Psychoanalytical Fim - Evaluation

I intended to have a sense of disorientation lead the flow of the final sequence, as this would reflect the internal struggles of the featured subject.

The mind is constantly wandering between past experiences or the unknown depths of the future. Therefore, my intent was to portray the ambiguity of chronology and structure, by showing the subject aimlessly traversing back and forth through various situations, whilst attempting to console the ongoing conflict between his id, ego and superego. To enhance this concept visually, I decided not to include any conspicuous establishing shots, in order to maintain a constant state of unfamiliarity and disorientation.

I shot each section of the sequence multiple times, from various angles, in order to give visual versatility, this also gave me the opportunity to make use of editing techniques, such as the 30 degree rule.

I chose to film long takes, when there was a particular focus upon the subject. This enabled me to utilise jump cuts during post production, once again, enhancing the mental opposition and confusion. To compliment this, I overlaid clips and altered the opacity, in an attempt to produce a visual representation of the perplexing psyche.

I also made the decision to edit the footage to monochrome. I felt that these colours present certain connotations which are relevant in expressing the subjects emotions. The colour white is associated with purity and wholeness. Black represents secrecy and mystery, just as the subject is attempting to suppress a dimension of himself from the world. What black covers, white uncovers. Therefore, each colour perfectly represents an element of his psyche.

As there were multiple shots which formed various scenes, I was sure to organise my footage into folders, so that the process of editing could be conducted in a manageable and orderly manner. This proved beneficial in terms of adhering to deadlines; with an organised layout, I was able to sift through my footage, pick out the shots that were required an speed up the overall editing process.

Psychoanalytical Film

Film Studies - Video Planning

Shooting Plan 2

For the second shoot, I will capture the central subject involving themselves in the acts that their id is longing for; smoking, consuming alcohol and expressing violent behaviour. As opposed to the previous shoot, I would like to conduct this one indoors. Remaining consistent with the visual ambience of the film, I intend to have low-key lighting with a singular light source focusing upon the subject. I feel that making use of spotlighting technique in this manner will suggest visual contrast  from the outdoor shoots, making it clear that these sequences are simply occurring within the mind of the subject.

In addition to this, I would like to state a tone of disorientation, hence plan to incorporate the use of jump cuts as the subject is smoking/drinking etc. This will also make it clear to the viewer that these unorthodox events are playing out in the mind.

In contrast to the previous shoot, I would like to capture these sections making it explicitly clear that a handheld camera has been utilised. Not only would this visually correspond to the jump cuts adding compositional appeal, it will also enhance the perplexing state of the subjects mentality.

In intend to have these shots intersecting the tracking shots, which were captured within the first shoot.

Shooting Plan 3 

Similar to my initial shoot, I would like to capture a variety of tracking shots of the subject, however within various locations. Although I wish to maintain the overall dark and somber mood, I would like to combine all the tracking shots, of the subject wandering aimlessly in differing sites. 

Having previously shot within a tunnel, I now intend to shoot in a desolate outdoor setting, to show diversity in the setting of the sequence. This will also add to the disorientation, as the subject travels between differing locations, to show the perplexity of the human mind, constantly jumping between various situations. 

Along with shooting in areas that have a rundown aesthetic, I would also like to get shots of the subject in quite natural and scenic settings. These particular sequences will be used to show the subject attempting to confront and resolve his ongoing mental conflict.  

Shoot 1 - Evaluation

Within this shoot, I was able to capture various tracking shots of the subject, in one chosen location. In addition to this, I was also able to film shots of the main subject encountering temptations along the way, which influences their behaviour and thought process.

I chose to shoot in a tunnel, as it is a naturally secluded area and acts as a confining manifestation of the subjects mind. Hence, the desired ambience was created as the tunnel provided low light and an overall dampening mood. Additionally, the space created a high contrast and produced and overall eerie ambience, through dimness and shadows.

I shot each scene from various angles, so that in post production I could piece together a visually interesting sequence. This would also be useful to visually reflect the pace of the scene; during instances which involve fast pace action, snappy transitions between shots will compliment and enhance the content.

Following this shoot, I would like to capture more similar shots, however vary the location. I still intend to stick to a desolate and somber looking site, in order to keep the dark ambience consistent throughout the film.

