Resumo

IDE, Danilo Sergio. Cinema, psychoanalysis; spectator, analyst: shot, countershot. Ide (São Paulo) [online]. 2008, vol.31, n.47, pp. 105-109. ISSN 0101-3106.

Freud (1914/1996d) analyses the Moses of Michelangelo following the fundamental rule of psychoanalysis, understood, though, as a rule of reception: the work is analysed according to the very attention dedicated by the analyst to a patient. In this case, work and patient become counterpoints to one another: “the patient as a work of art” (Frayze-Pereira, 2004). However for a comparison between cinema and psychoanalysis, one often seeks the parallel between spectator and patient. Both are similar in the sense that they are bound by rules. A rule of production, proposed by the analyst to the patient: everything is worth to be said. A rule of reception, proposed by the director to the spectator: everything is worth to be seen. However, the analyst is under one rule of reception: everything is worth to be heard. On cinema, it would be better a counterpoint between two shots, one of the spectator and the other of the analyst, cut together in shot and countershot.

Palavras-chave : Cinema; Psychoanalysis.

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