digital version of Abstracts of the Standard Edition of the Psychological Works of Sigmund Freud

Young Bruehl, Elizabeth. "Where Do We Fall When We Fall In Love." Journal for the Psychoanalysis of Culture and Society 8.2 (2003): 279-288.

This article looks at a scientific approach to love and how Freud’s ideas about love distance themselves from the strictly Darwinian approach to the act of falling and being in love. The article explores the various reasons why people fall in love and are attracted to the idea of falling and being in love. These ideas include chemical reactions that force the brain into thinking that it is in love, a deep-rooted narcissism that subconsciously forces people to seek approval through love in others, and an idealization of the other in order to idealize ourselves (the last two idea are closely linked). The article ultimately argues that the desire to be loved or the act of being in love is not caused by one’s desire to love another or genuine admiration for another person. Instead, Young-Bruehl says that the amphetamine rush accompanied by the idealization of a partner tricks the brain and the person into believing not that he or she is in love but that he or she can be loved.

This article is particularly interesting when looked at within the context of the character of Dr. Constance Peterson. The character herself notes that love is not an emotional response but a series of chemical reactions. She states that love is a powerful illusion until she herself feels the pull of love when she falls for the mysterious John Ballantine. Just as Dr. Peterson follows to a tee the evolutionary response to an attractive man with feelings of love, she also exhibits the signs of mania that Freud and his followers argue follows the period of mourning over a romantic loss. In the case of Dr. Peterson, this loss manifests itself through her quest to free John Ballantine and to prove his innocence. Ultimately the two end up together, happy. But according to the article if the film peaked in on the two lovebirds down the line we would not find a happy couple. Instead we would find two people who had come off their amphetamine highs only to realize that their ideal mates were in reality surrogate receptors for the love that they wish they could give themselves.

Rabaté, Jean-Michel. " Loving Freud Madly: Surrealism between Hysterical and Paranoid Modernism." Journal of Modern Literature 25.3-4 (2002):58-74.

Rabaté examines the role of surrealism in the spread of Freudian ideas. The author approaches this topic by first looking at the historical context from which the discourse emerged. While other surrealists and Freudians had become friends and collaborators, Freud and Breton had a long history of animosity between them. Unable to become friendly because of constant bickering over who deserved credit for various ideas in art and psychology, the surrealist and Freudian fields were forced to keep their distance. Breton and his followers eventually embraced the idea of hysteria and exalted the idea of guided paranoia. However, in the wake of issues within the surrealist camp as well as the events occurring in society, the majority of surrealists eventually embraced the idea of “paranoid modernism.”  Rabaté concludes the article by arguing the by embracing the idea of modernism, the surrealists, who had at one time been the enemies of Freud, were able to both take on and in turn take over many of Freud’s ideas.

The idea that the surrealist dream sequence created by Dali, which is shown in Spellbound, could be understood perfectly well by the application of Freudian principles would have been completely absurd to both Freudians and surrealists. But interestingly enough, and perhaps because of the commercial takeover of the intellectual ideas of Freud and Surrealism, the surrealist sequence appears to make complete sense to the Freudians analyzing John Ballantine within the context of the film. By creating this peaceful co-existence of ideas within the film, Spellbound itself becomes a vehicle for the dissemination not only of independent surrealist and Freudian principles, but for the idea that both ideologies are able to co-exist and ultimately act as one ideology.

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Leibman, Nina C. “Sexual Misdemeanor/Psychoanalytic Felony.” Cinema Journal, 26.2 (Winter,    1987):    27-38. University of Texas Press. University of Pennsylvania Library, Philadephia. 7 April 2008. <http://hdl.library.upenn.edu/1017/6965/2>.

 In this article, Leibman analyzes the deterioration of Blanche’s mental health, and relates it to both Freudian theory and inherent sexism in Hollywood. A specialist of psychoanalysis in film theory, Leibman comments on the rising predominance of women in Freudian-oriented films after the 1950s. To her, sex and sexuality appear to be the essential factors for a heroine’s mental illness, and a protagonist falling victim to her own sexuality is no exception in Streetcar. Though the actual cause of Blanche’s developing insanity is unknown to audiences, Leibman believes that her promiscuity is what ultimately leads to her downfall. Taking psychiatry into account, Leibman believes that Hollywood maintains an inherent patriarchal status quo by ignoring Freud’s theories of repression and neurosis. Freud states that it is important to release our repressed sexual thoughts in order to avoid any form of psychosis—and because Blanche does not succeed in liberating these notions, she is essentially “punished” for her restraint through expulsion from her hometown and family, along with paranoia and other forms of mental illness.
Even though Blanche continually professes her innocence, all her of claims are nullified by her behavior. However, because viewers hear of these improprieties indirectly, it is harder for her to earn an audience’s sympathy. In comparison, Leibman claims that Stella, who may initially seem to embody an almost longing for her husband, is also victim to this psychological sexism. While her attraction to Stanley is blatant, the fact that she loves him rather than lusts for him reemphasizes the fact that desire is what “destroys” women. Thus, Leibman argues that because Stella is passive she is feminine, while Blanche’s overt sexuality keeps her from traditionally female ideals, such as a calm, selfless, nurturing disposition. Though Leibman’s claims may not be grounded in fact, she provides a provocative counterargument for those who celebrate Streetcar’s progressive representations of modern society.
 

