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Psychoanalysis
Psychoanalysis Basics:
Psychoanalysis is a theory of the mind, development initially by Sigmund Freud, whose ideas are still greatly influential in the field. Developed in the late 19th and early 20th centuries, Freud aimed to explore the repressed or unconscious impulses and internal conflicts and how these effect our relationships/work life etc.
This theory used ideas such as free association, dream interpretation and analysis of resistance and transference to explore the unconscious. Freud however, focused mostly on resistance, transference, concepts of infantile sexuality and division of the psyche (Id, Ego and Superego). Freud believed that all human development is determined by early childhood events (The Oedipus Complex). He also suggests that, human behavior, experience and cognition are determined by irrational, unconscious drives/desires. The attempt to bring these drives into our consciousness are met with psychological resistance in the form of defense mechanisms. Causing an internal conflict between the conscious and the unconscious. This can lead to anxiety, depression or neurotic traits. Psychoanalysis aims to stop the effects of these conflicts by bringing them into the conscious mind.
(www.psychoanalysis.org.uk)
Jacques Lacan's 'Mirror Stage':
Jacques Lacan is a follower of Sigmund Freud and built upon his ideas of psychoanalysis, adapting some with his own ideas influenced by other theories such as structuralism.
Lacan points out, that 'we are born too soon', especially in comparison too the stage at which many animals are born. Therefore, we are born as incomplete broken individuals. He describes, what he calls, 'The Mirror Phase.' This is the stage at which a child begins to think of itself as 'I' in relation with an image that is begins to see as itself. This begins to develop the 'ego'. As the image is the opposite of the real (right being left etc), the child becomes aware of the fact that though this is oneself, it is also not the 'real'. Due to the unreality of the image, the child will adopt it as an 'other', separating the image from the reality of themselves, causing the image to became 'objectified'. It is at this moment that the child is fascinated by the image of itself, therefore beginning a a life-long human trait, of reflecting upon oneself, leading to the act of narcissism (in psychoanalytical terms, narcissism is described as 'a beloved view of ones self). Lacan states that 'the function of this Mirror Stage is too establish a relationship between an organism and its reality'. An intellectual relationship between their internal and external worlds.
(Lacan, Lionel Bailly)
(The Pocket Essentials: Film Studies, Andrew M. Butler)
Psychoanalytical Film Theory:
Psychoanalysis as an approach to cinema became most popular into the 1970s. Building upon the ideas of Freud and his followers, including Lacan. Is is useful for analysing the films characters as though they are real people or even analysing the directors personality and also examining cinema itself. The most notable psychoanalysts, withs regards to film theory would be Freud, Lacan and Mulvey (I will discuss Mulvey later in the post).
Fight Club
One of the most popular films to discuss when looking at it from a psychoanalytical point of view is David Fincher's, Fight Club (1999).
In Fight Club, we follow the unraveling life of the narrator (though rarely named directly, is pointed out to be called Jack), who fills his life with items out of an IKEA catalogue, as he attempts to cure his insomnia with self help groups he doesn't belong in. This is interrupted by Marla Singer, another 'fake' who attends groups she doesn't need to be in. He then meets Tyler Durden, who he lives with after a fire causes him to lose his apartment and his life spirals further and further out of control. Their 'Fight Club' turns in 'Project Mayhem' and soon we find that Tyler isn't as we first believe him to be.
One of most clear ideas presented through Fight Club is Freud's id, ego and superego. The 'id' being formed of unconscious desires is represented though the character of Tyler Durden. When we discover the Tyler is one half Jack's split personality, all the small clues fall into place (for example the spliced images of Tyler we see for a split second a couple of times in the first half of the film before we meet his character).We even hear Tyler say; 'I look like you wanna look, I f*** like you wanna f***, I am smart, capable and most importantly I am free in every way you are not'. Through this statement alone, we can see how the characters represents Jacks deep repressed desires. Tyler's actions are just as representative of this. He does everything he wishes to do without any thought of how it may affect other people. This is in complete contrast to the the narrator, Jack, who could be said to be representative of the ego. He ignores and represses his desires, for example, failing to take advantage of Marla when examining her for breast cancer. The two characters represent the extremes of the two areas of personality. One taking advantage of any desire he may have without a second thought, the other, not taking notice of any desire and simply pushing it deep into his unconscious. This causes the conflict that Freud discusses in his work. Finally, the representation of the superego take shape in many ways throughout Fight Club. Firstly, it is the self help groups, helping the narrator sleep, this then turns into the Fight Club, allowing him to release his aggression and regain his masculinity and finally, Project Mayhem. It is Project Mayhem that finally makes Jack realise what has been happening and soon finds out who Tyler Durden really is.
The character of Marla Singer also plays out Freudian theory. His ideas that females are born castrated are noticeable in her character. For example, she attends a testicular cancer self help group, surely this is obviously not a place she should be? and she even claims to have more right to being there than Jack, as she 'doesn't have balls'.
