Ladera, Krizette PSY43 Psychological Assessment 2 The Soul Keeper is about the biopic of Sabina Spielrein. In the present days, Maria Spielrein and Fraser are in Russia making a research about the life of Sabina Spielrein. In the beginning of the Twentieth Century, In 1904 Zurich, 19-year-old Sabina (Emilia Fox) is brought to Jung (Iain Glen) by her well-to-do Jewish family. She is deep into a violent, suicidal depression when Jung proposes they try something new. Instead of the usual chains and electroshock therapy, he patiently talks the young woman through her delusions. Fox and Glen gamely slog through some clunky English dialog and free-association sessions in the film’s slowest and most predictable reels, until the new Freudian method triumphs over the scoffers and she is “cured.” Still attending twice-weekly sessions with the good doctor, Sabina finds herself deeply in love. Instead of resisting her seductive behavior, Jung commits the professional sin of taking her to bed in a moment of sensuous abandon. Jung’s soft-spoken wife who sees all, plays it cool but sends an anonymous letter to Sabina’s family back in Russia that creates a scandal. …show more content…
Counterpointing all this is a modern-day frame story set in Moscow, in which Prof. Fraser (Craig Ferguson), a young researcher from the University of Glasgow, and his French-Russian interpreter Marie (Caroline Ducey), investigate what happened to Spielrein in the Soviet Union. Though it has the rather serious disadvantage of frequently interrupting the film’s emotional flow, this narrative device offers some curious glimpses of what Russia has become, from the inadequacies of the Lenin Library to the fate of elderly
It is never told exactly what has caused Lisa Shilling to slip into this state of depression, which helps to make the atmosphere of the novel very mysterious. Just when it appears that Lisa is getting better, another episode occurs. The story is disturbing, being set around Lisa’s school and home. With other characters in the story, such as Lisa’s parents, causing conflicts with Lisa receiving proper treatment, the story is given a disturbing yet realistic feel.
The film’s subject matter is portrayed through the juxtaposition of dramatic and sad moments against moments of comedy and satire which makes the genre classification of ‘tragicomedy’ the most appropriate. The story of Good Bye Lenin! focuses on the life and growth of a young man, Alex (played by Daniel Brühl) as he, his girlfriend Lara (Chulpan Khamatova), and his sister Ariane (Maria Simon) attempt to shield their mother (Katrin Saß) from learning that the East German state has dissolved. It is in this context that Alex must come to terms not only with his mother’s failing health, but also with his own identity in a rapidly changing space. In order to protect his mother Alex re-creates the GDR for her, but his portrayal does not exactly depict the ideals of the former socialist state. Instead, this ‘new’ GDR reflects Alex’s own personal beliefs and opinions of how he wants the state to be.
In this book, Dr. Ernest Lash discovers he has a love for psychoanalysis after several years working as a psychopharmacologist. Justin, who has been a patient of Ernest for several years, tells him he left his wife, Carol, for another woman. While Ernest sees this as a good thing since the marriage between Justin and Carol as unhealthy, he is still slightly upset that Justin gives him no credit for his help in the situation. Justin then decided he no longer needs Ernest’s help.
With nobody but herself at home, Ann strongly desires to talk to someone, and that someone who arrives at her house is Steven. Ann who has been feeling anxious and helpless while isolated suddenly feels relief when Steven comes as shown, “-and suddenly at the assurance of his touch and voice the fear that had been gripping her gave way to an hysteria of relief.” Steven helps comfort Ann, while Ann is being cautious of herself. She knows that Steven is enticing, but will not give in to him despite how attractive she finds him. Steven is the complete opposite of John and Ann compares John to Steven multiple times, “Steven’s smile, and therefore difficult to reprove. It lit up his lean, still-boyish face with a peculiar kind of arrogance: features and smile that were different from John’s.” and even favours Steven more than her husband. Ann is used to seeing John’s features but not Steven’s. This excites Ann and prompts her to develop feelings that are of a high school girls’, “She didn’t understand, but she knew. The texture of the moment was satisfyingly dreamlike.” It takes Ann a moment to realize that her object of temptation is right in front of her, and it does not take long for her to take the opportunity to ease her boredom and isolation through her upcoming
All Souls by Michael Patrick McDonald is a non-fiction narrative of a family of eleven children raised by a mostly single mother under the dangers of criminality, family abuse, drugs, alcohol, violence, and guns in the projects of South Boston. The story began upon Michael McDonald’s visit to Southie at the age of 28 after four years of being able to transcend the boundaries of poverty and social injustice. This visit revived Michael’s memories of growing up in poverty, witnessing deaths and crimes; therefore, he began to narrate his life and the life of his family and friends.
