Freud Psychoanalysis
The psychoanalysis theory of the Id, Ego and Super Ego was created by Freud to explain a way that the human psyche can rise. Through various layers of our mind we can see how are brain developed.
The Id is the first layer of our mind formed or is said to have always existed as it is part of the brains formation to have its basic drives be they aggressive when not met and in the search for all forms of self pleasure. From the sexual to the physical and mental, the Id's drive in wants become needs and so the body will function under this power. After a while in growth and development the mind begins to learn how to interact and control the id to some extent in regards to the outside world. This forms our consciousness Ego where the most of are visible self resides. From interaction from the outside world by dominating figures like parents we learn to self rule and criticise and a Super Ego is formed to rule, punish and reward actions of the ego. The ego is the most vulnerable as it is in balance by but has to balance the super ego, id and the outside world.
How this can be applied to film is interesting as Freud has split the mind and its characteristics and handily this can be applied to situations and character in film. In films where there are trios of characters you can almost guarantee that this theory can be applied. In giving one character a child like determination or fierce anger when things don't go their way you have a character based on the Id. A character who is the everyman or the protagonist who has depth and realism to it is usually the Ego especially if the character has to look after another or be wary of them. Then the colder calculated character who is usually lawful or at least has a strict set of morals that it follows becomes that of the Super Ego. What it can also be used in films for is for psychological movies that explore one characters mind crisis like in TheMachinist and Fight Club where it has a split in character and the situation fills in the uncharacterised part of the theory.
Its limits begin when you start to spread the theory too thinly as whilst you don't necessarily need lots of depth to hint at this theory, if there are too many characters or over arching plots a good almost every theory becomes lost.
In films that use this or more when it is unintentionally used we get to know more about the director of the film's life. This could be seen as the authors dream especially if you subscribe to the auteur theory this will give away the artist mind and could hint at their inner turmoil.
Freud said "An Artist is... an introvert, not far removed from neurosis. He is oppressed by excessively powerful instinctual needs. He desires to win honour, power, wealth, and the love of women; but he lacks the means for achieving these satisfactions. Consequently, like any other unsatisfied man, he turns away from reality and transfers all his interest, and his libido too, to the wishful constructions of his life of phantasy"
With this you could say any personalised story made into film can be open to application of this theory.
The Id is the first layer of our mind formed or is said to have always existed as it is part of the brains formation to have its basic drives be they aggressive when not met and in the search for all forms of self pleasure. From the sexual to the physical and mental, the Id's drive in wants become needs and so the body will function under this power. After a while in growth and development the mind begins to learn how to interact and control the id to some extent in regards to the outside world. This forms our consciousness Ego where the most of are visible self resides. From interaction from the outside world by dominating figures like parents we learn to self rule and criticise and a Super Ego is formed to rule, punish and reward actions of the ego. The ego is the most vulnerable as it is in balance by but has to balance the super ego, id and the outside world.
How this can be applied to film is interesting as Freud has split the mind and its characteristics and handily this can be applied to situations and character in film. In films where there are trios of characters you can almost guarantee that this theory can be applied. In giving one character a child like determination or fierce anger when things don't go their way you have a character based on the Id. A character who is the everyman or the protagonist who has depth and realism to it is usually the Ego especially if the character has to look after another or be wary of them. Then the colder calculated character who is usually lawful or at least has a strict set of morals that it follows becomes that of the Super Ego. What it can also be used in films for is for psychological movies that explore one characters mind crisis like in TheMachinist and Fight Club where it has a split in character and the situation fills in the uncharacterised part of the theory.
Its limits begin when you start to spread the theory too thinly as whilst you don't necessarily need lots of depth to hint at this theory, if there are too many characters or over arching plots a good almost every theory becomes lost.
In films that use this or more when it is unintentionally used we get to know more about the director of the film's life. This could be seen as the authors dream especially if you subscribe to the auteur theory this will give away the artist mind and could hint at their inner turmoil.
Freud said "An Artist is... an introvert, not far removed from neurosis. He is oppressed by excessively powerful instinctual needs. He desires to win honour, power, wealth, and the love of women; but he lacks the means for achieving these satisfactions. Consequently, like any other unsatisfied man, he turns away from reality and transfers all his interest, and his libido too, to the wishful constructions of his life of phantasy"
With this you could say any personalised story made into film can be open to application of this theory.
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