نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد سینما، گروه سینما، دانشکده سینماوتئاتر، دانشگاه هنر ایران، تهران، ایران
2 دانشیار گروه سینما، دانشکده سینماوتئاتر، دانشگاه هنر ایران، تهران، ایران
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
“The Repetition Compulsion” is a theory in psychological studies initially introduced by Sigmund Freud between 1914 and 1939. Freud believes this phenomenon is associated with a dialectic situation caused by the simultaneous interference of life and death drives. He explains the repetition compulsion as the repeated attempt to recall past repressions in trauma its most obvious manifestation. Similarly, cinema, as a form of visual research, can provide a platform for the liberation and analysis of the mental content in its subjects, particularly when dealing with traumatic scenes in some films that may necessitate psychoanalytic visual forms. Therefore, the current research focuses on analyzing “Beyond the Wall (2022)” film. Despite having a social concept, this film represents the scene of character’s trauma. Hence, Freud’s Repetition Compulsion theory can be applied to analyze the formal approach of this artwork. As it appears in the film, the “reality scene” is the primary origin of the trauma in the past, which resulted in the character’s punishment due to disobedience. This event has raised anxiety at present. Affected by this anxiety, the character creates a hypothetical conflict between life (pleasure) and death (beyond pleasure) to play out another traumatic drama. Then, he performs his trauma repeatedly by reconstructing the second scene, which embodies the unconscious environment of the character in the manifestation of his neurotic psychodrama. In other words, he punishes himself. The current study is a descriptive analytical research. First, the research aims to conceptualize the components of “Repetition Compulsion” by employing Freud’s 1920 paper Beyond the Pleasure Principle and the interpretations of figures such as Jacques Lacan. These components are repression, death drive, and traumatic neurosis. Next, it concludes that “repetition” becomes a psychological form in the representation of traumatic scenes by analyzing the components through the film. Therefore, the research objective is to understand the structural ability of the film to establish the relationship between the Second drama of the character in the “Second scene” and his primary drama in the “reality scene”. In this process, a disorder occurs in the time and place, consciousness and unconsciousness, and life and death of the subject through “repetition compulsion.” Consequently, analyzing the representation method of this film through a psychoanalytic theoretical framework can help identify the logic of “repetition” by understanding the mechanism of traumatic neurosis.
کلیدواژه‌ها [English]
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