What’s in a dream, by any other name, still be as deep?
This is as well as many other questions arose in my mind preceding my visit to see the movie Inception. My experience with this movie was inconceivably beyond words. I know that the level of impact the movie had upon me was greater due to prior discussions dealing with catharsis and consciousness. However, after reading The Interpretation of Dreams by Sigmund Freud, I was able to place some of the ideas from the film into context.
In the movie, Leonardo Di Caprio organizes a group. The group of people collaborate to perform a task that entailed implanting a concept or thought into one man’s psyche or unconscious mind via dream. This task was formulated with the notion that, if successfully performed, that it would elicit a specific action once the man awakens from the dream. This dialectic idea is similar to Freud’s theories about the interpretation and composition of dreams.
There are several correlating elements between Inception and Freud’s ideas. One correlation would be the relativity of dream-content, dream-thoughts and language. Freud claims that “dream-thoughts and dream-content are presented to us like two versions of the same subject-matter in two different languages” (Freud; 819). This idea of separate methods of presentations of ideas regarding the same issue is similar to those concepts in the movie Inception.
Another issue that arises in the film that correlates with ideas of Freud is the interference of Di Caprio’s deceased wife into the constructed dream maze in a man’s unconscious mind. Freud states, “The consequence of displacement is that the dream content no longer resembles the core of the dream-thoughts and that the dream gives no more than a distortion of the dream-wish which exists in the unconscious” (Freud; 840). In other words, the repressed or underlying dream-wishes or desires are displaced into the dream where they do not belong (or are not relative) to the original dream-thoughts. These dream-wishes create a distortion in the dream as we can recognize from the movie when a train interferes in Ariadne’s construction of an environment in a dream. The train was a memory from Di Caprio’s subconscious mind that projected or displaced itself into her dream. Thus this event created a distortion in the dream and had no relation to her original dream-thoughts and content.
Going further with the idea of displacement and the film, we can make a connection between lines of defense (defense mechanisms) in the unconscious. Freud argues that these are “endopsychic defense(s)” (Freud; 820). This idea is also demonstrated in the film when the team goes into the dream/subconscious mind of their target and begin getting attacked by trained men. It is expressed in the movie that when things are not natural (displaced) that the mind will start to defend itself because the dream-content and dream-thoughts are not directly relative to each other. Freud says, “…the portions of this complicated structure strand […] in the most manifold logical relations to one another” (Freud; 821).
Another idea of Freud’s that we can use to analyze Inception is condensation. In The Interpretation of Dreams Freud says, “Dreams are brief […] If a dream is written out it may perhaps fill half a page. The analysis setting out the dream-thoughts underlying it may occupy six, eight or a dozen times as much space” (Freud; 819). We can apply this to what is demonstrated in the movie. When mapping out he dream, the team confirms that they will use the targets 10 hour flight to perform “Inception.” They then established that it would take them 10 years in dream time to accomplish this task. This idea confirms Freud’s claim that people maintain a certain “underestimation of compression” associated with dreams (Freud; 819).
One last idea that is present in both the movie and Freud’s text is memory and dream-thoughts. Freud states, “essential dream thoughts…usually emerge as a complex of thoughts and memories of the most intricate possible structure with all the attributes of the trains of thought familiar to us in waking life” (Freud; 821). In Inception Ariadne is asked to construct the maze or dream environment which they will be entering. She does so by compiling memories and characteristics of familiar places she had been in real life. This placed into context what Freud discusses in his text on the use of memories and their essential nature to dream construction.
Freud, Sigmund. "The Interpretation of Dreams." Ed. Vincent Leitch. The Norton Anthology of Theory and Criticism. Second Edition. New York: W.W. Norton & Company Inc, 2010. Print.
Wednesday, July 28, 2010
Wednesday, July 21, 2010
Analysis #2
Analysis 2: Silhouettes of Formalism
The moon has now closed in on us and it begins to drizzle—then rain, then pour. This is the perfect opportunity to end the silence that stands between us. It has been minutes or maybe even hours since she has even turned in my direction. I pull her close so that I may shield, warm and protect her from the crashing down of raindrop; drops that could weigh her down and slow us up. I’ve been here before in this place so reminiscent of itself. But has she? It feels the same, but it certainly isn’t how I remembered. Does she feel the same? We are both here and it seems brighter. Strokes of light in the darkness now feel loud, vibrant and rich. The light from streetlamps illuminates particular crevices of us; it reflects off the glistening pavement. She does not reject me. Together we gaze deeply at the ground at our refracted images. We notice the meeting of our feet with the ground. We watch as our silhouettes become one connecting image while our hands rest around one another—navigating off into the distance.
