Yield to the figural—communicating the unconscious in montage

Elijah Young
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Abstract

Psychoanalytic approaches to dreams and the method of their interpretation are considered as foundational for the sorts of theories of montage editing and cinematic movement presented in the written works of Sergei Eisenstein, and collected in the Pool Group’s journal Close-Up.  The film Borderline (1930) is taken as a case study of this relationship, and analysis focuses on instances of correlation between the models for dream interpretation presented by Sigmund Freud and the new medium of film.
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屈服于蒙太奇中传达无意识的形象
对梦的精神分析方法及其解释方法被认为是谢尔盖·爱森斯坦的书面作品中所呈现的蒙太奇剪辑和电影运动理论的基础,并收录在Pool Group的杂志《Close-Up》中。电影《边界》(1930)被作为这种关系的一个案例研究,分析的重点是西格蒙德·弗洛伊德提出的梦解释模型与电影这种新媒介之间的相关性。
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