Call#: Van Pelt Library BF175.5.D74 D74 1993
1 Dream psychology and the evolution of the psychoanalytic situation / M. Masud R. Khan 29
2 Dreams in clinical psychoanalytic practice / Charles Brenner 49
3 The exceptional position of the dream in psychoanalytic practice / Ralph R. Greenson 64
4 The use and abuse of dream in psychic experience / M. Masud R. Khan 91
5 The function of dreams / Hanna Segal 100
6 Dream as an object / J.-B. Pontalis 108
7 The experiencing of the dream and the transference / Harold Stewart 122
8 Some reflections on analytic listening and the dream screen / James Gammill 127
9 The film of the dream / Didier Anzieu 137
10 The manifest dream content and its significance for the interpretation of dreams / Jacob Spanjaard 153
11 A psychoanalytic-dream continuum: the source and function of dreams / R. Greenberg, C. Pearlman 181
12 Dreaming and the organizing function of the ego / Cecily de Monchaux 195
13 Psychoanalytic phenomenology of the dream / Robert D. Stolorow, George E. Atwood 213
Call#: Van Pelt Library PN1998.3.S39 A3 1989
In this chapter from a book on Scorsese films, Martin Scorsese offers his own commentary on the film Taxi Driver. Scorsese discusses the early stages of production and how Brian De Palma introduced him to Paul Schrader. Scorsese included original drawings done by himself for the climactic ending. He talks about how much of Taxi Driver arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake. Scorsese calls Travis an “avenging angel” floating through the streets of New York City, which was meant to represent all cities. Scorsese calls attention to improvisation in Taxi Driver’s many scenes, such as in the scene between De Niro and Cybill Shepherd in the coffee-shop. The director cites Hitchcock’s The Wrong Man and Jack Hazan’s A Bigger Splash as inspiration for his camerawork in Taxi Driver. He also confirms the fact that Arthur Bremer and Dostoevsky’s Notes from Underground influenced Paul Schrader’s script.
Reading Scorsese’s perspective on his own film provides very interesting insight into Taxi Driver and more information about the mysterious Travis. It was crucial to Travis Bickle’s character that he was a war veteran, making his experiences after the war more intense, threatening, and filled with paranoia. Bickle chose to drive his taxi anywhere in the city as a way to feed his hate. Scorsese highlights the religious symbology in Taxi Driver comparing him to a saint who wants to clean up life and his mind. The violence at the end of the film is somewhat justified in the sense that Scorsese wanted Travis to kill all those people to stop them once and for all. Travis attempts suicide at the end of the movie as a way to mimic the Samurai’s “death with honour” principle.
Call#: Van Pelt Library BF1078 .F72 1913
Freud’s analysis of dreams and the process of dreaming is extensively researched in his chapter, "The Scientific Literature on the Problems of the Dream". Freud discusses the dream as an outlet for inner desires or sets of wishes that have yet to be explored in the waking state. Because the dreamer is purposefully denying his or her wish, “the wish is unable to gain expression except in a disfigured state” (Freud 120). One remembers the matter that appears in the dream content, but cannot recall the facts or time of the experience. The dreamer is therefore in the dark as to the source from which the dream has been drawn, and is even tempted to believe an independently productive activity on the part of the dream, until, often long afterwards, a new episode brings back to recollection a former experience given up as lost, and thus reveals the source of the dream. The dreamer must then admit that something has been known and remembered in the dream that has been withdrawn from memory during the waking state. But does the dreamer recall such an event? Freud concludes that he or she will, but in too fragmented or distorted of an idea to fully make out a comprehensive memory or desire.
Freud’s analysis is pertinent to the many dream sequences in Marnie, ultimately leading to her final flashback of “the accident” in which the details of that night are fully revealed. In a specific scene, Mark hears Marnie screaming in her sleep, “Please don’t hurt my mama!” When Mark tries to awaken her, she says she would rather go back to sleep to which Mark replies, “Why? Your sleep seems even less agreeable than your waking hours”. This dialogue supports Freud’s argument that the dreamer’s inability to identify a memory during the waking state can be restimulated by a new “episode” which finally brings into focus a former experience given up for lost. As Freud writes, the dreamer knows not the source of a nighttime terror, but knows at the core of this distorted set of visions, lies a very real fear-provoking incident. For Marnie, her dreams crystallize an overlapping set of sounds, memories, and images that all merge to explain the origin of her disturbed behavior. Without her abundance of nightmares, the meaning behind her phobias would be defended against by dissociation from the events leading up to her killing the man. Dreams, therefore, give reference to “the accident” and ultimately shed light on an event indecipherable to the conscious mind.
tagged dreams by lilypb ...on 09-APR-08
Call#: Van Pelt Library BF1078 .S323
read by Hoffmann who drew scientific or pseudoscientific knowledge from it; mediator between Hoffmann and Enlightenment debates (Chapin, p. 50). published 1814
Color plays an important part in Don’t Look Now, especially the color red. Roeg weaves red throughout the film, from Christine’s plastic raincoat to the Band-Aid on Johnnie’s finger, from the lettering of the “Venice in Peril” sign to the bathrobe of the sisters’ neighbor. In Du Maurier’s story, the color red is not mentioned, so the use of the color is all Roeg’s doing. Beyond merely linking Christine to the murderer, the color red also serves a more symbolic purpose. Roeg ties the color red to the blind sister, Heather, and her psychic visions. The fact that Heather can see Christine’s red jacket is not as mysterious as the fact that she knows what the color red is. If she has been blind since childbirth, which her sister, Wendy, intimates to Laura and John, there is no way she would know what red looked like. Heather is already semi-divine in her ability to see the future, but the presence of color in her prophetic visions ties her into the tradition of Christian visions.
Benz’s text was part of a 1972 conference in Switzerland call the Eranos conference. Famous psychologists, theologists, phenomenologists, and other types of scholars from around the globe met to discuss “The Realms of Colour” (ix). Benz, a well-known protestant theologian and church historian, focused his lecture on color and its relation to Christian visions, such as the prophecies of Revelations (170-171). At times hard to follow, Benz basically explores the connection between the vivid colors and physical descriptions in Christian visions and their relation to God and mortality.
Benz explains that, “As a rule the eyes are closed in the visionary ecstatic state; the physical capacity for sight through the eye is eliminated” (159). Heather’s visions definitely follow in this tradition, because, as a blind person, she does not have the capacity for sight. The “ecstatic state,” which Benz references, is ambiguous, but could be interpreted as the epileptic-like trance that Heather falls into when experiencing her visions...