To Russian formalist, Viktor Shklovsky, the untitled oil painting by Leonid Afremov is an example of art utilized “as a technique”(Shklovsky;1). As a viewer we can recognize the denotative characteristics of the painting. We see the image of a man and woman walking under an umbrella through a park, there are street lamps, it is raining and there are trees visible. Although it seems like a fairly simple message, their may be connotative representations in the painting. Shklovsky argues that perception is a “habitual” exercise and ultimately leads to “automaticism.” As we go through life being exposed to the same ideas or images, they begin to become embed into our minds to the extent that we almost become somewhat immune or desensitized to them (or the presence of them). It is through the repetition of things that they become “unconsciously automatic” (Shklovsky; 1). But as Shklovsky expresses further in his argument, he points out that art is employed so as to eliminate automaticism. It is used strategically from its normal form. “The technique of art is to make objects unfamiliar…” (Shklovsky; 1). He goes on further to say, “ Art removes objects from the automaticism of perception…” (Shklovsky;1).
Afremov could have strictly painted the man and woman with no depth; without colors or as a sketch as we would expect to see universally to represent this idea/act/image in our daily lives. But instead he chose specific radiant colors, he chose a method of strokes to create a feel of objects we are familiar with, but did not leave them or paint them as we would ordinarily recognize them. “[…] its purpose is not to make us perceive meaning, but to create a special perception of the object—it creates a vision of the object instead of serving as a means for knowing it” (Shklovsky;3).
This idea demonstrates how art is used to create a subconscious pause. An interference in which the viewer is “defamiliarized” by the painting and is then forced to delve deeper and analyze their sensations and perception of the work. “The purpose of art is to impart the sensation of things as they are perceived and not as they are known” (Shklovsky;1).
One other argument that Shklovsky makes about art is its “algebraic” characteristic. Just like in Afremov’s painting, we do not perceive or view images in their entirety, but rather through its fundamental or “main” identifying characteristics. Shklovsky says we only see objects as “shapes with imprecise extensions” (Shklovsky; 1). He argues further, “We know what it is by its configuration, but we see only its silhouette” (Shklovsky;1). This reinforces the idea in the painting. We know that it is a man and woman and what setting they have been placed in based on their form. But we are not given precise facial features or detailed linear strokes to show us a specific face or setting. We are able to gather from their “silhouette” or their forms what they are.
Work Cited
http://artsytime.com/oil-paintings-of-leonid-afremov/
Shklovsky, Victor. “Art as Technique.” 21 July 2010
The moon has now closed in on us and it begins to drizzle—then rain, then pour. This is the perfect opportunity to end the silence that stands between us. It has been minutes or maybe even hours since she has even turned in my direction. I pull her close so that I may shield, warm and protect her from the crashing down of raindrop; drops that could weigh her down and slow us up. I’ve been here before in this place so reminiscent of itself. But has she? It feels the same, but it certainly isn’t how I remembered. Does she feel the same? We are both here and it seems brighter. Strokes of light in the darkness now feel loud, vibrant and rich. The light from streetlamps illuminates particular crevices of us; it reflects off the glistening pavement. She does not reject me. Together we gaze deeply at the ground at our refracted images. We notice the meeting of our feet with the ground. We watch as our silhouettes become one connecting image while our hands rest around one another—navigating off into the distance.
To Russian formalist, Viktor Shklovsky, the untitled oil painting by Leonid Afremov is an example of art utilized “as a technique”(Shklovsky;1). As a viewer we can recognize the denotative characteristics of the painting. We see the image of a man and woman walking under an umbrella through a park, there are street lamps, it is raining and there are trees visible. Although it seems like a fairly simple message, their may be connotative representations in the painting. Shklovsky argues that perception is a “habitual” exercise and ultimately leads to “automaticism.” As we go through life being exposed to the same ideas or images, they begin to become embed into our minds to the extent that we almost become somewhat immune or desensitized to them (or the presence of them). It is through the repetition of things that they become “unconsciously automatic” (Shklovsky; 1). But as Shklovsky expresses further in his argument, he points out that art is employed so as to eliminate automaticism. It is used strategically from its normal form. “The technique of art is to make objects unfamiliar…” (Shklovsky; 1). He goes on further to say, “ Art removes objects from the automaticism of perception…” (Shklovsky;1).