During the next few shoots, I am looking to get some outdoor shots, to show a slight contrast in lighting and texture.

Film Studies - Video planning

Shooting Plan 1

 For my initial shoot, I have taken some visual and and conceptual influence from the character of Tate Langdon, from the television series 'American Horror Story'. I was particularly intrigued by the overall mood and ambience that is created through the presence of this character. 

In a visual sense, I would like to capture close ups and tracking shots of the subject in a similar manner to the exemplar sequence above. I intend to shoot these sequences within a variety of rural and rundown locations, in order to reflect the disorientated concept. The introductory shots will consist of close ups of the subject, particularly focusing upon the eyes, mouth, clenched fists etc. This evokes a sense of longing to fulfil lingering desires.

I will capture various tracking shots, starting with a head shot from behind the subject, followed by a shot from the side and finally a mid shot from the front. I would like to do it in this order, to establish a sense of ambiguity surrounding the identity of the subject, also to create visual tension.

I plan to shoot during the day, however during post production, I intend to manipulate the shots so that they have a cold colour palette and loose highlights, creating a dark overall tone, in order to authentically reflect the conceptual element.

In addition to this, I would like to capture shots of other subjects around the central figure, who are engaging in acts that awaken the id dimension of his psyche. For this, I plan to have them situated within the same location. I will capture a variety of close ups and long shots of these other characters, in order to get across their purpose in the sequence. Some will feature the main figure, to establish the effect of proxemics; I would like to have them a relative distance to the subject, in order to highlight his isolation and mental detachment, however they will be focusing directly upon the lead subject.

The shots involving the other subjects will illustrate them engaging in acts such as: smoking, consuming alcohol and eliciting violent behaviour. This will then evoke a sense of desire within the central role, who attempts to repress such desires, however acts them out within his mind.

Film Studies - Visual Inspiration

Video Planning - Visual Moodboard

Film Studies - Design Brief

For my own production, I intend to show influence from Lacan's theory of lack and the Freudian concept of the structure of the human psyche. I find that both theories would prove beneficial when composing a film based upon desires and the conflict that one suffers when trying to repress needs that are deemed unconventional or irrational in social terms. Hence, showing conflict between the id and the superego, as the subject attempts to refrain from attaining desires.

My initial plan is to portray this internal opposition by following a subject with a series of tracking shots, through a desolate location which reflects the unstable nature of their mind. They will be exposed to various temptations along the way, such as: alcohol, cigarettes, sexual attraction and violence. Whilst showing elements of their 'neutral self' (aka the ego) witnessing these allurements, I plan to intersect with sequences that reflect them indulging in these desires; consuming alcohol, smoking, committing violent acts etc. To enhance the perplexity, I will use jump cuts in these sections.

I also intend to manipulate sound, overlaying dialogue to reflect the mental struggle of the subject will also project a sense of disorientation. Both visually and conceptually, this will represent conflict between the id and superego, whist also presenting aspects of Lacan's theory of lack, showing how the subject is striving to fill empty voids in their life, with materialistic objects and irrational desires.

In order to make the concept clear visually, I plan to show a direct contrast between the two oppositions, by utilising colour and lighting. For the mundane routine segment, I intend to use predominantly natural lighting and conventional colour, whereas the instinctive desires will be illustrated in a dark manner, using low key lighting and various colour filters, to show some sort of abnormality. Almost creating a delusion and making it clear to the audience that such events are only occurring within the mind of the subject and not in reality.

In addition to this, I would also like to make use of handheld camera techniques, in order to further enhance the disorientation that is manifested during sequences which reflect the activity of the mind. This will create an unsettling ambience that clearly distinguishes between the two sections of the film.

Lacan - Theory of Lack

Desires are ultimately a strong sense of wanting, and are responsible for driving an individuals actions and motives. The subject of desire may vary, but Jacques Lacan suggests that all desires are simply unrealistic fantasies which every individual strives to achieve. And when one is successful in attaining their greatest wish, they can not be satisfied for very long, for they have only ignited the fire of wanting 'bigger and better' things. Lacan states that desires derive from lack in the human mind and this lack may lead to addictions or obsessions.