If we relate Jacques Lacan's Mirror Stage to the cinema, an idea developed by film theorist, Christian Metz, then we could also discuss how the relationship between Tyler Durden and Jack may also be representative of Lacan's Mirror Stage. Metz pointed out that whilst watching a film, particularly in the cinema on a big screen, we are watching quietly a representation of 'normal' people, however these people are an image that appear bigger, more intelligent, more attractive and more courageous than ourselves. So the cinema isn't reflecting a representation of us, but an image of who we think we'd like to be. When, as an infant, we first see our own image we are able to begin self reflection, thinking about who we want to be, at the time of first seeing ourselves we are perfect as we haven't had the time to reflect and criticise. In this case, Tyler Durden is that for Jack, he is a reflection of who Jack thinks he wants to be be, all the repressed desires he has accumulated have come together, the bravery, the masculinity all with a lack of conscience and seemingly little consequences in his own life.
Laura Mulvey:
One of the most important pieces of writing in psychoanalytical film theory is Mulvey's 'Visual Pleasure and Narrative cinema'. Mulvey incorporates much of lacanian theory into her own work. She begin with what is an 'Identificatory gaze' and argues that it more sadistic than just that. Meaning, even if we identify with a character, in order for a narrative to be driven, the audience feels a character needs to suffer (often this includes the hero) before the narrative can conclude. Bring in ideas of Todorov's narrative theory of equilibrium. Mulvey, suggests that there is a sense of discomfort when viewing woman on screen, this has elements of Freudian theory built in. Woman is castrated, therefore we are reminded of this when seeing women on screen. In the case of Fight Club, Marla is practically the only female representation, and we see her as a disruption in the life of Norton's character.
Mulvey points out three kind of look associated with the cinema: one being a diegetic look between the character within the film, an extradiegetic look which is the audiences watching the film from outside the world of the film and the look of the crew members filming the events. All of which she suggests to be masculine roles, 'The Male Gaze', since according to Freud's theory woman cannot become fetishists as they do fear castration and therefore do not need to use objects as a substitute phallus.
Brad Anderson's 2004, The Machinist, is another film that makes for discussion when looking at it from a psychoanalytical point of view.
As I have chosen to take my own psychoanalytical project through an experimental/surrealist approach, I have further my research into an area more closely related to this field. Most prominently I have looked at the films of Jan Svankmayer and The Brothers Quay to get some idea of how such theory can be applied to a more experimental film. These film makers also commonly make short films as well as feature lengths, this aids my own project as my film will be no more than 10 minutes, through viewing other short films, I will be able to gain some idea of how shorter films are structured.
The Brothers Quay 'In Absentia'
The Brothers Quay are most notable for their atmospheric, surrealist short films. This one in particular I find to be of particular interest due to its eerie, hunting feel, the music add to this feel. This film was inspired by an artist named Emma Hauck, in her thirties she was diagnosed with 'dementia preacox' (http://www.cinelogue.com/reviews/in-absentia), a form os schizophrenia which some years later led to her death. It was this inspiration that led me to choose this film as an influence on my own work. The way in which the brothers use aesthetics to explore this woman's emotions is fascinating. We are often shown extreme close-ups of objects, in which the filmmakers use light as a way of creating movement within the shot, for example the pencil sharpener (around 45secs in). The flickering light that is used in this shot creates a kind frenetic tension, possibly a representation of their thoughts on how Emma Hauck may have felt. The lighting in this film makes it like a dream, created by a shallow-depth of field and again perhaps commenting on Haucks' subconscious. In Absentia leaves you with something of a hunting feeling, unsure of how to understand and piece together the images, leaving you with a sense of ambiguity, added to be the purposeful avoidance of showing the subjects face. The repetition of shots, particularly the close-ups, may be an exploration of the repetitive nature of an imprisoned woman. (http://www.electricsheepmagazine.co.uk/reviews/2007/03/04/the-quay-brothers-the-short-films-1979-2003/) In my own films, I would like to experiment with such aesthetics in order to create an atmospheric piece, that uses strong visuals to explore a psychological matter.
Jan Svankmayer 'Food'
Jan Svankmayer is a Czechoslovak experimental film maker, known for his use of claymation and stop-motion animation combined with a mix of live-action. What drew me to his initially was through my research on The Brothers Quay, Skankmayer was supposedly a major influence at the beginning of there career. From there I began watching some of his films (short and feature length), I particularly liked his use of exaggerated non-diegetic sound. I felt that this gave the films something of a playful tone. Another point that leads me to the work of svankmayer is the way in which he can comment on serious matters (social and political most frequently) in a dark and often grotesque way as well as maintaining an element of comedy, even if at times is dark and uneasy comedy.
In the film below, 'Food' 1992, Svankmayer could be making some comment on consumerism and greed.