Afremov could have strictly painted the man and woman with no depth; without colors or as a sketch as we would expect to see universally to represent this idea/act/image in our daily lives. But instead he chose specific radiant colors, he chose a method of strokes to create a feel of objects we are familiar with, but did not leave them or paint them as we would ordinarily recognize them. “[…] its purpose is not to make us perceive meaning, but to create a special perception of the object—it creates a vision of the object instead of serving as a means for knowing it” (Shklovsky;3).
This idea demonstrates how art is used to create a subconscious pause. An interference in which the viewer is “defamiliarized” by the painting and is then forced to delve deeper and analyze their sensations and perception of the work. “The purpose of art is to impart the sensation of things as they are perceived and not as they are known” (Shklovsky;1).
One other argument that Shklovsky makes about art is its “algebraic” characteristic. Just like in Afremov’s painting, we do not perceive or view images in their entirety, but rather through its fundamental or “main” identifying characteristics. Shklovsky says we only see objects as “shapes with imprecise extensions” (Shklovsky; 1). He argues further, “We know what it is by its configuration, but we see only its silhouette” (Shklovsky;1). This reinforces the idea in the painting. We know that it is a man and woman and what setting they have been placed in based on their form. But we are not given precise facial features or detailed linear strokes to show us a specific face or setting. We are able to gather from their “silhouette” or their forms what they are.
Work Cited
http://artsytime.com/oil-paintings-of-leonid-afremov/
Shklovsky, Victor. “Art as Technique.” 21 July 2010
Tuesday, July 13, 2010
In The Words of Satan-Youtube Analysis
I chose the youtube clip, In the Words of Satan, by the Arrows Band to analyze according to the theorists that we have been introduced to in our class discussions. I made this choice because it presented a significant series of controversial issues that could either refute or coincide with ideas conveyed by Plato, Aristotle and Longinus.
One of the major identifiable elements of the clip is rhetoric or the art of persuasion. It plays a significant role in the messages being conveyed. Instinctively we can conclude that this clip would go against the beliefs of Plato who believes that philosophy should be the sole means to differentiate between right or wrong. If the clip uses rhetoric to influence or exemplify issues as wrong or right then it would contradict the theories of Plato.
The clip also utilizes Aristotelian devices or strategies to appeal to and persuade the audience/viewers. The lyrics to the song employ logos to appeal to logic. The controversial issues that are raised (and the manipulation of words) raise questions in your mind. The words allow for a psychological processing of what is being said. Do these things make sense? Given this information, could this be in fact what is taking place subconsciously or psychologically within us?
The clip also employs pathos which appeals to emotion. The images, illustrations and music work collectively to elicit a certain mood or emotion. What emotion it evokes will be determined by the viewer. But will ultimately convey a particular message. For example, the pictures of the underdeveloped, nonviable fetus in the palm of someone’s hand; the picture of drugs, tears, Ku Klux Klan, malnourished child, etc. All these images are associated with a certain idea, concept or emotion.
The style of the clip correlates to the five stages of speech preparation. The arrangement of the clip begins with both ethos and pathos devices, state the issues through the lyrics and pose an argument by presenting the counteractions. It concludes by using ethos and pathos.
The clip is “dressed up” so that the argument is not directly stated. But through a series of relatable human qualities, experiences and recognizable actions, one can assume the metaphorical context in which the creator is trying to convey. The memory is affected by all of the visuals, presentations and what each image represents or behavior it is associated with. To me this type of speech was epideictic. It raised issues concerning the present. However, it did utilize forensic speech by presenting issues from the past that led up to the current condition. The clip seemed to fall under the tragic category for me as it had a cathartic quality to it and focused on ideas rather than a character. But it also was a representation of a mimetic form of posing as the devil. It also was tragic because of the spectacles and song form.
