BERGSTROM, Janet, Endless Night

«(The contemporary, theoretically aware version of interpretation) is not so much interpretation of meaning of films but rather the establishment of a "theoryfilmanalysis" in which psychoanalytic concepts (narcissism, paranoia, repression, whatever) are conjoined with a film in the interests of the interpretative elaboration of issues around (mainly) sexual difference. Psychoanalysis here become, as it were, a discourse-generator, making up with film a new genre, a new imaginary (within which, for instance, to construct "the female spectator")» (35)

BERGSTROM, Janet, Endless Night

«The analyst's compulsion, moreover, is the corollary to the particular cinema's own compulsion to visibility, a cinema itselfef haunted by the possibility of something more than its vision, its controlled continuity of screened reality ; analyst and film come across and miss one another on the common ground of their failure not to be seen by this "more" - the slippages, splinters, skewings, everything that bears the trace of what is not symbolized , not in view.» (34)

BERGSTROM, Janet, Endless Night

« Freud's psychoanalysis, that is, interrupts the vision of images, challenges the sufficiency of the representations they make, where cinema aims to sustain vision, to entertain -to blind in- the spectators with images. Franz Kafka at this same time talked of cinema putting a uniform on the eye, of its images taking over : "the speed of the movements and the precipitation of successive images... condemn you to a superficial vision of a continuous kind." » (31)

- Lien avec la citation de Kafka sur le cinématographe : "I can't stand it, perhaps because I am too visual." (voir source originale, p. 54)