Freud’s disinterest did not dissuade Goldwyn from pushing forward in his resolve to find a scriptwriter for an analytically based screenplay. One of Freud’s disciples, Karl Abraham, was willing to work with Goldwyn’s studio, resulting in a silent film called The Secret History of a Soul. This was one of the first Hollywood movies made with a narrative based on the theory of psychoanalysis. Hitchcock followed in the tradition of many Hollywood directors who were also influenced by Freud’s work. Several of Hitchcock’s films including Marnie, Spellbound and Psycho reflect a well developed understand of psychologically sophisticated material.  His 1945 film Spellbound was written by his producer David O. Selznick, who was himself in psychoanalysis. Spellbound, not regarded as one of Hitchcock’s best movies, stayed true to the psychoanalytic methodology using surreal dream sequences, to help move along the narrative. The director’s interest in the subject manner of Marnie seems to be a natural progression of his continuing interest in the psychoanalytically based storyline.

Sklarew, Bruce.  “Freud and Film: Encounters in the Weltgeist”  Journal of the American Psychoanalytic Association.  47.4: 1238-47.

Call #: Van Pelt AS30.M48

Konigsberg, Ira . “Cinema, Psychoanalysis, and Hermeneutics: G.W. Pabst's "Secrets of a Soul.” Michigan Quarterly Review. 34.4 (1995): 518-547.

Konigsberg frames his article on Secrets of a Soul with a note on Freud's legacy and influence on film, in particular the subgenre of the psychoanlytic salvational film, of which Secrets is the first. He opens with a discussion of problematic therapist characters in film which have evolved into Frankenstein-like figures who overstep their bounds in trying to control their patients' bodies and minds (e.g. Body Heat and The Silence of the Lambs), and he notes the irony that the first film psychoanalyst and the first film analysand was played by the same actor (Pavel Pavlov). Konigsberg offers a deep analysis of Secrets of a Soul, which considers the violent sexuality and homosexual strain hidden beneath the surface of the main narrative. His main purpose in the end is to show that psychoanalysis in and of film provides a 20th-century hermeneutic--that of searching for multiple and often non-contradictory meanings in texts that are never originary, and he concludes that Freud's shift from taking photography to taking the "mystic writing pad" as a model for the psyche is appropriate.

Friedman, Susan Stanford.  Analyzing Freud: Letters of H.D., Bryher, and Their Circle.  New York: New Directions, 2002. 

This is a collection of letters circulated by H.D., Bryher and their circle in the 1930s when H.D. was in analysis with Freud. The letters are from the period AFTER H.D. and Bryher worked on the film journal, Close Up but there are references to film in general and to G.W. Pabst in particular. Although there are no letters to or from Pabst, H.D. and Bryher both write to others about him with great enthusiasm.

Friedberg introduces her article with a look at the twin birth of psychoanalysis and cinema and argues that "Freud's theory of the unconscious. . .was, from the start, a theory in search of an apparatus. Yet the cinema, an apparatus which could reproduce and project specular images, from its beginnings, an apparatus in search of a theory" (41). Drawing on Chodorkoff and Baxter, Friedberg offers a reading of the history of the making of Secrets of the Soul, including Freud's rejection of the project. She calls the film the first 'that directly tried to represent psychoanalytic descriptions of the etiology of a phobia and the method of psychoanalytic treatment" (45). Friedberg points to the various ironic name puns having to do with Freud's lack of involvment in the film: that Pabst, the director of Joyless Street--Die FREUDlose Gasse (my emphasis) was asked to direct a film "mit Freud," when Freud refused to be involved; and that the actor who plays the pshychoanalyst in Secrets, Pavel Pavlov, shares his name with "Freud's mightiest theoretical opponent, the physiologist Ivan Pavlov" (46). Friedman goes on to describe and analyze the film, which she notes is separated into five parts: Pre-Dream; The Dream; Post-Dream; Analysis; and Cure. She notes that the happy ending of the film works as a kind of advertisement for psychoanalysis, arguing that Abraham and Sachs in consulting on the film, intented to "extol its curative virtues" (51).