Another evaluation that can be made is between ideas in the clip and concepts brought forth by Longinus. Longinus mentioned on page 142 of the Norton Anthology about banking off a great philosophy or critic from the past. He says:
“Surely Stesichorus and archilochus earned the name before him. So, more than any, did Plato, who diverted to himself countless rills from the Homeric spring. (If Ammonius had not selected and written up detailed examples of this, I might have had to prove the point myself.)”
This idea of utilizing the work of others to validate your own is present in the clip. A diagram with the evolution of monkeys/apes is shown to represent that theory of man to solidify the argument, aid in persuasion by appealing to logic (logos).
Longinus also discusses amplification as an organizational method in sublimity. He says:
You wheel up one impressive unit after another to give a series of increasing importance […] it may be produced by commonplaces, by exaggeration or intensification of facts or arguments, or by a build-up of action or emotion. (Norton; 141)”
Work Cited
Leitch, Vincent B. The Norton anthology of theory and criticism. New York: W.W. Norton, 2010.
http://www.youtube.com/watch?v=lYDCMg4d7ks&feature=youtube_gdata
(IN THE WORDS OF SATAN)
One of the major identifiable elements of the clip is rhetoric or the art of persuasion. It plays a significant role in the messages being conveyed. Instinctively we can conclude that this clip would go against the beliefs of Plato who believes that philosophy should be the sole means to differentiate between right or wrong. If the clip uses rhetoric to influence or exemplify issues as wrong or right then it would contradict the theories of Plato.
The clip also utilizes Aristotelian devices or strategies to appeal to and persuade the audience/viewers. The lyrics to the song employ logos to appeal to logic. The controversial issues that are raised (and the manipulation of words) raise questions in your mind. The words allow for a psychological processing of what is being said. Do these things make sense? Given this information, could this be in fact what is taking place subconsciously or psychologically within us?
The clip also employs pathos which appeals to emotion. The images, illustrations and music work collectively to elicit a certain mood or emotion. What emotion it evokes will be determined by the viewer. But will ultimately convey a particular message. For example, the pictures of the underdeveloped, nonviable fetus in the palm of someone’s hand; the picture of drugs, tears, Ku Klux Klan, malnourished child, etc. All these images are associated with a certain idea, concept or emotion.
The style of the clip correlates to the five stages of speech preparation. The arrangement of the clip begins with both ethos and pathos devices, state the issues through the lyrics and pose an argument by presenting the counteractions. It concludes by using ethos and pathos.
The clip is “dressed up” so that the argument is not directly stated. But through a series of relatable human qualities, experiences and recognizable actions, one can assume the metaphorical context in which the creator is trying to convey. The memory is affected by all of the visuals, presentations and what each image represents or behavior it is associated with. To me this type of speech was epideictic. It raised issues concerning the present. However, it did utilize forensic speech by presenting issues from the past that led up to the current condition. The clip seemed to fall under the tragic category for me as it had a cathartic quality to it and focused on ideas rather than a character. But it also was a representation of a mimetic form of posing as the devil. It also was tragic because of the spectacles and song form.
Another evaluation that can be made is between ideas in the clip and concepts brought forth by Longinus. Longinus mentioned on page 142 of the Norton Anthology about banking off a great philosophy or critic from the past. He says:
“Surely Stesichorus and archilochus earned the name before him. So, more than any, did Plato, who diverted to himself countless rills from the Homeric spring. (If Ammonius had not selected and written up detailed examples of this, I might have had to prove the point myself.)”
This idea of utilizing the work of others to validate your own is present in the clip. A diagram with the evolution of monkeys/apes is shown to represent that theory of man to solidify the argument, aid in persuasion by appealing to logic (logos).
Longinus also discusses amplification as an organizational method in sublimity. He says:
You wheel up one impressive unit after another to give a series of increasing importance […] it may be produced by commonplaces, by exaggeration or intensification of facts or arguments, or by a build-up of action or emotion. (Norton; 141)”
Work Cited
Leitch, Vincent B. The Norton anthology of theory and criticism. New York: W.W. Norton, 2010.
http://www.youtube.com/watch?v=lYDCMg4d7ks&feature=youtube_gdata
(IN THE WORDS OF SATAN)
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