Jung e la cultura del XX secolo: Cinema (Aldo Carotenuto)

Il rapporto del cinema con la psicologia del profondo appare complesso ma innegabile. Viaggio nell’immaginario, il cinema, più delle altre arti, per la peculiarità della sua fruizione – una sala buia dove lo spettatore è sovrastato dalle gigantesche immagini che appaiono sullo schermo – è stato accostato da gran parte della critica al mondo onirico.

A Sombra e o Mal no Hobbit de J. R. R. Tolkien

Por Heráclito Aragão Pinheiro A Sombra e o Mal no Hobbit de J. R. R. Tolkien

Jung on Film (1957)

24 frames: Um Método Perigoso (A Dangerous Method, David Cronenberg, 2011)

“Sometimes when a person is not being heard, it is appropriate to blame him or her. Perhaps he or she is speaking obscurely; perhaps he is claiming too much; perhaps she is speaking rather too personally. And one can, perhaps, charge Spielrein on all three counts. But, on balance, her inability to win recognition for

The World Within – C.G. Jung in His Own Words (Suzanne Wagner, 1990)

Obras Completas de Carl Gustav Jung (Gesammelten Werke von C. G. Jung)

VII/1 Psicologia do Inconsciente VII/2 O Eu e o Inconsciente VIII/1 A Energia Psíquica VIII/2 A Natureza da Psique VIII/3 Sincronicidade IX/1 Os Arquétipos e o Inconsciente Coletivo IX/2 Aion: Estudos sobre o Simbolismo do Si-Mesmo 1 2 X/1 Presente e Futuro X/2 Aspectos do Drama Contemporâneo X/4 Um Mito Moderno sobre Coisas Vistas no

Greg time!

YEAH! É por isso que naquele episódio Pulp Fiction-Thomas Crown-Thunderbolt & Lightfoot Greg constatou ser melhor que Don Drapper. E sim aquela piscina não é suficientemente funda para a altura que Greg pulou, mas como diria Wilson, não importa como e sim porque ele fez. A further appeal of Buddhism lay in its emphasis on

(ou de como saiu um poster decente)

Poster brilhante de forma unilateral. Unilateral porque Spielrein foi apropriada por Freud na questão da pulsão de morte e por Jung na questão anima/animus. Mas na questão reversa, Spielrein se apropriou muito mais de Jung, o problema no poster é que os dois merdinhas estão equivalentes no ato de apropriação, mesmo que a apropriação do

O Prisioneiro do Lermontov versus O Passarinho de Pushkin

Open wide my dungeon dwell, Bring the daylight to my cell, Black-eyed maiden of my fancy, Black-maned steed to jump the fence! First, I’ll kiss my beauty sweet, Then I’ll mount my jolly steed, Off to steppe, I’ll fly as wind. But the window’s far too high, Heavy lock I can’t untie, Black-eyed maiden is

Memórias do inferno

Situação 1 Terapeuta: Por que você não quer falar do Jung? Paciente: Falo suficientemente dele no meu blog. Terapeuta: Então por que não me dá o endereço do seu blog? Paciente: (rindo) Porque não, caraleo. Situação 2: Paciente: Rindo ao olhar para dois alvos em preto e branco, um na parede à sua esquerda, outro

O Sussurro do Demônio

*Homenagem ao Cassel-Gross que desprezei no outro post sobre o filme.* Eu lhe contei [a Jung] como tinham sido meus exames, mas fiquei muito desapontada por ele não ter demonstrado alegria em saber que, afinal de contas, eu tinha capacidade de fazer um bom trabalho e que agora era candidata oficial a um diploma médico.

Projection & Introjection

Film and the dreamlike experience that occurs when the barriers between consciousness and the unconscious are lowered would, however, be less potently linked were it not for the phenomenon of introjection. It may be described as the opposite to projection, since it involves internalising experience of the world. Introjection also plays a large part in

Hoje é o famoso 26 de julho…

Adoro esta data porque é o exato-exato oposto da minha data de nascimento e todo mundo sabe que os opostos se atraem. E o que a gente faz com o resto do povo? Bernard Shaw, George Grosz, Blake Edwards, Jason Robards, Helen Mirren, Mick Jagger, Gracie Allen, Kevin Spacey, Susan George, André Maurois, Kate Beckinsale,

Gross – Richthofen – Lawrence

Lawrence’s encounter with Frieda Weekley in March 1912 profoundly affected the composition of the final version of Sons and Lovers later in that year. Through Frieda, he would break from his past at every possible level: personally in his sexual relationship with her; geographically with their departure from England to Germany, then Italy; culturally through

Mimimi

1 2 4 3 6 5 7 8 Bradbury, The Lyricist Intuitive-ethical introvert (irrational) INFp © Text: I.Weisband, Working Materials, 1986. © Translated by Dmitri Lytov, edited by Lev Kamensky, 2002. Common sense tells us that the things of the earth exist only a little, and that true reality is only in dreams.—Charles Baudelaire. Ray