'I dont actually animate objects, I coerce the inner life out of them' - Jan Svankmayer
I have also incorporated some photography influence into my research, this gives me better knowledge of frame composition.
Francesca Woodman
Francesca Woodman (1958-1981) is American photographer, notable for her series of photographs (mostly using herself as a subject, though on occasion other female models are used), mostly taken in black and white and make great use of long exposure, creating blurred, ghostly images, often blending the subject with their surroundings or obscuring facial features.
In my piece, I would like to experiment with similar techniques to create the soft, ghostly images that Woodman achieves so well in her work. I am also fascinated with the themes that could be said to arise from her work. The fact that Woodman makes a pointed of obscuring faces and blurring subject with surrounding, this has had readings that suggest she Woodman was a feminist stating that the nature of the photographs are a statement on how woman constantly trying to hide and conceal their real selves.
For me, these images are more than that, one writer said her images are more than vanity, they are 'vanitas.' (http://www.journal-online.co.uk/article/7423-francesca-woodman). Perhaps, Woodman isn't photographing herself as a way of self-promotion but more as self-reflection. An acceptance of the insignificant part humans play in the world, we are no more important that the surroundings we live in, hence the constant blurring.
Lee Friedlander
Lee Friedlander is an American photographer, working primarily in the 1960's and 1970's. The collection of photographs I would like to look at are his series of 'self-portraits'. In his work Friedlander often broke the conventions of so called 'good' photographer. He experimented with unusual angles and often captured himself in one way or another. For example, one of his most famous images shows his shadow cast on the back of the woman that is the photographs subject. He often used shadows to get himself into his images but he also experimented with reflections and even directly taking photos of himself. This series of images makes a statement on the self-reflexiveness of people today, they are constantly seeing their own image and reflection on themselves no matter what they are doing. This has a string link with Lacans theory of the 'The mirror Stage'. Once we become aware of ourself as less than perfect, perfect is all we strive for and the fact that media influences and exaggerates this, it is unsurprising that so many people are constantly reflecting upon themselves and their own lives. By capturing some part of himself in every images, Friendlander suggests how easy it is to become obsessed with constantly evaluating and improving oneself because it is part of every action in everyday.
5 Minute Filmed Piece
Influences:
Quay Brothers
Jan Svankmajer
Lee Friedlander
Francesca Woodman
Maya Deren?
Two of these influences are photographers as opposed to film makers, by looking at their work I will be able to get a good idea of composition for each frame within my film. (these shots must be storyboarded)
Themes:
Self-portrait
defining self with material possessions
reflection of self
vanity etc
Main theorists:
Lacan
Mulvey (media etc) - expectations we feel we must meet with regards to ourselves, suggested through images of 'perfection' generated through media resources accessible on a daily basis.
Brain Storm of Ideas:
Claustrophobia - created through shooting only in interior spaces, maintaining fairly close up shots of specific detail within the film (i.e close up of hands as in Brothers Quay, In Absentia)
Create grainy, dark images with fast shutter speeds and high ISO.
Hypnotic, melancholy
Consider filming for over lay or split screen
Sound - exaggerated diegetic sound (Brothers Quay, Jan Svankmajer)
Lighting!
Equpiment:
Canon 600 (with magic lantern) - macro lens
Tripod
External recording device?
Props - mirror
sd card
additional lighting - torch/candle light extra
Film Making Process
After having planned out my film, I had decided on location that to film in however, when it came to the day to go and film (Thursday 3rd January) the location became unavailable. This caused a big problem, as i spent the next couple of hours searching for a new location in which to film. Thankfully, with help from a few people, I came across somewhere that would be suitable. I did have to gain permission (signed release forms available to see) to film in this location, however, after getting the release forms signed and he necessary visitor passes, filming went ahead as planned.
Photos below are off the filming process:
Final Piece: Vanitas
Evaluation
During this project I have developed my understanding of how film theories can influence the enjoyment of film. Take The Machinist for example, one of the films I analysed before beginning my creative project, many of the films themes became much more clear once I had applied psychoanalytical theory to it. This is the same for Fight Club, small clues that are placed throughout the film become more obvious. For me, this makes these particular films more enjoyable as they become more easily understood and you can explore the deeper meaning behind the visuals, without this they could come across as simply violent movies with seemingly no purpose. I would say this is the case for many films, once the reason behind there creation is explored you view them differently.
To begin this project I had to carry out some research into psychoanalysis having not studied it much in the past. I found that, as with many studies, there were vast amounts of essays and information that could be found. I tried to narrow my study to a few key theorists, Freud (of course), Lacan and Mulvey (Mulvey being key to the application of the theory onto film). By condensing my research I was able to gain deeper knowledge of a few key theories. As my creative ideas were building at the same time I narrowed this field further to Freud and Lacan, with Lacan as a main point of interest. I was interested in his ideas of on self-reflection and desire, which linked nicely with some of the main film-makers and photographers that I had chosen to look at. With this in mind I began to develop my creative ideas to begin planning my own experimental short film.
