Actualizado en  mayo de 2017   

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


Our story deals with psychoanalysis, the method by which modern science treats the emotional problems of the sane.” The film, one of Alfred Hitchcock’s most interesting, starts with these words printed in bold letters over the image of the Green Manors Hospital. It tells the story of Dr. Constance Petersen, a psychoanalyst working in New York in the 1940s, who must deal with a case that will shake her practice. The film also pays homage to surrealism, as the dream sequences were based on designs by Salvador Dalí. The article redeems the analytical and ethical actuality of this film, showing its purposeful achievements in relation to Freud’s classical texts as well as with the present deontological-ethical treatment of transference love.

Transference love seen through the cinema and paintings: Freud, Hitchcock, Dali

Comment on “Spellbound” (A. Hitchcock)
Juan Jorge Michel Fariña
Tamara Katz



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Comment on “Secretos de un alma” (G.W. Pabst)
Geheimnisse einer Seele and the cinematic representation of the analyst
Eduardo Laso 

Transference love seen through the cinema and paintings: Freud, Hitchcock, Dali
Juan Jorge Michel Fariña 
Tamara Katz 

Spellbound: formula to conjure a spell as of psychoanalytical enchantment
María Carolina Cebey 

Comment in “Don’t say a word”
Not a word... a letter
María Elena Domínguez 

Comment on "The silence of the Lambs" (J. Demme) and "Hannibal" (R. Scott)
Hannibal Lecter and the Lacanian analyst
Slavoj Zizek 

Comment on "El silencio de los inocentes" (J. Demme) y "Hannibal" (R. Scott)
Moral and ethics in Hannibal Lecter
Juan Jorge Michel Fariña 

   

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

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