{"title":"屈服于蒙太奇中传达无意识的形象","authors":"Elijah Young","doi":"10.5206/tba.v4i1.15044","DOIUrl":null,"url":null,"abstract":"Psychoanalytic approaches to dreams and the method of their interpretation are considered as foundational for the sorts of theories of montage editing and cinematic movement presented in the written works of Sergei Eisenstein, and collected in the Pool Group’s journal Close-Up. The film Borderline (1930) is taken as a case study of this relationship, and analysis focuses on instances of correlation between the models for dream interpretation presented by Sigmund Freud and the new medium of film.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Yield to the figural—communicating the unconscious in montage\",\"authors\":\"Elijah Young\",\"doi\":\"10.5206/tba.v4i1.15044\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Psychoanalytic approaches to dreams and the method of their interpretation are considered as foundational for the sorts of theories of montage editing and cinematic movement presented in the written works of Sergei Eisenstein, and collected in the Pool Group’s journal Close-Up. The film Borderline (1930) is taken as a case study of this relationship, and analysis focuses on instances of correlation between the models for dream interpretation presented by Sigmund Freud and the new medium of film.\",\"PeriodicalId\":433224,\"journal\":{\"name\":\"tba: Journal of Art, Media, and Visual Culture\",\"volume\":\"8 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-01-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"tba: Journal of Art, Media, and Visual Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5206/tba.v4i1.15044\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"tba: Journal of Art, Media, and Visual Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5206/tba.v4i1.15044","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Yield to the figural—communicating the unconscious in montage
Psychoanalytic approaches to dreams and the method of their interpretation are considered as foundational for the sorts of theories of montage editing and cinematic movement presented in the written works of Sergei Eisenstein, and collected in the Pool Group’s journal Close-Up. The film Borderline (1930) is taken as a case study of this relationship, and analysis focuses on instances of correlation between the models for dream interpretation presented by Sigmund Freud and the new medium of film.
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