Freud/Lynch: Behind the Curtain

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Freud/Lynch: Behind the Curtain

Freud/Lynch: Behind the Curtain

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We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. And only through Lynch’s films can we see how relevant Freud’s theory remains for grasping the crazy predicament we live in.

And sprawl has a bad reputation: it’s undisciplined and ungainly, it occupies time and space with ugly, disorganized forms.JAMIE RUERS is Events Manager at the Freud Museum London, where she builds a public programme of events, conferences, and exhibitions that engage with psychoanalysis through a range of disciplines.

Freud/Lynch: Behind the Curtain is a collection of essays investigating the commonalities of an unlikely match: a psychoanalyst from Vienna, Austria, and a film director from Missoula, Montana, who would both go on to be great explorers of the human condition in their respective fields. Vanity Fair may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers.Cox Cameron’s presentation will be prefaced with some introductory comments by the book’s editors, Jamie Ruers and Stefan Marianski. With contributions from Olga Cox Cameron, Tamara Dellutri, Allister Mactaggart, Stefan Marianski, Richard Martin, Todd McGowan, Carol Owens, Chris Rodley, Jamie Ruers, Andrea Sabbadini, and Mary Wild.

There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. Lynch, who once told an interviewer, "I love dream logic," would surely agree with Sigmund Freud's famous claim that "before the problem of the creative artist, psychoanalysis must lay down its arms.He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis. Dr Olga Cox Cameron analyses the movie in relation to Freud’s dream logic as well as Lacan’s theories. Cox Cameron finds in Lynch’s 2001 masterpiece Mulholland Drive a text replete with the mechanisms of the dream-work identified in Freud’s Interpretation of Dreams. The central premise of this talk is that in each instalment of the trilogy, a psychogenic fugue follows the unconscious trauma of unrequited love. Stefan Marianski is Education Manager at the Freud Museum London, where he works with young people to engage them with psychoanalytic thought.

Lynch’s unwillingness – or inability – to openly discuss the meaning of his work has enticed and frustrated audiences and critical establishments alike since the emergence of ‘Eraserhead’ in 1977. This session is about the gulf that exists between Lynch’s work and Lynch’s mouth – the sinkhole that can open up between intention and effect. Freud/Lynch: Behind the Curtain takes as its point of departure that Lynch’s work is not so much unintelligible as ‘uncanny,’ revealing what Todd McGowan has termed “the bizarre nature of normality” – and the everydayness of what we take to be strange.

Lynch, who once told an interviewer “I love dream logic,” would surely agree with Sigmund Freud’s famous claim that “before the problem of the creative artist, psychoanalysis must lay down its arms.



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