This concept has been presented numerous times within cinema in films both new and old. It can be seen in texts such as Misery (1990), Whiplash (2014), Panic Room (2002) and Vertigo (1958).

A passion or love for something/someone often leads to a form of obsession. In Misery (1990), the central protagonist Annie Wilkes forms an obsession with the literature of author Paul Sheldon, leading to a violent downfall when she discovers Sheldon is ridding of her favourite character from the series. This stands as a perfect example of Lacan's theory in action, when fantastical desires lead to dangerous fixations and one of the key aspects of Wilkes character that relates to Lacan's theory of Lack, is her obsession with the Misery novels she reads and the ideals of fantasy that she derives from them.

Similarly, Whiplash (2014) sees a passionate music student with an ambition to rise to the top of an elite music conservatoire. However the compelling nature of his passion soon leads to him becoming overworked and loosing the authentic drive he once possessed so dearly.

It appears that many cinematic pieces have been constructed upon the foundation of innate human needs and instincts which inevitably evolve into desires. In various genres: action, adventure, romance and even horror, the plot often revolves around the wants of a specific character or group of people.






However, the need to fulfil this desire may progress into an obsession or addiction, perhaps even leading to new desires, once the initial wish has been satisfied.

Hence Lacan ultimately suggested that desires can never truly be met, as a person will simply keep wanting more.

"What does it matter how many lovers you have if none of them gives you the Universe?" 
- Jacques Lacan 

Vertigo (1958)

Laura Mulvey's theory of the male gaze can easily be identified on numerous occasions in Hitchcock's 'Vertigo'. The exposition of the film itself is a vivid sequence of fragmentation, specific to the face of a female.

There are shots which particularly feature, eyes and lips, however the significance of the fragmentation almost hints towards the lack of identity and independence of the women in the film. Within the first scene, it is made clear that the film has been portrayed from the perception of the central protagonist. The use of proxemics is also a clear indication that there is a very male dominated theme throughout the film.

When the central character encounters Judy Barton, the editing techniques used, highlights the use of male gaze; the shots cut between the spectator and the spectacle, suggesting the camera has some male characteristics in the way that it has been used.

In this scene, we see that female character is perceived through the eyes of Ferguson and she is almost portrayed in an angelic manner which is enhanced by the ambiguous use of lighting; as she first emerges from the bathroom her identity is almost concealed in a shroud of soft and hazy light.


Once again, the use of shot reverse shot has been incorporated as a technical indication of the male gaze. In addition to this, it is enhanced as the shots range from mid shots, to close ups of both subjects, developing intimate connotations.

Another theory that can be applied to this film is Lacan's theory of lack. John Ferguson is faced with a grasping desire to attain the love of Judy Barton. This soon turns into an obsession, which is foreshadowed within the opening credits of the film. There is a close up of an eye from the very onset, suggestive of fixation in some form. This is cleverly enhanced by the manipulation of colour; a red filter is used to connote towards love and danger, both key aspects in relation to obsession.

Freudian Interpretation of Enemy (2013)

Psychoanalytical Reading 

Initially, this film is one that poses many unanswered questions. It is enveloped in a veil of ambiguity, expressing its content through surreal metaphors.

It is easy to decipher that the central protagonist was simply projecting two dimensions of his psyche and there is no identical opposition in reality. A Freudian interpretation of the film would suggest that the two predominant characters are representations of the Id and the Superego.

The character we are initially introduced to, Adam Bell, is subject to a rather mundane and repetitive lifestyle, suggesting from the onset that his character is nothing extraordinary. However, as the narrative progresses, we begin to understand that there is a lot more depth to his character. The second dimension of the protagonist, who is presented as Anthony St Claire, illustrates some minor differences, in terms of appearance and personality, yet on the whole it becomes clear that both individuals represent two sides to the same person.

The id, can be identified as Anthony St Claire, who had previously pursued a rather unstable career of acting, engages in an affair and struggles to control his primitive desires. Freud suggests that this part of the human personality revolves around the pleasure principle, hence it is delivered with clarity that Anthony is a manifestation of the id.

