The trauma debate: Just looking? Traumatic affect, film form and spectatorship in the work of Lars von Trier

Screen

Volumn 45, Issue 4, 2004, Pages 391-399

  Bainbridge, Caroline ^a  

^a NONE

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EID: 64549137092     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/45.4.391     Document Type: Article

References (18)

1. Here, the notion of the unconscious draws on Freud's formulation of the ego and the id, in which he suggests that the ego 'starts out from the system Pcpt [the perceptual system], which is its nucleus, and begins by embracing the Pcs [the preconscious], which is adjacent to the mnemic residues. But, as we have learnt, the ego is also unconscious. . . . I propose to [call] the entity which starts out from the system Pcpt and begins by being Pcs the "ego", and [to follow] Groddeck in calling the other part of the mind, into which this entity extends and which behaves as though it were Ucs [unconscious], the "id".' Sigmund Freud, The ego and the id' (1923), in On Metapsychology, Penguin Freud Library Volume 11 (London: Penguin, 1984), pp. 361-2.
2. Notions of the preconscious are thus incorporated into the unconscious motivations of the ego and are therefore not addressed directly in the context of this essay. although there are interesting perspectives on affect which are arguably facilitated by a turn to the notion of the preconscious. See Freud, 'The unconscious' (1915), in On Metapsychology, pp. 179-82.
3. As José Arroyo has suggested, this is, indeed, the best way to upset an audience. See José Arroyo, 'How do you solve a problem like Von Trier?', Sight and Sound, vol. 10, no. 9 (2000), p. 15.
4. See, for example, Richard Corliss, 'Dark victory', Time Europe, vol. 155, no. 22 (2000). URL: http://www.time.com/time/cannes.html;
5. Robert Davis, 'Let us now scowl at those who beat waifs', Errata, 20 June 2003. URL: http://www.erratamag.com/archives/2003/06/dogville.html;
6. and Damon Wise, 'No Dane, no gain', The Observer Magazine, 12 October 2003. URL: http://observer.guardian.co.uk/magazine/story/0.11913.1061058,00. html.
7. The Dogme '95 manifesto consists of a 'vow of chastity'. By signing up to this vow, directors agree to adhere to a set of rules designed to delimit the technological interventions permissible in the shooting of a film and its manipulation in post-production. The full manifesto is available online at URL: http://www.dogme95.dk/menu/menuset.htm and has been published in Jack Stevenson, Lars von Trier (London: British Film Institute, 2001).
8. Peter Ovig Knudsen, 'The man who would give up control' interview. URL: http://www.dogme95.dk/menu/menuset.htm [9 June 2003).
9. See Stella Bruzzi, New Documentary a Critical Introduction (London: Routledge, 2000);
10. John Corner, The Art of Record: a Critical Introduction to Documentary (Manchester: Manchester University Press, 1996);
11. Bill Nichols, Introduction to Documentary (Bloomington and Indianapolis, IN: Indiana University Press, 2001):
12. Brian Winston, Claiming the Real: the Documentary Film Revisited (London: British Film Institute, 1995).
13. Corner, The Art of Record, p. 28;
14. Nichols, Introduction to Documentary, p. 33.
15. See Luce Irigaray, An Ethics of Sexual Difference, trans. Carolyn Burke and Gillian C. Gill (London: Athlone Press, 1993).
16. Sigmund Freud, 'Introductory lectures on psychoanalysis', in The Standard Edition of the Complete Psychological Works of Sigmund Freud Vol. XVI, trans. James Strachey (London: The Hogarth Press, 1916), p. 275.
17. Jean Laplanche and Jean-Bertrand Pontalis, The Language of Psychoanalysis, trans. David Nicholson-Smith (London: Karnac Books, 1988), p. 466.
18. Ned Lukacher, Primal Scenes: Literature, Philosophy, Psychoanalysis [Ithaca, NY and London: Cornell University Press, 1986), p. 35.