I used key words and themes that I’d noted during my research and analysis of the films I picked out to inspire my own. This then led me to think about how I would go about presenting these themes with regard to the technical aspects of the film, i.e. camera angles, framing, editing, mise-en-scene etc. I wanted to ensure that I successfully constructed meaning and atmosphere. For example, Lee Friendlander (photographer) cleverly frames and constructs his images so that he is in them, be that through shadow, reflection or directly. With this Friendlander comments on the self-reflection of people today, constantly seeking there own image in order to improve. This links us right into the Lacanian ‘Mirror Stage’ theory. This is the same in The Machinist, we are often giving images of Bale’s character, Trevor, looking into mirror, though in this case the are often split images, be that via a cracked mirror or otherwise. This offers suggestions of his split personality but on top of this we are given suggestion of self-improvement. I would suggest that Trevor’s need to improve, comes from the guilt he feels over his accidents and is seeking repentance.
I opted to use similar themes that are referenced in many of the works I have looked at but with particular reference to The Brothers Quay ‘In Absentia’ and the series of photographs by Francesca Woodman. The themes I felt I wanted to explore were that of self-reflection, the idea that we as humans are of no more importance than that of our surroundings and how these things can affect a state of mind. To successfully construct meaning in my own film, I storyboarded a number different shots that I felt would be useful in trying to convey these themes. I directly mimicked shots from ‘In Absentia’, this allowed me to experiment with angles etc that they Quay brothers used, developing my camera technique. This also referenced the filmmakers in my film, showing their influence. An example of when I did this would be the close up of the writing hand, though in my case I neglected to spot the finer detail. The subject in my piece has neatly polished finger nails, this is something I would change if I were to do the piece again. I wanted to maintain a gritty texture throughout my piece and it is the small detail such as this that can change the overall tone slightly.
The female subject that is used throughout is often placed next to a window or mirror, except when shot in close-ups or cut aways, this suggests my theme of self-reflection and is something that, as I mentioned previously, has been used in many films of the same theme. In reference to the lighting I used in my production, I kept it fairly low. By using the small candle lights combined with increasing the speed of some of my footage, I managed to create a quick flickering effect, again this is technique I took from viewing ‘In Absentia’. I used this technique to continue the exploration of a frantic state of mind caused by the idea of continuously seeking perfection. This freneticism is something that I wanted to continue through the film, I found the track I had selected for my film added to this tone. By knowing what track I wanted early on in my production I was able to edit my film to this, I feel this worked to a good effect as with each beat on the track comes a new image, this is particularly effective as we reach the climax of the track. One thing that did cause issues during the editing process was the length of the piece of music, as it reached nearly 8 minutes and I had a lot of cuts, I had to go a shoot additional footage to prevent my film from becoming too repetitive, I still feel slightly more was needed, however, the overall effect turned out well.
I have used many images of nature, plants, insects etc, many of these images suggests decay and death, it is these images that I chose to use in order to show a link between humans and other natural life. I used overlays to create an over-exposed, ghost-like appearance of the female subject (taking strong influence from Woodman for this). The over-lays also create the effect of the subject coming out of herself, which suggests themes of death. The idea of decay is added to by the close-ups of body parts (hands, feet neck etc) often covered in dirt. By using these techniques and images and cutting from one to another, I wanted to make the suggestion that one is no better than the other, all natural life ends the same way.
Should I continue on with this project, I would be very interested in deepening my knowledge of psychoanalytical film theory. With regard to my own film, creating a series of short films such as this exploring the different ways in which Lacan’s theory of The Mirror Stage and self-perfection has become something of a social norm and how this can effect a state of mind.
(www.psychoanalysis.org.uk)
Jacques Lacan's 'Mirror Stage':
Jacques Lacan is a follower of Sigmund Freud and built upon his ideas of psychoanalysis, adapting some with his own ideas influenced by other theories such as structuralism.
Lacan points out, that 'we are born too soon', especially in comparison too the stage at which many animals are born. Therefore, we are born as incomplete broken individuals. He describes, what he calls, 'The Mirror Phase.' This is the stage at which a child begins to think of itself as 'I' in relation with an image that is begins to see as itself. This begins to develop the 'ego'. As the image is the opposite of the real (right being left etc), the child becomes aware of the fact that though this is oneself, it is also not the 'real'. Due to the unreality of the image, the child will adopt it as an 'other', separating the image from the reality of themselves, causing the image to became 'objectified'. It is at this moment that the child is fascinated by the image of itself, therefore beginning a a life-long human trait, of reflecting upon oneself, leading to the act of narcissism (in psychoanalytical terms, narcissism is described as 'a beloved view of ones self). Lacan states that 'the function of this Mirror Stage is too establish a relationship between an organism and its reality'. An intellectual relationship between their internal and external worlds.
