Journal de Etica y Cine

Volumen 04 | Nº 3

NOVEMBER 2014

Psychoanalysis in cinema: firt session

Secrets of a soul | Georg Wilhelm Pabst | 1926
Roberto Saban

Abstract

This paper presents Sigmund Freud’s personal relation with the cinema and the relation of his work with it. The research of these encounters and Freud’s some reluctance with cinema of his time are explained from his biography. From this point of view, it can be explain the reason why Freud not use the cine compares with others arts. Finally, a relation between psychoanalysis and cinema is made clear.

Keywords: secrets of a soul | Freud and cinema | Freud and Abraham

This article is, for the time being, only available in Spanish: El psicoanálisis en el cine: primera sesión

NOTAS

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What works is a divine detail Whatever works | Woody Allen | 2009 Georgina Vorano
Cinematographic art: Recover the ethical sense of time Nostalghia | Andréi Tarkosvki | 1984; The Purple Rose of Cairo | Woody Allen | 1985; Midnight in Paris | Woody Allen | 2011 Rafael García Pavón
The violent act as a restorer of semblance of virility: homoerotic desire menacing in the film La León Santiago Peidro

Etica y Cine (Ethics & Films) is a Peer Reviewed Quarterly Journal Edited by
Department of Psychoanalysis and Department of Deontology, School of Psychology, National University of Cordoba, Argentina
Department of Psychology, Ethics and Human Rights, School of Psychology, University of Buenos Aires, Argentina
With the collaboration of:
Center for Medical Ethics (CME), Faculty of Medicine, University of Oslo, Norway
Under the auspicious of:
The International Network of the UNESCO Chair in Bioethics.

Psychoanalysis in cinema: firt session

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