...s appeared not so much to matter as the fact that he developed new techniques, devised camera approaches and sought always to bring out the potential of a still developing form. That he forgot--or overlooked--to bring the Marxist message to one of his films two years ago brought him that fatal kiss of all--the accusation from the authoritative Soviet magazine, Culture and Life, that his productions had been short on the prescribed Soviet requirement of art and interpretation of history” ("Sergei Eisenstein is Dead in Moscow”, New York Times, 1948) . In film, Eisenstein was known for his development of the montage sequence, his unusual juxtapositions, and his life-like imagery. In life he was known for his propaganda and belief in the plight of the working class. Eisenstein left an inevitable mark on his community, his time, the shape of a sub-culture, and his art.
Besides, when the psychiatrist confronts her, he describes her as, “small, agitated, and dark, her face shaded by a disarray…Her eyes were very black, and she seemed to emit a musk. The psychiatrist hated her”. Besides, he was very angry and wanted to leap and attach the women.
There is no one to listen to her or care for her ‘personal’ opinions. Her husband cares for her, in a doctor’s fashion, but her doesn’t listen to her (Rao, 39). Dealing with a mentally ill patient can be difficult, however, it’s extremely inappropriate for her husband to be her doctor when he has a much larger job to fulfill. He solely treats his wife as a patient telling her only what could benefit her mental sickness rather than providing her with the companionship and support she desperately needs. If her husband would have communicated with her on a personal level, her insanity episode could have been prevented. Instead of telling her everything she needed he should’ve been there to listen and hear her out. Instead she had to seek an alternate audience, being her journal in which he then forbids her to do. All of this leads to the woman having nobody to speak or express emotion to. All of her deep and insane thoughts now fluttered through her head like bats in the Crystal Cave.
A most interesting film detailing the history and role of the prophet in the Jewish tradition. The first question we must explore is what a prophet is. A prophet by definition is a person who speaks by divine inspiration. Others will say that a prophet is one whose eye is open. A person who can see things that others cannot. In order to understand the prophets and their appearance in history we must first understand the politics of the times.
Despite the fact that the psychoanalytic approach is the most controversial interpretation of literature, it proves to be utterly intriguing. In stories such as this, the sexual undertones are clearly evident, and thus substantiate the intricacies behind the approach. Perhaps it is a bit untraditional. However, this investigation remains both thought provoking and brilliantly compelling.
Her worse fears came true after she saw what was behind the doors of the forbidden room. The worst thing imaginable would be that her new husband was either abusive or a murderer and the latter seems to have been Carter’s choice for the Heroine. The Heroine realizes that her innocence has been taken from her from Marquis and she will now find herself in the same fate as the previous wives. “Nothing in my life of family love and music had prepared me for these grown-up games and yet these were clues to his self that showed me, at least, how much he had been loved, even if they did not reveal any good reason for it. But I wanted to know still more; and, as I closed the office door and locked it, the means to discover more fell in my way.” (Page 15). The Heroine herself admits that her experiences before her marriage to Marquis could not have prepared her for what she may find in the chamber or find out about Marquis. Her referral to “grown-up games’ in itself proves that even the Heroine believes that she may have been a little naïve going into this marriage and that she is not ready for the total package that may come with her new
The film I have chosen to explore the micro features on is The Pianist (2002) which is directed by Roman Polanski. Polanski assures that the audience gets a sense of belonging to that period of history and gets to explore the theme of discrimination through the characters life risking challenges that they face throughout the film. This micro essay will explore the following features, framing and camera movement in a 5 minute sequence.
Not a doom laden, emphatically political treatise on the reunification of East and West Germany but a touching and sometimes comedic insight into the gargantuan changes impacting on the small scale, day to day life as experienced by an East German family, Christiane Kerner and her two children Alex and Ariane. Awaking from a coma, Alex fears his mother?s condition may worsen if she learns of re-unification, going to increasingly elaborate lengths in maintaining the illusion of the GDR's omniscience. Becker?s stance as to reunification is ambivalent throughout, the film's concerns not didactic but subtly relayed. How the personal and political interweave is skilfully constructed by Becker,...
David Bordwell. The Idea of Montage in Soviet Art and Film. – Cinema Journal, Vol. 1, No. 2, 1972, 9-17.
For an example in one particular scene, Tiffany has an episode of irritability towards her sister with assumption that her sister hates her; which included loud inappropriate comments and an abrupt exit. There were also symptoms shown such as an excess desire for sex. Tiffany casually talks about all the men she has slept with since her husband’s death, including “the whole office” at her previous job. This is a way she has learned how to deal with her depression.