(Lacan, Lionel Bailly)
(The Pocket Essentials: Film Studies, Andrew M. Butler)
Psychoanalytical Film Theory:
Psychoanalysis as an approach to cinema became most popular into the 1970s. Building upon the ideas of Freud and his followers, including Lacan. Is is useful for analysing the films characters as though they are real people or even analysing the directors personality and also examining cinema itself. The most notable psychoanalysts, withs regards to film theory would be Freud, Lacan and Mulvey (I will discuss Mulvey later in the post).
Fight Club
One of the most popular films to discuss when looking at it from a psychoanalytical point of view is David Fincher's, Fight Club (1999).
In Fight Club, we follow the unraveling life of the narrator (though rarely named directly, is pointed out to be called Jack), who fills his life with items out of an IKEA catalogue, as he attempts to cure his insomnia with self help groups he doesn't belong in. This is interrupted by Marla Singer, another 'fake' who attends groups she doesn't need to be in. He then meets Tyler Durden, who he lives with after a fire causes him to lose his apartment and his life spirals further and further out of control. Their 'Fight Club' turns in 'Project Mayhem' and soon we find that Tyler isn't as we first believe him to be.
One of most clear ideas presented through Fight Club is Freud's id, ego and superego. The 'id' being formed of unconscious desires is represented though the character of Tyler Durden. When we discover the Tyler is one half Jack's split personality, all the small clues fall into place (for example the spliced images of Tyler we see for a split second a couple of times in the first half of the film before we meet his character).We even hear Tyler say; 'I look like you wanna look, I f*** like you wanna f***, I am smart, capable and most importantly I am free in every way you are not'. Through this statement alone, we can see how the characters represents Jacks deep repressed desires. Tyler's actions are just as representative of this. He does everything he wishes to do without any thought of how it may affect other people. This is in complete contrast to the the narrator, Jack, who could be said to be representative of the ego. He ignores and represses his desires, for example, failing to take advantage of Marla when examining her for breast cancer. The two characters represent the extremes of the two areas of personality. One taking advantage of any desire he may have without a second thought, the other, not taking notice of any desire and simply pushing it deep into his unconscious. This causes the conflict that Freud discusses in his work. Finally, the representation of the superego take shape in many ways throughout Fight Club. Firstly, it is the self help groups, helping the narrator sleep, this then turns into the Fight Club, allowing him to release his aggression and regain his masculinity and finally, Project Mayhem. It is Project Mayhem that finally makes Jack realise what has been happening and soon finds out who Tyler Durden really is.
The character of Marla Singer also plays out Freudian theory. His ideas that females are born castrated are noticeable in her character. For example, she attends a testicular cancer self help group, surely this is obviously not a place she should be? and she even claims to have more right to being there than Jack, as she 'doesn't have balls'.
If we relate Jacques Lacan's Mirror Stage to the cinema, an idea developed by film theorist, Christian Metz, then we could also discuss how the relationship between Tyler Durden and Jack may also be representative of Lacan's Mirror Stage. Metz pointed out that whilst watching a film, particularly in the cinema on a big screen, we are watching quietly a representation of 'normal' people, however these people are an image that appear bigger, more intelligent, more attractive and more courageous than ourselves. So the cinema isn't reflecting a representation of us, but an image of who we think we'd like to be. When, as an infant, we first see our own image we are able to begin self reflection, thinking about who we want to be, at the time of first seeing ourselves we are perfect as we haven't had the time to reflect and criticise. In this case, Tyler Durden is that for Jack, he is a reflection of who Jack thinks he wants to be be, all the repressed desires he has accumulated have come together, the bravery, the masculinity all with a lack of conscience and seemingly little consequences in his own life.
Laura Mulvey:
One of the most important pieces of writing in psychoanalytical film theory is Mulvey's 'Visual Pleasure and Narrative cinema'. Mulvey incorporates much of lacanian theory into her own work. She begin with what is an 'Identificatory gaze' and argues that it more sadistic than just that. Meaning, even if we identify with a character, in order for a narrative to be driven, the audience feels a character needs to suffer (often this includes the hero) before the narrative can conclude. Bring in ideas of Todorov's narrative theory of equilibrium. Mulvey, suggests that there is a sense of discomfort when viewing woman on screen, this has elements of Freudian theory built in. Woman is castrated, therefore we are reminded of this when seeing women on screen. In the case of Fight Club, Marla is practically the only female representation, and we see her as a disruption in the life of Norton's character.
Mulvey points out three kind of look associated with the cinema: one being a diegetic look between the character within the film, an extradiegetic look which is the audiences watching the film from outside the world of the film and the look of the crew members filming the events. All of which she suggests to be masculine roles, 'The Male Gaze', since according to Freud's theory woman cannot become fetishists as they do fear castration and therefore do not need to use objects as a substitute phallus.
Brad Anderson's 2004, The Machinist, is another film that makes for discussion when looking at it from a psychoanalytical point of view.
