Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The author interprets the discomfort and anger that she felt when she saw the chronicle of the operation Dynamo, Dunkirk, from the fright generated through the music, the insistent plans about the wounded and the dead. An insult to these dead heroes. This type of film can have a pedagogical character, but it is more about enjoying an awful spectacle. The spectator witnesses a history of the past but leaves it in a passive position. The author also analyzes the degree of tolerance: there is acceptable violence and another that is not. It also distinguishes the productions that are directed to the destructive impulses of those that deal with releasing the spectator. In the case of this film, it is only about the inhumanity of blind destruction. Finally, he reflects on the relationship between cinema and art but also has a relationship with the production industry that seeks to dazzle and move viewers.

After having presented the circumstances of the shooting of “Mysteries of the soul” by Pabst, the author explains the hostile attitude of Freud towards this movie which is actually quite well done. Whatever the absence of interest or reservations Freud might have had for the most advanced forms of art of his time, his theory on the unconscious processus could fit quite perfectly to describe what the cinema invents image wise. Where are we today? In what way do the movies carry the traces of the end of the great collective fictions and violence in history? Psychoanalysis, semiotics and motion science could join to treat movies not only as the narrative art, but also as an art which will articulate in its grammar, inflicted wounds to the common imagination and the ability to dream.

The psychoanalytical perspective on cinema most frequently adopts either the logic of applied psychoanalysis or an ‘isomorphic’ stance. This limits the contribution that the encounter between cinema and psychoanalysis might have to offer if both fields were approached from a stance which respects the individual power and respective singularity. This paper presents a synthetic identification of what appears as essential in any research-based approach to this question, with an aim to making film analysis as fruitful as possible. Walter Benjamin was quick to recognise that psychoanalysis and cinema opened up new horizons in both seeing and listening, in ways that could not hitherto be seen or heard. He also realised that these two fields could be powerful in their complementarity. The language of cinema –when its true eloquence is recognised– enables us to depict the effects of the real in ways that no other material can. yet this paper argues that exploring harmonious connections between the gaze of psychoanalysis and that of cinema means that a ‘double focal point’ is created. Two focal points which, when they come together, bind the invisible with the visible - the invisible of unconscious stakes with the visible of the image in motion.

The present work seeks to think about the role played by fanaticism particularly in the musical field, in light of the contributions of Psychoanalysis of Lacanian orientation. From the reflections that the film “Gilda. I do not regret this love “, we try to arrive at some arguments that allow to give an account of the devotions that take place in this musical figure. The investigation about the origin of fanaticism, its etymology and meaning and the role it fulfills in adolescence, to be able to think about its use in extreme cases such as erotomania. The concepts of identification and identity will be in the text the conceptual knots from which to investigate the subject. On the other hand, the kinship that always linked fanaticism with religious ideas and currently with capitalist discourse, the market and consumption. It is intended to open the subject by introducing some of its possible effects, such as segregation: fanaticism does not admit the difference, although it exalts it, in such a way it constitutes a way of rejecting differences and an attempt to erase singularities. The work does not pretend to pathologize the practices of “fans”, but to open the wide range of which it is composed, as a way of thinking about the singular function that it fulfills in each subject, linked to its enjoyment and its symptom, highlighting them also as the keys of what is made refractory in the identifications.

Reality, experience, are of the order of the discontinuous, the fragmented. From these pieces of perception, the sequence of images-in-movement is used to organize a narrative, a script that disguises the horror of the gaze, the real behind the continuity. Imaginary or fantasy, which status should we give to these sequences? Playing with speed and with movement, the filmic production of David Lynch restores disarticulated fantasmatic series, referring to the original meaning of fantasm as an iconic image. On the other hand, Raul Ruiz seems to make rebuffs from the phantasmal images of Klossowsky, revealing the missing element in the set of empty and suspended icons we find in the “hypothesis of the stolen painting”. Lure or necessity, the construction of an image-movement as the basis of a narrative allows to integrate the experience, including that of trauma, deploying also instances of social recognition, an individual novel, collective myths, of a culture and a history. It is from this idea on the status of the iconic image in cinema, and its link to the fantasy and the civilizing tale, that we will analyze the absent character in Haneke’s Hidden (2005).

PrólogoI. EncuentrosII. ¿Quién fue Philip K. Dick?III. Chicago, marzo de 1966: GóticoIV. Principios de clínica psicoanalítica nodalV. París-Metz, septiembre de 1977: La cruzVI. Los tres estigmas de Philip K. DickVII. Metz-Lille, septiembre de 1977: Déjà vuVIII. Dick con Joyce: escrituras y mujeresIX. Lille-París, septiembre de 1977: La potencia del no-todo y el libroEpílogoApéndice 1: Egon SuperbApéndice 2: Joyce estaba conectado con VALISApéndice 3: Philip Dick en Metz, por Volny

This article is based on the film Hadewijch by Bruno Dumont (2009), which is inspired by a young woman whose pain of being pushes her to a fanatical passion until the last consequences. This work lies in the articulation of this film with the fanaticism phenomenon, in one of its versions, mysticism. It maintains the premise that speaking of fanaticism implies the question of the body and parts of three points: masochism, the feminine and the superego. The question is asked about the superego in all fanatical passions, and its relationship with feminine jouissance. In this way, mysticism is approached from the original masochism, thinking it in relation to the feminine of the superego that pushes to jouissance disproportionately. From a journey through these theoretical categories, we seek to answer what leads Hadewijch to such mystical fanaticism and how far this woman can go by a fanatical love for the other

In this article I analyze the theoretical proposal of Betty Friedan developed in her book The Feminine Mystique published in 1963 and half a century later, her analysis is still valid in our context. In addition to the author’s arguments, I expose some scenes and dialogues of Matthew Weiner’s Mad Men TV series (2007-2015) located temporarily in the 1960s in New York City, period that coincides with the Second Wave of feminism in the United States and the context where the analysis developed by Friedan influenced. In this TV series where the daily life of an advertising agency is shown, a large number of mentions can be seen of the claims promoted by the feminists of that decade and various situations in which women were located in a secondary location, as was also the case (and it happens) in society

The majority of Rithy Panh’s movies focus on the aftermath of the genocidal Khmer Rouge regime in Cambodia. The Missing Picture offers in 2013, a partially autobiographical approach, accessible to a wide audience. Rithy Panh uses clay figures, archival footage, and his narration to describe the atrocities Cambodia’s Khmer Rouge committed between 1975 and 1979. This movie allows to analyze the question of the construction of the subject facing a traumatic event. In a continuous loop, the narration drives the trauma’s matter from a scene to the other one. Working on the diversity of images leads the trauma in the cinematic material