Abstract

From a psychoanalytical point of view, the cinematographic art can be understood – most of the time- either from the logic of applied psychoanalysis or as isomorphic terms. This limits the contribution that the combination of film and psychoanalysis can be made when both those fields are given recognition in their power and singularity.
The purpose of this article is to identify what is revealed as essential in an investigation process to make film analysis the most useful as possible.
From an early time, Walter Benjamin noticed that both psychoanalysis and film had opened fields of the senses that, up until then, could not be seen or heard; and that both of these fields, sight and sound combined, could be very powerful. Cinematographic language - when recognized in its full potential – can capture the effects of reality like no other material can. Because of this, our hypothesis is to consider that bonding the psychoanalytical point of view with the cinematographic point of view can open a “double focal distance”. These two focal distances, when they converge together, tend to bond what can be seen with what can´t be seen; the invisibility of the unconscious problematic, with the visibility of image and movement.

Keywords: Film analysis | Cinematography | Psychoanalysis | Image-Movement