BERGSTROM, Janet, Endless Night

«L’image ne reçoit pas l’inconscient. L’inconscient ne se donne pas à voir.» (citation attribuée à Freud et rapportée dans l’introduction du Scénario Freud cité p. 30)

- Résistance de la psychanalyse à l’image
- Freud ne croit pas à la figuration, ni au cinéma, ni en photographie.

BERGSTROM, Janet, Endless Night

«Such distance and disinterest notwithstanding, to think about cinema and psychoanalysis today is a substantial undertaking, the histories of the two extending across a century of multiple and complex interactions, one-sided or not. "Cinema and psychoanalysis", moreover, can be a way of enclosing and delimiting a topic that should, on the contrary, be opened up to areas of concern that are not typically taken – by film studies at least – central. There is need, for example, to consider not just how psychoanalysis and psychoanalysts are represented in cinema but also how the recourse to film functions in the analytic session, how the analysand’s speech and associations and memories may draw and depend on cinema’s given sounds and images, its provision of a residue of signifying traces taken up as unconscious material (we watch and grasp films consciously but what counts for us individually in the long run of the psyche may come with quite another urgency, be very different to whatever a film might urge in its images and their ordering, is something only analytically calculable). (26)

BERGSTROM, Janet, Endless Night

«The cinema has almost always failed to make psychic interiority meaningful on the screen.
First touch me, astonish me, tear me apart, startle me, make me cry...
You will please my eye afterward if you can. Diderot
Excess is a familiar term in contemporary film theory, a term most frequently invoked, I think, in discussion of melodrama.» (13)

GILMAN L. Sander, Seeing the Insane

"(The relation mind-body) is the key to the understanding of all early theories of the appearance of mentally ill. By the Renaissance the theories have given way a radical monistic view of the body dominating and forming the mind and soul (...) The appearance of the individual is seen as a classificable, interpretable reference to his mental state." (6)

GILMAN L. Sander, Seeing the Insane

"The relationship between the realities that are being described and the mode of description extends into any historical definition of insanity. The madman is individual seen as "other" by a culture. Thus the image of reality shifts, depending on the time and orientation. Madness includes at one time or another all of the traditional tripartite classifications of anentia, dementia and melancolia. No distinction can be made between somatic and emotional illness if both are understood as subcategories of insanity." (Introduction, iii)

GILMAN L. Sander, Seeing the Insane

"We learn to perceive the world through those cultural artifacts which preserve a society's stereotypes of its environment. We do not see the world, rather we are taught by representations of the world about us to conceive of it in a culturally acceptable manner. It is not merely flora and fauna, sunset and seascape which are seen through the prism of culture. We also see man in his infinite variety through the filters of stereotypical perspective. Throughout the history of any given culture the structure most often applied to categories of man is that of the polar opposite. Each category is perceived as either the embodiment or the antithesis of the group which has provided the category." (Introduction, i)

MORIN, Edgar, Le vif du sujet

"Mais il faut reconsidérer l'hystérie comme phénomène anthropologique global :
1) Pour comprendre l'hystérie, il faut associer les termes antinomiques de simulation et de sincérité, de jeu et de sérieux, d'imaginaire et de vécu. L'hystérie suppose donc un dualité fondamentale, une duplicité structurale au siège même du moi-un.
2) La dualité-duplicité hystérique, d'une part, masque une carence radicale dans la relation avec soi-même, autrui, le monde, d'autre part, exprime et incarne une ardeur affective capable de muer la simulation en son contraire.
3) Magie et hystérie se confondent là où le sentiment de réalité et parfois même la réalité physiologique (brûlures, plaies, stigmates, grossesses nerveuses, etc.) naissent de l'imaginaire ou de la suggestion." (144)