当前课程知识点:光影中的文本 > 第四章 光影中的精神世界 > 4.5 精神分析学派:弗洛伊德潜意识理论 > 精神分析学派:弗洛伊德潜意识理论
Psychoanalysis is a set of theories and therapeutic techniques related to the study of the unconscious mind, which together form a method of treatment for mental-health disorders. The discipline was established in the early 1890s by Austrian neurologist Sigmund Freud and stemmed partly from the clinical work of Josef Breuer and others. Psychoanalysis was later developed in different directions, mostly by students of Freud such as Alfred Adler and his collaborator, Carl Gustav Jung, and by neo-Freudians such as Erich Fromm, Karen Horney and Harry Stack Sullivan. Freud retained the term psychoanalysis for his own school of thought.
Psychoanalysis is a controversial discipline and its validity as a science is contested. Nonetheless, it remains a strong influence within psychiatry, more so in some quarters than others. Psychoanalytic concepts are also widely used outside the therapeutic arena, in areas such as psychoanalytic literary criticism, as well as in the analysis of film, fairy tales and other cultural phenomena.
Freudian theory
A survey of scientific research suggested that while personality traits corresponding to Freud's oral, anal, Oedipal, and genital phases can be observed, they do not necessarily manifest as stages in the development of children. These studies also have not confirmed that such traits in adults result from childhood experiences (Fisher & Greenberg, 1977, 399). However, these stages should not be viewed as crucial to modern psychoanalysis. What is crucial to modern psychoanalytic theory and practice is the power of the unconscious and the transference phenomenon.
The idea of "unconscious" is contested because human behavior can be observed while human mental activity has to be inferred. However, the unconscious is now a popular topic of study in the fields of experimental and social psychology (e.g., implicit attitude measures, fMRI, and PET scans, and other indirect tests). The idea of unconscious, and the transference phenomenon, have been widely researched and, it is claimed, validated in the fields of cognitive psychology and social psychology (Westen & Gabbard 2002), though a Freudian interpretation of unconscious mental activity is not held by the majority of cognitive psychologists. Recent developments in neuroscience have resulted in one side arguing that it has provided a biological basis for unconscious emotional processing in line with psychoanalytic theory i.e., neuropsychoanalysis (Westen & Gabbard 2002), while the other side argues that such findings make psychoanalytic theory obsolete and irrelevant.
Shlomo Kalo explains that the scientific materialism that flourished in the 19th century severely harmed religion and rejected whatever called spiritual. The institution of the confession priest in particular was badly damaged. The empty void that this institution left behind was swiftly occupied by the newborn psychoanalysis. In his writings Kalo claims that psychoanalysis basic approach is erroneous. It represents the mainline wrong assumptions that happiness is unreachable and that the natural desire of a human being is to exploit his fellow men for his own pleasure and benefit.
Jacques Derrida incorporated aspects of psychoanalytic theory into his theory of deconstruction in order to question what he called the 'metaphysics of presence'. Derrida also turns some of these ideas against Freud, to reveal tensions and contradictions in his work. For example, although Freud defines religion and metaphysics as displacements of the identification with the father in the resolution of the Oedipal complex, Derrida insists in The Postcard: From Socrates to Freud and Beyond that the prominence of the father in Freud's own analysis is itself indebted to the prominence given to the father in Western metaphysics and theology since Plato.
(https://en.wikipedia.org/wiki/Psychoanalysis)
-1.1 景别
--景别
--景别
--五个景别
--景别
-1.2 焦距
--焦距
--焦距
-1.3 光线
--影视光线的分类
--光线
-1.4 色彩
--色彩
--色彩
-2.1 声音的分类
--声音的分类
-2.2 声音真实感的五要素
--声音真实感的五要素
-2.3 电影音乐
--电影音乐
--电影音乐
-2.4 电影声音对叙事情节的建构功能
--声音的呈现方式
--声音特性
--声音建构
-3.1 时代与美——新媒体时代传统文化美学的呈现方式
--时代与美——新媒体时代传统文化美学的呈现方式
-3.2 纪录片的拍摄要素——以《180台DV的故事》为例
--DV的故事
--180台DV的故事
-3.3 纪录片对社会的关注和思考
--纪录片对社会的关注和思考
-3.4 纪录片的公益力量
--纪录片的公益力量
--纪录片的公益力量
-4.1 行为主义心理学派
--行为主义学派心理
--行为主义心理学派
-4.1.1 行为主义:场理论在影视中的刺激与传播作用
--场理论
-4.2 皮亚杰学派
--皮亚杰学派
--皮亚杰学派
-4.2.1 影视观众图式的同化顺应学说结合影视运用
--影视观众图式的同化顺应学说结合影视运用
-4.2.2 影视观众接受图式对影视接受的影响和制约
--接受图式
-4.3 人本主义心理学派
--人本主义心理学派
--人本主义心理学派
-4.3.1 影视作品中人物性格塑造的本源依据
--本源依据
-4.4 格式塔心理学派
--格式塔心理学派
--格式塔心理学
-4.4.1 影视摄影创作中的格式塔奠基
--格式塔奠基
-4.4.2 影视作品中生活与艺术表现的连接
--影视作品中生活与艺术表现的连接
-4.5 精神分析学派:弗洛伊德潜意识理论
--弗洛伊德潜意识理论
-4.5.1 潜意识理论对影视作品的创作启示
--潜意识理论对影视作品的创作启示
-4.5.2 影视作品中故事发展的源动力——本能
--本能
-4.5.3 影视作品中人物发展的依据——情结
--情结
-5.1 戏曲音乐要素在纪录片中的应用
--戏曲音乐要素在纪录片中的应用
-5.2 航拍类作品的成功之道
--航拍类作品的成功之道
-5.3 “讲故事”——当今纪录片创作的必然选择
--讲故事——当今纪录片创作的必然选择
-5.4 声音艺术创作分析
--声音艺术创作分析
--声音艺术创作分析

