It can be potentially dangerous, when films present the desires which we do not even know. The dancing red shoes, uncontrollable hands, the horrible voice from the possessed body, and the lasting smile are examples of the partial autonomous objects which get rid of the “ego” and the reality, pursuing pleasure and desires “id” wants. Some parts of us desire self-destruction and return to the inorganic as the search of pleasure by id will, ultimately, lead us to death. Why is violence significant to help explore the psychological effect films have on us? It is, possibly the exact interpretation for Freud’s death drive. Violence of different degrees and themes is presented in most of the films mentioned in The Pervert’s Guide to Cinema. Films, again, provide us a chance to experience those unattainable desires in real life, and detach ourselves from the “super-ego” temporarily, which opposes the excessive demands of “ego.” Our “ego” deals with our “id” well most of the time by pleasing id in realistic ways, but there are still some primary desires that cannot be fulfilled. The id is the unorganized part of one’s personality which contains his or her basic drives. All the terrible things happen on the basement floor, which Žižek believes to be the “id” floor. The house in the movie has three floors, which represent the three layers of Freud’s structural model of the psyche-id, ego and super-ego. In the film Psycho, another freudian idea is introduced. Both films suggests the Oedipus complex, a Freudian theory which states that a boy desires to sexually possess his mother and kill his father. In Blue Velvet, the sexually violent man shows his desire for uterus. In The Birds, the folk of violent and dangerous birds symbolizes the intensity of incestuous tension between the mother and son. They both deal with psychosexual development, an important idea held by Freud. The Birds and Blue Velvet are two movies that Žižek mentions a number of times in section one. Films show us the hidden desires, unattainable in the real life at the same time, we have an “alienated space” which makes the film having a dream-like nature as we experience, without taking any responsibility for acting our desires. “Films never give us what we desire, but tell us how to desire.” He mentions this at the beginning of the film. Žižek also relates films to this idea of desires being shown nakedly. To function normally in the society, we will need to repress our desires. Firstly, he interprets the scene as the very nature of our fear, the fear of facing things we once thought that we have thrown away. ![]() Žižek explains this scene in two dimensions. Instantly, all the unwanted and hidden desires present themselves to us, just like the scene of blood coming out from the toilet in the film the conversation. ![]() They are imprisoned during the conscious state, but sneak out once we are asleep. We repress the inappropriate desires and feelings deeply into our unconsciousness. When we are awake, our consciousness is in control most of the time. Dreams fascinate us by making us wonder who we really are, and what we really want. The film has explored many Freudian ideas, including dream, psychosexual development, unconsciousness, id, ego and super-ego, and death drive.įreud is best known for his dream analysis. ![]() I find it an excellent film since I am also interested in Freud. The film explores films significant in the film history from a psychoanalytic perspective. Žižek has a great interest on psychoanalysis and film theory, and thus, an extraordinary film, scripted and presented by himself, came out. ![]() He has influenced lots of sophisticated directors, like David Lynch, and other philosophers and critics like Slavoj Žižek, an important contemporary philosopher.
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