Actualizado en  abril de 2024   

Volume 7 / Issue 1
[gris]September 2011[/gris]
The analyst on the movies
[gris]ISSN 1553-5053[/gris]

A mysterious man has lost his memory and accuses himself of committing a murder. Little does it matter whether it is Gregory Peck or John Ballantine – there is nothing he can do to recover his persona. Considered the first psychological thriller in history, Hitchcock’s ninth Hollywood production draws us nearer to the psychoanalytical technique as the via reggia for the reconstruction of facts that resulted in the lack of memory of the protagonist.

Spellbound: formula to conjure a spell as of psychoanalytical enchantment

Comment on “Spellbound” (A. Hitchcock)

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Comment on “Secretos de un alma” (G.W. Pabst)
 Geheimnisse einer Seele and the cinematic representation of the analyst
Transference love seen through the cinema and paintings: Freud, Hitchcock, Dali
Spellbound: formula to conjure a spell as of psychoanalytical enchantment
Comment in “Don’t say a word”
 Not a word... a letter
Comment on "The silence of the Lambs" (J. Demme) and "Hannibal" (R. Scott)
 Hannibal Lecter and the Lacanian analyst
Comment on "El silencio de los inocentes" (J. Demme) y "Hannibal" (R. Scott)
 Moral and ethics in Hannibal Lecter
   

aesthethika // Revista internacional de estudio e investigación interdisciplinaria sobre subjetividad, política y arte

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