초록 열기/닫기 버튼
In this article, the nature of the psychoanalytic film theory in perceiving the film construction and the nature of the audience's emotion transfer will be discussed through the philosophy theory of "catharsis". It is aimed to analyze the cinema in itself, to benefit from the psychoanalyst approach to the relationship between the word, image, symbol, and object of the emotional discharge in the audience. The universality of cinema carries a common language as the journey of “knowing people, and making sense of people”. Despite the different languages, cultures, and fantastic elements, cinema succeeds in reaching common feelings in the audience. People watch movies to live a fantasy. The reflection of the fictionalized fantasies enables them to re-live the adventure they made in their inner world. The movie theater or the place where the movie is watched portrays the inner world of the individual. The film, which reflects one's image, will allow individuals to meet with the inner world again. The purpose of this article is to construct a new world of meaning by experiencing the phenomena such as examining and reviewing their inner world, collective unconscious, symbol, and imagination in emotional discharge. As a result, reactions that emerge in action are now replaced by a new version of emotions. Identification took the new form of emotion into internal memory and left its place to dreams, imaginations, and desires. In this paper, the bond that the person establishes with the work of art is examined through the psychoanalytic theories of Sigmund Freud, Carl Gustav Jung, and Jacques Lacan and emphasized the concept of catharsis as an individual's spiritual need beyond its philosophical dimension. The article consists of three parts. The psychoanalytic approach, the theory of catharsis, and the importance of these two theories in cinema on the audience are discussed. The first part focuses on the basic concepts of Freud, Lacan, and Jung's psychoanalytic theory. To determine the hidden causes of the action, the conditions under which the psychoanalytic approach was put forward and its connection with the films were examined and the second part, the connection of the expression of emotional discharge with the inner world of the individual in the theory of catharsis is examined, and the place of catharsis in the psychoanalytic approach is discussed beyond being just a concept of art philosophy. Lastly, in the third part, the effect of movies on emotions is evaluated.
