Editorial

Juan Jorge Michel Fariña, Michèle Benhaim

Université Aix-Marseille / Universidad de Buenos Aires
The eye of the camera and the rhetoric of the image

Christian Bonnet
The psychoanalytic clinic through cinema
the suffering in the register of the singular (violence, psychoanalysis, cinema)
Jean Jacques Moscovitz
Emerge. The traumatic image in Gus Van Sant
Paranoid Park | Gus Van Sant | 2007
Frédérique Hammerli
Freudian metapsychology, cinematographic act
Secrets of a Soul | Georg Wilhelm Pabst | 1926
Olivier Douville
In the images interstices
Los deseos concebidos | Cristián Sánchez | 1982
Esteban Radiszcz
The subject of the trauma
L’image manquante | Rithy Panh | 2013
Caroline Renard

LESA, EA3274, Aix-Marseille Université
The hypothesis of the hidden painting
Caché | Michael Haneke | 2005
Derek Humphreys
Film Analysis: a Story of an Encounter and of an ethic

Dimitri Weyl
Mad Men and the reality of women: a historical analysis
Mad Men | Matthew Weiner | 2007-2015
Lucía Busquier
The melancholic position of Xavier Dolan’s camera in It’s Only the End of the World: Crossed looks
It’s Only the End of the World | Xavier Dolan | 2016
Vladimir Broda - Michèle Benhaim
Virtual image, real image
Dunkerque | Christopher Nolan | 2017
Françoise Moscovitz
Sigmund Freud as Spectator of Charles Chaplin. Identity in the Difference
The Kid | Charles Chaplin | 1921
Juan Jorge Michel Fariña

Dr. en Psicología por la UBA. Profesor Titular Regular Psicología, Ética y Derechos Humanos e Investigador Categoría I Programa UBACyT. Co-Director de Ética y Cine Journal, Aesthethika y JAHR Revista Europea de Bioética. Director del partenariado UBA del Centre d´Études du Vivant, Université Paris VII.



Volumen 8 | Nº 2

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