Conversely, Adam's character is a depiction of the superego, as he strives to regulate the impulsive nature of the id. His life is simply a routine of mediocrity and his occupation as a lecturer is the most conspicuous hint towards his connection to the super ego; he is an obedient and respectable character, showing signs of practiced discipline.

One of the most pivotal scenes of the film, gives us an understanding of what is going on in the character's mind. The 'car crash' scene is full of metaphorical definitions, ultimately suggesting that this is where the protagonist destroys the id part of his psyche. However, it has also been suggested that in actual fact this scene occurs in reality.

Although this scene is featured toward the end of the film, it has been argued that the crash actually happens at the beginning of the story. We see that Adam/Anthony receives his scar from this crash, which is referred to earlier on in the film, when his wife questions if he is "seeing her again?". This also suggests that his wife is informed of his affair because of the accident. Again reinforcing the idea that the crash does in fact happen, however not in relation to the chronology of the film.

Whether Adam is attempting to diminish the commands of his id, or is simply reflecting upon past events, this scene gives us a direct insight into the conflict he is experiencing between two very dominant aspects of his psyche.

Clearly, the film is projecting from the mind of the protagonist, as he attempts to erase an ongoing internal conflict between his primitive self and his moral self.

Freud

Structure of The Personality 

Freud's iconic work on the subject of abnormality was recognised as pioneering, particularly his model of the human personality. He suggested that the human psyche is constructed of three interacting elements;

The id:

The reservoir of unconscious and instinctual psychic energy that we are born with. The most integral aspect being the psychic energy's libido, or life instincts, however this energy may also direct itself into aggression. 

The id operates upon basic principles of pleasure, constantly attempting to gratify the these instincts through pleasurable activity. 

The Ego: 

Represents our conscious self and develops during early childhood, regulating interactions with our immediate environment. The ego is also responsible for trying to balance the demands of the id for self-gratification with the moral rules imposed by the superego of conscience. 

The ego operates upon the reality principle, in that it constantly balances the demands of the real world against the instinctive drives of the id.

The Superego:

The personal moral authority, or conscience, developing later in childhood through identification with one or other parent. At this point, the child internalises the moral rules and social norms of society. 

References:

Green, S. McGinley, R. Willerton, J. Wilson, J. Bailey, J. (2008) AQA AS Psychology. Cheltenham. Nelson Thornes. 

Lacan

The Mirror Stage

Lacan and The Mirror Stage (1966)

We often see that infants observe themselves in the mirror and believe that the image they see is superior in comparison to them. The baby fails to identify as the image they see, hence they set this mirage as a worshiping icon and will strive to correspond to this vision of themselves.

In the same way, women often elicit the same behaviour in cinema; the 'ideal' depiction that they see on screen is a representation of a superior being which they wish to transform themselves into.
This internalisation of ideals, results in a hyper awareness of ones self as an object to be watched. Hence people often develop body dysmorphia, which ultimately supports Laura Mulvey's concept that we have been exposed to a very patriarchal kind of cinema. 

Laura Mulvey - Visual Pleasure and Narrative Cinema

Mulvey suggests that cinema audiences are forced to observe films from the perspective of a heterosexual male, which involves the gaze of the camera - otherwise referred to as the 'Male Gaze', the gaze of the audience and finally, the gaze of the characters within the film.

This concept is reinforced by Sigmund Freud's allusion to scopophilia, which is ultimately finding pleasure in observing; an expression of sexuality. Freud suggests that from babyhood, we have a natural tendency to fix our gaze upon objects and although we gain more control over what we observe as we grow, it never diminishes completely. Hence, Mulvey argues that the cinema is the perfect location for engaging in such 'voyeuristic fantasies', as a result of the dark, silent atmosphere in which nobody is restricted from viewing with pleasure.

The technical elements in film which significantly enhance the use of a male dominated camerawork include: close-ups, fragmentation, slow motion, focus, lighting/spotlighting and editing style in which we often see the shots cut between the spectator and the spectacle.
The visual elements include tight, or no clothing upon the female subject, some form of analogy between machinery or sexualised objects which is suggestive of ownership over women. All of which can be seen within the film examples below, reinforcing Mulvey's suggestion that the cinema is very patriarchal.