Those who believe that the psychoanalytic understanding of human nature is broadly correct will also likely believe that there are essential aspects of film that cannot be adequately understood without it. Among these are film’s power; the nature of film spectatorship; and the characteristics of specific films and genres. Why are we attracted to certain kinds of films—horror films and those depicting violence we abhor? The most basic claim underlying psychoanalytic approaches to film is that the creation and experience of film is driven by desire and wish-fulfilment and functions to satisfy certain psychological, protective, expressive needs of artists and audiences. Psychoanalytic explorations of film tend to draw together aspects of artistic creation and spectatorship, as well as accounts of film’s power to move audiences and the nature of film spectatorship in general—the affective and cognitive significance of the nature of film experience itself.
|Title of host publication||The Oxford Handbook of Philosophy and Psychoanalysis|
|Editors||Richard Gipps, Michael Lacewing|
|Place of Publication||Oxford|
|Publisher||Oxford University Press|
|Number of pages||17|
|Publication status||Published - Feb 2019|
Cox, D., & Levine, M. P. (2019). Psychoanalysis and Film. In R. Gipps, & M. Lacewing (Eds.), The Oxford Handbook of Philosophy and Psychoanalysis (pp. 513-530). Oxford: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780198789703.013.31