that have problematized in ethical terms the representation of people in Documentary film. Along the way, we will not only seek to deepen it but also explore what other roles documentary film can establish in the representation of various genocide cases.

About El ciudadano ilustre and the mediatization of the author as a star figure and the phenomenon of the author’s importance more than the writer’s work. People want to be a fan. In addition, the article makes a brief explanation of the structuralism positions of literary criticism, which in the mid-twentieth century postulated the “death of the author” and the birth of the theory of reception, that is, the importance of the reader and interpretation much more than of authorship and intentionality of the author. However, the author was taking more and more prominence, although he does it outside the text. The author ceases to be a function within the text and becomes enormously important as a person of flesh and blood.

The text proposes to consider the affinity of cinema and psychoanalysis. Through the analysis of films like Heaven will wait or Salafistes, the author interprets that the active uptake of adolescents by movements like ISIS, would return them to the initial amorphous, the non-life, the link with reality would be erased. ISIS would subject these young people to a deadly seizure, revealing the impulse of seizure with an active purpose (that of killing) and a passive end (that of killing oneself) merging the places of executioner and victim. ISIS announces the cruelty in Hollywood mode from images that reflect a kind of affirmation, with tortures that lead youth to death. The author also reflects on the sublimation of violence and its consequences in the discourse and practice of psychoanalysis.

This study deals with the film Mommy (2014) directed by Xavier Dolan, through an analysis of content, using qualitative techniques, with the purpose of finding how are represented some terms of psychology: the attention deficit disorder with hyperactivity, antisocial and aggressive behaviors, the mother-child relationship, the comorbidity with affective disorders and the stereotypical representation of the psychiatric institution. This study is realised in order to determine if what these thematics transmit corresponds to some extent with reality. The findings show that after the film, there is a great work of documentation at the time of building the characters in a responsable and exhaustive manner.

The article is based on an analytic clinical of adolescents mobilizing in film sessions. Next, the themes of memory and recollection in their Freudian aspects are classically considered; as well as the links and distances between Freud, cinema and psychoanalysis. The rhetoric (in the sense of Yates and Arasse) is articulated with the figuration to propose a classical connection in the structuralist field (Barthes, Foucault) between speech and cinema. The author proposes a specific articulation between rhetoric, aesthetics and political engagement in the cinema. The resources of the structural analysis of the narratives lead to propose a model of the narrative formulas of the theme of the struggles. Finally a singular opening is proposed by mobilizing the expression of the eye to the camera and linking it to the concept of film analysis of the look at the camera (Vernet) to propose the design of the look by the camera. This one would be an original modality, specific of the adolescent processes, as the adolescent exposes himself to the image which “looks at him” and especially the article indicates that: This look by the camera is tied to the transfer.

Gus Van Sant’s cinema is full of characters who have been confronted with a traumatic event. It is difficult to ignore the recurrence of trauma in the filmmaker’s work, from the very first films to the last. In this work, we examine some modalities of narrative treatment through the exemplary case of Paranoid park to highlight the fact that Gus van Sant is less interested, from the point of view of the character, the trauma itself or his painful consequences, only to a possible overtaking of the event through its elaboration. This will bring out what this motif reveals about the filmmaker’s work, his approach to the image and the power it exerts on the viewer, and thus its very conception of the function of cinema.

Steve and Louis are tragic heroes of the present times, confronted with the “reality as it is”, this illness that poet Gérard De Nerval calls melancholy. Xavier Dolan translates the subjective depths of these contemporary heroes and it upsets us... But what agitates Steve and makes Louis silent? Dolan proposes to film these defense mechanisms against the violence of the world today: agitation or death, the cry or the silence, and the camera participates in these demonstrations, the square that Steve finally opens to breathe but which closes, inexorable, and the vagueness that often surrounds Louis’ gaze who will be absent forever. This world is not clear ... moreover we could bear this look on the darkness of the world today if it was not blurred in the manner of myopic gaze that has the advantage of being able to project on the world this that he can not find it?

Multiple objections frequently stated by psychoanalysts and film theorists prevent to support the analogy between cinema and dream. This analogy limits the observation of the most precise oneiric dimension of the film-work (Kuntzel), whose metamorphic mechanisms (Benjamin) share files with the dream without making the film an oneiric matter. In fact, contrary to the hypnotic tyranny of the film cultural industry, the film’s oneiric dimension decentralises the image that, disseminated according to its deviation between the interstices of the images, dislocates the uniformity of the image offered by the Dream Factory (Ehrenburg). The Chilean filmmaker Cristián Sanchez’s film Los deseos concebidos shows precisely this oneiric subversion that, as much by its diegesis as by its treatment of the images, by the images and among the images, resists to make of the film “only a dream”.