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Multiple objections frequently stated by psychoanalysts and film theorists prevent to support the analogy between cinema and dream. This analogy limits the observation of the most precise oneiric dimension of the film-work (Kuntzel), whose metamorphic mechanisms (Benjamin) share files with the dream...
Multiple objections frequently stated by psychoanalysts and film theorists prevent to support the analogy between cinema and dream. This analogy limits the observation of the most precise oneiric dimension of the film-work (Kuntzel), whose metamorphic mechanisms (Benjamin) share files with the dream without making the film an oneiric matter. In fact, contrary to the hypnotic tyranny of the film cultural industry, the film’s oneiric dimension decentralises the image that, disseminated according to its deviation between the interstices of the images, dislocates the uniformity of the image offered by the Dream Factory (Ehrenburg). The Chilean filmmaker Cristián Sanchez’s film Los deseos concebidos shows precisely this oneiric subversion that, as much by its diegesis as by its treatment of the images, by the images and among the images, resists to make of the film “only a dream”.
