Psychoanalysis in Cinema and Theater: The Reverse of the Message Between the Director and the Viewer as the Antithesis of Scientific Discourse by Cabrera Kahuazango, Carlos Alexis

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Frida Kalho: the look of cinema by Scotto Di Vettimo, Delphine

“…It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work.…”
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Ethics Noir in LA by Cañas Pelayo, Marcos Rafael

“…From its premiere in 2001 until nowadays, Mulholland Drive´s spectators are led to question everything they thought they knew about it.…”
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