MODERN CINEMA AND THE RETURN OF THE REPRESSED: A PSYCHOANALYTIC APPROACH
DOI:
https://doi.org/10.29121/shodhkosh.v5.i2.2024.5023Keywords:
Psychoanalysis, Return of The Repressed, Modern Cinema, Trauma Nd Memory, SpectatorshipAbstract [English]
The review investigates where contemporary cinema lays out the psychoanalytic concept of the return of the repressed through fragmented narratives, emotional excess, and depictions of trauma. The study is based on Freudian and Lacanian frameworks, in terms of partly drawing on Freudian and partly on Lacanian frameworks, in which the films dramatize the unconscious desires, the unresolved losses, and the fractured identities. What follows are these works that undermine the classical narrative structures, highlight the intensities of effectual regimes, and create a disjunction/reconstituting engagement of the spectator, in consonance with the workings of repression and its repetition. The review analyzes a genius that has persisted in the generational, thematic, and cinematic continuities that these films provide, but which has been led to remained unconscious, becoming unconsciously operative in its structure and its experience. This discussion continues to address the evolving role of the spectator and its need for incorporating the insights that trauma theory and affect studies can offer in response, particularly to contemporary cinematic subjectivities. Through this lens, the study reaffirms the crucial importance of the studies of psychoanalysis to contemporary film theory and reaffirms the cinema’s continued mediation between psychic split, loss, and desire.
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