Seria a figura masculina perfeita…

… alguém com a mente de Carl Jung no corpo de Michael Fassbender te espancando em Vienna? Oh hell… YES! E essa coisa da galera chamá-lo de “filme sobre Freud” – está todo mundo insano? Isso é sobre a relação da Spielrein com o Jung, enquanto Gross e Freud são meros coadjvantes, influentes – Freud

24 Frames: O Terceiro Homem (The Third Man, Carol Reed, 1949)

Who was the third man? What man would you be referring to, Mr. Martins? I was told that a third man helped you and Kurtz carry the body. – Do you expect me to give myself up? – Why not? – “It’s a far, far better thing that I do,” the old limelight, the fall

24 Frames: Ringmaster

… e eu? Quem sou eu nessa história? O carrossel? O autor? O apresentador? Um transeunte? Eu sou você. De fato, qualquer um como você. Eu sou a personificação do seu desejo, em desejar saber tudo. As pessoas sempre sabem apenas um lado da realidade e por quê? Porque conseguem enxergar apenas um lado das

Huxley, Lawrence, Jung, Gross

Aldous Huxley’s evolution as a novelist may be described as the succession of three distinct phases. First, one finds the group of the early novels. They are bright and amusing, but also sharply satirical at times, and they express that growing dissatisfaction with our civilized world which comes to a climax at the end of

24 Frames: A Época da Inocência (The Age of Innocence, 1993)

Scorsese is sometimes accused of misogyny, but just as his use of violence reflects the shadow process of his characters (rather than a morbid fascination with barbarity on the director’s behalf), so his female characters and the attitude toward them mirror the anima process, the emotional state of his male characters, which is often unhealthy and infantile. Just like the antagonist often represents the materialized shadow, so Scorsese’s female characters frequently represent the materialized anima, and Scorsese’s women are generally more intelligent, sympathetic and independent than his men.
In the final analysis “the projection can only be dissolved,” Jung says, “when a son sees that in the realm of his psyche there is an image not only of the mother but of the daughter, the sister, the beloved, the heavenly goddess.” Newland in The Age of Innocence chooses the immature May over Ellen, the independent adult who is his equal. Paul Hackett is chased through Lower Manhattan by a whole pack of unruly women in After Hours. The philandering of Howard Hughes in The Aviator reaches epic proportions. The central character of Shutter Island sacrifices his sanity, indeed his very identity, rather than face the true nature of his wife and their relationship. Only in Bringing Out the Dead and Gangs of New York is harmony achieved at the end between the wounded male ego and the inner feminine power of the unconscious as well as the outer feminine aspect of a real woman.
…
Wharton’s novel is, in fact, a perfectly logical choice for Scorsese, and there are innumerable reasons it would appeal to him. Underneath the polished surface, the central themes of the book are similar to the recurring concerns in Scorsese’s films, and like so many of these, it states explicitly and repeatedly that it deals with “the inner devils.” Scorsese was fascinated by Wharton’s use of language, much of which is preserved in the film, spoken by a slightly ironic, omniscient voice-over narrator (Joanne Woodward). According to Jay Cocks, Scorsese was so intent on keeping Wharton’s wit and “sculpted perfection” that he “timed camera moves to the narration with hairsbreadth accuracy,” thus making language and voice-over narration exquisitely filmic narration, and attributing to to Wharton’s cadences the same all-important rhythmic function that he has always attributed to music.
Resonating with Scorsese’s metaphorical use of architectural elements, Edith Wharton once described the mind of a woman as a “great house full of rooms.” There are the rooms, Wharton says, where family and other people come and go on a daily basis, “But beyond that, far beyond, are other rooms, the handles of whose doors are never turned; no one knows the way to them, no one knows whither they lead; and in the innermost room, the holy of holies, the soul sits alone and waits for a footstep that never comes. The fact that Scorsese and screenwriter Jay Cocks chose to quote this intensely sad passage at the beginning of their book on the making of The Age of Innocence indicates that they, too, see it as an important connection between the works of Edith Wharton and those of Martin Scorsese. I cannot think of a fictional character who better fits Wharton’s description of the lonely inner space that nobody ever visits than the Countess Olenska, and she is indeed one of the central links between this and Scorsese’s other films.
Preposterous though it may sound, The Age of Innocence is closely connected with Mean Streets, GoodFellas, Casino and especially Cape Fear. Like Scorsese’s films on organized crime, The Age of Innocence concerns a “tribe” that lives by its own rules and rituals, an extended unit that calls itself a family. Through obscure conventions, unwritten rules and “arbitrary signs,” this family controls and terrorizes entire neighborhoods of New York, and like a live organism, it expels or kills off any foreign body: When collectively everyone decides to snub the Countess Olenska (Michelle Pfeiffer), it is referred to by the narrator as an “eradication.” “The savagery of this ritual,” says Thelma Schoonmaker, is “perhaps more savage than the ritual [Scorsese] grew up in.” Scorsese himself has said that over the years he has created a lot of violent and brutal characters, but that those in The Age of Innocence are the most brutal of them all.