The Machinist
In The Machinist we follow the story of Trevor Resnik’s (christian bale) break down. Early on in the film we discover that he suffers from severe insomnia, this sparks ideas of mental health issues and also relates us back to the film I have previously spoken about, Fight Club. We become aware of Resnik’s issue due to his sallow look, which other characters continuously mention. Already considered as something of an outsider in his workplace, Bale’s character is pushed further away from his colleagues when he causes a serious accident in which another workman loses his arm. The accident occurs as Resnik’s concentration is set on the character of Ivan as opposed to the heavy machinery which he should be handling. This pushes Bales character int further distress, his insomnia is intensified due to the guilt he feels over the accident. Not helped by the lack of understanding shown by his colleagues. We soon discover than nobody other than Resnick have any idea of who Ivan is, leading us as the audience to question the reality of Ivan, especially when considered in conjunction with Resnik’s troubling issues.
We soon begin to see just how tormenting Ivan is to Resnik, recurring motifs obsessively appear to him. His car, a photograph, cigarette lighter etc. This causes serious paranoia, particularly as no one else believes in the existence of Ivan. An additional character, Stevie, seems to be the only place that Resnik finds any peace and comfort. Which in fact causes him to be tipped over the edge, when paranoid jealously over Ivan and Stevie’s supposed relationship hits him.
In spite of all his troubles, Resnik attempts a relationship with Maria and her son Nicholas. During the course of this relationship, the three of them take a trip to a theme park, where he takes nicholas on a funhouse ride, this turns into a horrific experience for both characters as Trevor sees many flashing disturbing images, the flashing in turn sparks an epileptic fit for Nicholas. A series of similar events spin Resnik’s sanity out of control, leading to an attempt to kill Ivan which confuses Resnik even more as the body disappears when he tries to dispose of it. As we reach the climax of the film, flash back images begin to play out a new narrative which explains the unusual series of events. As we see, Resnik had accidentally run over a young boy, closely resembling of Nicholas, soon the pieces fit together and we realise that the guilt of this accident is what caused the initial insomnia, and as his insomnia took affect in day to day life, his mind created the character of Ivan as a way to re-place his guilt.
In a similar way to the character of Jack in Fight Club, we have the emaciated male suffering from insomnia that leads to a form of schizophrenia. In this case however, the insomnia stems from a guilty conscience. If we use Frued’s theory of id, ego and super-ego here, we can label each aspect. Ivan would clearly be the Resnik’s ‘id’. This is said to be the repressed part of the personality, hence coming out in a stressed situation. The id is said to be primal, instinctive aspect of the personality, expressing emotions and carrying out actions without thought that the ‘ego’, in that case, Trevor, wouldn’t necessarily do. It is the internal fight between id and ego and that creates the split, the id fighting to unleash unconscious desires, while the ego fights to rationalise and moralise any actions. The lack of sleep brought on by his guilty conscience weaken the ego, offering more strength for the id to come through, hence the appearance of Ivan.
My reading of the film would suggest the relationship between Trevor, Marie and Nicholas is playing out the role of the superego. He uses this fictional relationship as a possible source of repentance. His kindness towards the two character, Nicholas in particular somehow made up for his earlier actions. Perhaps he felt this would somehow cure his guilt and therefore cure his insomnia. However, we also must address the character of Stevie, perhaps she is the superego. We can clearly see that she provides comfort and warmth for his character, on occasion she tried to help and advise him suggesting she plays out some kind of moral role for Trevor’s character.
From a personal point of view, as much as I felt this was brilliantly made and cleverly constructed film I found it somewhat difficult to watch. Not in the sense that it was too complicated or gory in any way, but in the way the camera work and editing forced you into the position of Trevor, his fear and worry is passed onto the audience. That is not to say this is a bad thing, in fact I feel it adds to whole experience of the film. Cleverly hiding clues within narrative that you would not noticed until reaching the end.
As I have chosen to take my own psychoanalytical project through an experimental/surrealist approach, I have further my research into an area more closely related to this field. Most prominently I have looked at the films of Jan Svankmayer and The Brothers Quay to get some idea of how such theory can be applied to a more experimental film. These film makers also commonly make short films as well as feature lengths, this aids my own project as my film will be no more than 10 minutes, through viewing other short films, I will be able to gain some idea of how shorter films are structured.
