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The article takes Tim Burton’s film to work on the status of fictions in psychoanalysis, its value as an instrument to situate what is real at stake in a subject. In this case, the chosen fiction goes beyond the myth model, being able to account in its narrative model — strongly crossed by a dizzyin...
The article takes Tim Burton’s film to work on the status of fictions in psychoanalysis, its value as an instrument to situate what is real at stake in a subject. In this case, the chosen fiction goes beyond the myth model, being able to account in its narrative model — strongly crossed by a dizzying aesthetic — of a real symbolic and imaginary parity. It thus becomes a precious access route to work on the uncanny, especially in the analytical experience in childhood, but also being able to extend it to the experience of an analysis in general.
