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PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

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Page 1: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

PSYCHOANALYSIS&

GENDER

By: CARMEN ESSA

Edited By: Dr. PicartAssociate Professor of EnglishCourtesy Associate Professor of Law

Page 2: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Goal/Aim

The goal of this class is to understand

psychoanalysis, fetishism, sadism, the

theories of Freud and Jacques Lacan,

and apply them to the films, Marnie and

Psycho.

Page 3: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

OVERVIEWOVERVIEW

“Psychoanalytic Criticism”

“Visual Pleasure and Narrative Cinema”

Interactive Game

Alfred Hitchcock Marnie Psycho

Page 4: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Psychoanalysis

• Analyze dreams, feelings, and/or behavior. Search for hidden repressions

• Using free association to understand or investigate what goes on in the mind.

Page 5: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Psychoanalytic CriticismBy: Gail Houston

I. Freudian Models A. Dynamic model

• Conscious

• Unconscious

Page 6: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Economic Model

• Pleasure principle

• Reality principle-

Page 7: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Topographical Model

• Conscious

• Preconscious

• Unconscious

Page 8: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Topographical Model #2

• Superego

• Ego

• Id

Page 9: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Freud’s Seven Steps to becoming a “normal” member of society.

• Oral phase

• Anal phase

• Phallic phase

• Oedipus complex

• Castration complex

• Latency stage

• Genital stage

Page 10: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Jacques Lacan“mapping of human identity”

• The Real

• The Imaginary

• The Symbolic Order

• Phallus as Signifier

Page 11: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 1

In Freud’s seven stages to becoming a “normal” member of society, in which of the following stages does the child realize it is separate from its mother?

a. oral stage

b. anal stage

c. phallic stage

d. latency stage

Page 12: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 2

Which of the following phases represents the stage in which the male child fears that the father has castrated the mother and will do the same to him?

a. Oedipus complex

b. Castration complex

c. Phallic phase

d. Latency stage

Page 13: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 3

This stage is sort of a pre-adolescent stage and must take place in order for the genital organization stage to take place.

a. Phallic stage

b. Latency stage

c. Anal stage

d. Oedipus complex stage

Page 14: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 4

In this phase, the male child sees his father as the masculine role model and identifies the father as the norm for the male gender.

a. phallic phase

b. oral stage

c. latency stage

d. castration complex

Page 15: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 5

Which of the following did Jacques Lacan say was your ideal image of yourself?

Hint: it’s also called the mirror stage.

a. Real

b. Imaginary

c. Ego

d. Id

Page 16: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 6

Lacan defines this as the period when the father breaks the mother and child bond and imposes the rules of society on the child.

a. Real

b. Imaginary

c. Symbolic Order

d. Oedipus Complex stage

Page 17: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

QUESTION # 7

Lacan identifies this as the time when both sexes seek to become “whole” by becoming what the other sex desires.

a. Real

b. Imaginary

c. Mirror stage

d. Phallus as signifier

Page 18: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Castration Anxiety

According to Freud, the image of

woman triggers castration anxiety.

This leads to male fetishism because

males have to get pleasure another

way usually by fetishcizing about other

female body parts.

Page 19: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Mulvey’s Three Classical Hollywood Cinema Looks

• Camera

• Audience

• Characters

Page 20: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Laura Mulvey: “Visual Pleasure & Narrative Cinema

Visual Pleasure (two forms):

A. Scopophilia

B. Identification

Page 21: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Reliefs for Castration anxiety

• Voyeurism

• Sadism

• Fetishism

Page 22: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Brief History of Alfred Hitchcock

• Born in London, 1899

• Died 1980

• Strict Roman Catholic family

• Attended Jesuit school as a teenager

• Became sketch artist

• Screenwriter, director, & producer.

Source: http://users.netreach.net/treyl/hitchcock.htm

Page 23: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

“The Jesuits terrified me to death, and now I am getting my own back by terrifying other people.”

(Phillips 6)

Page 24: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Marnie

Page 25: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

1st Images of Marnie

• Please watch the first five minutes of Marnie and identify as many terms as possible.

• Note: Pay particular attention to the first few images of Marnie.

Page 26: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

1st Images of Marnie

Shot/Reverse Shot

Extreme Close-Up

Medium Shot

Long Shot

Extreme Long Shot

Fade

Page 27: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Interview Scene

• Students will watch the last few minutes of Marnie’s scene with her mother and then the scene where she is interviewed. Students will identify film terms.

Page 28: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Interview Scene

• Low Key-Lighting

• High Key Lighting

• High angle shots

Page 29: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

1st Meeting with Mark

• Please watch this five minute clip and identify all film terms.

Page 30: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

1st Meeting with Mark

• Extreme long shot

• Point of view shot

• Shot/reverse shot

• Medium shot

• Close up

Page 31: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Bedroom Scene #2

• Please watch this five minute clip and identify all film terms.

Page 32: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Bedroom Scene #2

• High/Low Key lighting

• High/Low Angle shots

• Dolly Shot

• Fade

• Extreme Close up

• Pan

Page 33: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Medium Close-Up

Source: http://www.tvguide.com

Page 34: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Psycho’s 1st scene

• Students will watch the first five minutes of the movie and identify all film terminology.

Page 35: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Psycho’s 1st scene-Things to look for:

• Sound

• Pans

• Dissolve

• Shot/Reverse Shot

Page 36: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Voyeur & Shower Scene

• Please observe this five minute clip and identify all film terms.

Page 37: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Voyeur & Shower Scene

Things to look for: Point of view shot

High Key Lighting

Low Key Lighting

High Angle Shot

Low Angle Shot

Zoom

Pan

Extreme Close up

Page 38: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Psycho

Page 39: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Last scene of Psycho

• Please observe this five minute clip and identify all film terms.

Page 40: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Last scene of Psycho.

• Shot/Reverse Shot

• Zoom/Close up

• Voice Over

• Dissolve

Page 41: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

“I don’t care about the acting. I don’t care about the subject matter. My main satisfaction is that the film had an effect on the audience.”

Source: Phillips, Gene. Alfred Hitchcock

Page 42: PSYCHOANALYSIS & GENDER By: CARMEN ESSA Edited By: Dr. Picart Associate Professor of English Courtesy Associate Professor of Law

Sources

Phillips, Gene. Alfred Hitchcock.NY: 1984. Pgs. 6-9

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” The Sexual Subject: A Screen Reader in Sexuality. NY: 1992

Houston, Gail. “Psychoanalytic Criticism.”The Critical Experience. 1994