The Brothers Quay 'In Absentia'
The Brothers Quay are most notable for their atmospheric, surrealist short films. This one in particular I find to be of particular interest due to its eerie, hunting feel, the music add to this feel. This film was inspired by an artist named Emma Hauck, in her thirties she was diagnosed with 'dementia preacox' (http://www.cinelogue.com/reviews/in-absentia), a form os schizophrenia which some years later led to her death. It was this inspiration that led me to choose this film as an influence on my own work. The way in which the brothers use aesthetics to explore this woman's emotions is fascinating. We are often shown extreme close-ups of objects, in which the filmmakers use light as a way of creating movement within the shot, for example the pencil sharpener (around 45secs in). The flickering light that is used in this shot creates a kind frenetic tension, possibly a representation of their thoughts on how Emma Hauck may have felt. The lighting in this film makes it like a dream, created by a shallow-depth of field and again perhaps commenting on Haucks' subconscious. In Absentia leaves you with something of a hunting feeling, unsure of how to understand and piece together the images, leaving you with a sense of ambiguity, added to be the purposeful avoidance of showing the subjects face. The repetition of shots, particularly the close-ups, may be an exploration of the repetitive nature of an imprisoned woman. (http://www.electricsheepmagazine.co.uk/reviews/2007/03/04/the-quay-brothers-the-short-films-1979-2003/) In my own films, I would like to experiment with such aesthetics in order to create an atmospheric piece, that uses strong visuals to explore a psychological matter.
Jan Svankmayer 'Food'
Jan Svankmayer is a Czechoslovak experimental film maker, known for his use of claymation and stop-motion animation combined with a mix of live-action. What drew me to his initially was through my research on The Brothers Quay, Skankmayer was supposedly a major influence at the beginning of there career. From there I began watching some of his films (short and feature length), I particularly liked his use of exaggerated non-diegetic sound. I felt that this gave the films something of a playful tone. Another point that leads me to the work of svankmayer is the way in which he can comment on serious matters (social and political most frequently) in a dark and often grotesque way as well as maintaining an element of comedy, even if at times is dark and uneasy comedy.
In the film below, 'Food' 1992, Svankmayer could be making some comment on consumerism and greed.
'I dont actually animate objects, I coerce the inner life out of them' - Jan Svankmayer
I have also incorporated some photography influence into my research, this gives me better knowledge of frame composition.
Francesca Woodman
Francesca Woodman (1958-1981) is American photographer, notable for her series of photographs (mostly using herself as a subject, though on occasion other female models are used), mostly taken in black and white and make great use of long exposure, creating blurred, ghostly images, often blending the subject with their surroundings or obscuring facial features.
In my piece, I would like to experiment with similar techniques to create the soft, ghostly images that Woodman achieves so well in her work. I am also fascinated with the themes that could be said to arise from her work. The fact that Woodman makes a pointed of obscuring faces and blurring subject with surrounding, this has had readings that suggest she Woodman was a feminist stating that the nature of the photographs are a statement on how woman constantly trying to hide and conceal their real selves.
For me, these images are more than that, one writer said her images are more than vanity, they are 'vanitas.' (http://www.journal-online.co.uk/article/7423-francesca-woodman). Perhaps, Woodman isn't photographing herself as a way of self-promotion but more as self-reflection. An acceptance of the insignificant part humans play in the world, we are no more important that the surroundings we live in, hence the constant blurring.
Lee Friedlander
Lee Friedlander is an American photographer, working primarily in the 1960's and 1970's. The collection of photographs I would like to look at are his series of 'self-portraits'. In his work Friedlander often broke the conventions of so called 'good' photographer. He experimented with unusual angles and often captured himself in one way or another. For example, one of his most famous images shows his shadow cast on the back of the woman that is the photographs subject. He often used shadows to get himself into his images but he also experimented with reflections and even directly taking photos of himself. This series of images makes a statement on the self-reflexiveness of people today, they are constantly seeing their own image and reflection on themselves no matter what they are doing. This has a string link with Lacans theory of the 'The mirror Stage'. Once we become aware of ourself as less than perfect, perfect is all we strive for and the fact that media influences and exaggerates this, it is unsurprising that so many people are constantly reflecting upon themselves and their own lives. By capturing some part of himself in every images, Friendlander suggests how easy it is to become obsessed with constantly evaluating and improving oneself because it is part of every action in everyday.
5 Minute Filmed Piece
Influences:
Quay Brothers
Jan Svankmajer
Lee Friedlander
Francesca Woodman
Maya Deren?
Two of these influences are photographers as opposed to film makers, by looking at their work I will be able to get a good idea of composition for each frame within my film. (these shots must be storyboarded)
Themes:
Self-portrait
defining self with material possessions
reflection of self
vanity etc
Main theorists:
Lacan
Mulvey (media etc) - expectations we feel we must meet with regards to ourselves, suggested through images of 'perfection' generated through media resources accessible on a daily basis.
Brain Storm of Ideas:
Claustrophobia - created through shooting only in interior spaces, maintaining fairly close up shots of specific detail within the film (i.e close up of hands as in Brothers Quay, In Absentia)
Create grainy, dark images with fast shutter speeds and high ISO.
Hypnotic, melancholy
Consider filming for over lay or split screen
Sound - exaggerated diegetic sound (Brothers Quay, Jan Svankmajer)
Lighting!
Equpiment:
Canon 600 (with magic lantern) - macro lens
Tripod
External recording device?
