Practically the first image in the diegetic film is the arrogant Meynert, the man who knows it all, striding through a door. The last is Freud, finally passing through the cemetery gate, to stand with his hand on his father’s erect tombstone. The first and last images of the whole film make a bracketing statement of the image. These are the gloppy shapes that the camera penetrates as Huston voices over the image the theme of the film: Freud’s “journey into the unconscious.”
In this context, the film frame itself becomes an image for consciousness. Hence (as pointed out by Richard T. Jameson in his fine 1980 essay on Huston), a certain movement recurs in this film. Freud himself or other people or objects flow into the film frame or fall out of it, as when Cecily fails to walk and slumps to the floor after Breuer’s supposed “cure” or when Charcot’s male patient collapses, slipping down out of the frame.
Jung thought Freud was negative and incomplete with his theory on the unconscious; however he did agree with him on the model of unconscious (well-Documented)....
The article concludes by acknowledging flaws in psychoanalysis, but asserts the value that Freud and his theories have added to the field of psychology. Sigmund Freud was the psychologist responsible for forming and forwarding the first ideas in psychoanalysis.
Sigmund Freud dedicated his life to studying the mind and its endless features and he was able to test many theories and contribute vast amounts of knowledge to modern day psychology....
We can begin with the symbolism set out in Huston’s prologue: light and dark. This is the story of a man going into a dangerous, dark place. The unconscious is a darkness, “almost as black as hell itself.” In the early part of the movie, however, Huston concentrates this darkness on Freud: his dreams and his walks at night as he tries to puzzle out his findings. Darkness is associated with Freud’s unconscious.
Jung Works Cited Not Included Many philosophers, psychiatrists, and doctors have tried to explain the role of the unconscious, mostly through interpreting dreams; two who lead the way in the field of dream interpretation were Sigmund Freud and his most famous pupil, Carl Jung.
The essay was published posthumously, in 1942. Whether Huston and Sartre knew this essay or not, they succeeded in keeping the mystery prescribed by Freud—in part.
The lighting thus parallels the dual structure of the second half of the film. Once the preliminaries of Charcot and Meynert are over, the film concentrates on two parallel journeys into the unconscious. One is the treatment of Cecily, first by Breuer, then by Freud. The other is Freud’s self analysis.
II. Biography of Sigmund Freud Although he was born in the Czech Republic in 1856 and died in London in 1939, Sigmund Freud spent nearly 80 years of his life in Vienna....
Gradually, however, her dreams and flashbacks become darker, culminating in her actual visit to Red Tower Street (the red-light district frequented by her father). There she tries to commit suicide by jumping into the river—complete blackness. Freud prevents her, confesses his own guilt, and their next scene together takes place in the same ordinary lighting as earlier scenes with Martha or Breuer. It is as though Huston (or his cinematographer, Douglas Slocombe, worked out in the lighting Cecily’s transformation from unnaturally cheery denials and repressions through the gloom of Huston’s version of the unconscious to what Freud dryly promised his patients, “common unhappiness.” Here it is symbolized by the normal gray scale.
This paper will argue that Freud's assertion that religion is an illusion is correct because of it's blatantly traceable evolution through the history of the human civilization and psyche....
Freud’s father now gives him a watch that has been passed down from father to son. (Displacement.) Freud gets on board, but when the train whistle blows, he jumps nervously and drops the watch. We need no analyst to tell us the watch substitutes for his father as the object of his unconscious hostility, nor that the elderly gentleman who comments, “An unfortunate accident,” is also a father-substitute.
His name alone symbolizes the importance of his theories, and the name that comes to most people's heads when saying the word psychology is Sigmund Freud.