Word: freudianism
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Dates: during 1990-1999
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...that, in any film of this length, a certain degree of repetition of plot developments and themes is inevitable. In fact, since Berlin Alexanderplatz deals as much with psychological devastation as it does with romance and criminal intrigue, it is to be expected that the protagonist should, in proper Freudian fashion, relive certain events of his life over and over again, seeking control over events otherwise relegated to the unchangeable past. Fassbinder brutally exploits the technique of flashback in scenes in which Biberkopf recalls the murder of his girlfriend. Fassbinder offers different voice-overs in each reenactment, which appears...
...treatment in childhood, may be quite capable of murdering her own children and those of others. He helps trap the woman he has described. But for the trial to go forward he must declare her sane, a judgment that would have seemed as mushy at the beginning of the Freudian era as it does now. For a long stretch of chapters, the trial seizes the story, and Kreizler, who is not a lawyer, can't take it back. A good courtroom drama, always welcome but not uncommon, floods the author's rare and fascinating tunneling into the beginnings of psychiatry...
...gallery. Where artists share a space, as with Celmins and Orozco, the curators' pairings are almost always smart and appropriate. Only the pairing of Wendy Ewald's photographs of children's dreams with Sue Williams' painted entanglements of sexual organs and orifices seems heavy-handed and literal in its Freudian pop psychology...
...displays of institutional continuity. (A nickel, please, for every TV commentator who used the phrase "orderly passage of power.") But this Inauguration Day seemed more of a pretense than usual--the disjuncture between what was going on and what was really going on starker, like one of those neo-Freudian sophomoric plays of the 1950s in which characters speak their lines, then say what they are thinking under the lines...
...collection of essays by writers and poets, he contends that contemporary authors are better qualified than Bible experts to explicate what he sees primarily as a secular masterpiece. Indeed, both Phillip Lopate's disconcerting contribution about playing Abraham in an Abraham-Sarah-Pharaoh triangle and David Mamet's Freudian riff on the Flood make for enjoyable reading. But Rosenberg's thesis is sorely tested by The Beginning of Desire: Reflections on Genesis (Image), a wonderful book by Living Conversation participant and Orthodox Midrash expert Avivah Gottlieb Zornberg. Her chapter on the Flood beats Mamet's hands down...