Props - mirror
sd card
additional lighting - torch/candle light extra
Film Making Process
After having planned out my film, I had decided on location that to film in however, when it came to the day to go and film (Thursday 3rd January) the location became unavailable. This caused a big problem, as i spent the next couple of hours searching for a new location in which to film. Thankfully, with help from a few people, I came across somewhere that would be suitable. I did have to gain permission (signed release forms available to see) to film in this location, however, after getting the release forms signed and he necessary visitor passes, filming went ahead as planned.
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| Picture of the visitor passes we were required to wear. |
Photos below are off the filming process:
Final Piece: Vanitas
Evaluation
To begin this project I had to carry out some research into psychoanalysis having not studied it much in the past. I found that, as with many studies, there were vast amounts of essays and information that could be found. I tried to narrow my study to a few key theorists, Freud (of course), Lacan and Mulvey (Mulvey being key to the application of the theory onto film). By condensing my research I was able to gain deeper knowledge of a few key theories. As my creative ideas were building at the same time I narrowed this field further to Freud and Lacan, with Lacan as a main point of interest. I was interested in his ideas of on self-reflection and desire, which linked nicely with some of the main film-makers and photographers that I had chosen to look at. With this in mind I began to develop my creative ideas to begin planning my own experimental short film.
I used key words and themes that I’d noted during my research and analysis of the films I picked out to inspire my own. This then led me to think about how I would go about presenting these themes with regard to the technical aspects of the film, i.e. camera angles, framing, editing, mise-en-scene etc. I wanted to ensure that I successfully constructed meaning and atmosphere. For example, Lee Friendlander (photographer) cleverly frames and constructs his images so that he is in them, be that through shadow, reflection or directly. With this Friendlander comments on the self-reflection of people today, constantly seeking there own image in order to improve. This links us right into the Lacanian ‘Mirror Stage’ theory. This is the same in The Machinist, we are often giving images of Bale’s character, Trevor, looking into mirror, though in this case the are often split images, be that via a cracked mirror or otherwise. This offers suggestions of his split personality but on top of this we are given suggestion of self-improvement. I would suggest that Trevor’s need to improve, comes from the guilt he feels over his accidents and is seeking repentance.
I opted to use similar themes that are referenced in many of the works I have looked at but with particular reference to The Brothers Quay ‘In Absentia’ and the series of photographs by Francesca Woodman. The themes I felt I wanted to explore were that of self-reflection, the idea that we as humans are of no more importance than that of our surroundings and how these things can affect a state of mind. To successfully construct meaning in my own film, I storyboarded a number different shots that I felt would be useful in trying to convey these themes. I directly mimicked shots from ‘In Absentia’, this allowed me to experiment with angles etc that they Quay brothers used, developing my camera technique. This also referenced the filmmakers in my film, showing their influence. An example of when I did this would be the close up of the writing hand, though in my case I neglected to spot the finer detail. The subject in my piece has neatly polished finger nails, this is something I would change if I were to do the piece again. I wanted to maintain a gritty texture throughout my piece and it is the small detail such as this that can change the overall tone slightly.
The female subject that is used throughout is often placed next to a window or mirror, except when shot in close-ups or cut aways, this suggests my theme of self-reflection and is something that, as I mentioned previously, has been used in many films of the same theme. In reference to the lighting I used in my production, I kept it fairly low. By using the small candle lights combined with increasing the speed of some of my footage, I managed to create a quick flickering effect, again this is technique I took from viewing ‘In Absentia’. I used this technique to continue the exploration of a frantic state of mind caused by the idea of continuously seeking perfection. This freneticism is something that I wanted to continue through the film, I found the track I had selected for my film added to this tone. By knowing what track I wanted early on in my production I was able to edit my film to this, I feel this worked to a good effect as with each beat on the track comes a new image, this is particularly effective as we reach the climax of the track. One thing that did cause issues during the editing process was the length of the piece of music, as it reached nearly 8 minutes and I had a lot of cuts, I had to go a shoot additional footage to prevent my film from becoming too repetitive, I still feel slightly more was needed, however, the overall effect turned out well.
I have used many images of nature, plants, insects etc, many of these images suggests decay and death, it is these images that I chose to use in order to show a link between humans and other natural life. I used overlays to create an over-exposed, ghost-like appearance of the female subject (taking strong influence from Woodman for this). The over-lays also create the effect of the subject coming out of herself, which suggests themes of death. The idea of decay is added to by the close-ups of body parts (hands, feet neck etc) often covered in dirt. By using these techniques and images and cutting from one to another, I wanted to make the suggestion that one is no better than the other, all natural life ends the same way.
Should I continue on with this project, I would be very interested in deepening my knowledge of psychoanalytical film theory. With regard to my own film, creating a series of short films such as this exploring the different ways in which Lacan’s theory of The Mirror Stage and self-perfection has become something of a social norm and how this can effect a state of mind.
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