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psychoanalysis

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The Symbolic Theory of Freud's Dream Analysis

The relationship between explicit and implicit dreams

Dreams are the best clues that can restore memory. Who are you? What are you avoiding? These secrets are deeply buried in your mind, but you don't want to face them. Sometimes people don't want to face reality because the truth hurts their wounds, so they get sick in order to forget everything. Dreams can tell us what you are avoiding, but can only show segments, combine them to form, and restore their original appearance Then find out the meaning, the weirder the dream, the more helpful it is

2、

scopophilia

Voyeurism is a psychological instinct that everyone has. Freud believed that voyeurism satisfied the subconscious needs of a person, and becoming a psychologist, photographer, and model painter was a sublimation of the voyeurism instinct. People obtain sexual satisfaction through visual stealth, just like children always like to know what is hidden in the drawer that cannot be seen. It is such an exciting and exciting moment.

3、

The tragedy of life caused by childhood loss, due to neglect and pain, leads to a loss of empathy

3 not known or want to know more

1、sexual inhibition、Lolita complex

2、surrealism、Strange bizarre and quirky style

3、violence and provocation

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Psychoanalysis is the treatment of someone who has mental problems by asking them about their feelings and their past in order to try to discover what may be causing their condition.Because the area I want to explore is voyeurism and psychoanalysis is the word which contains the word voyeurism. Psychoanalysis has its supporters as well as its critics. 

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Psychoanalysis is the treatment of someone who has mental problems by asking them about their feelings and their past in order to try to discover what may be causing their condition.Because the area I want to explore is voyeurism and psychoanalysis is the word which contains the word voyeurism. Psychoanalysis has its supporters as well as its critics. 

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Psycho (1960) - 'The Bathroom', 'The Murder' (Shower scene) [1080]

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My favorite kinds of movies are the ones that make me feel like Jimmy Stewart in Rear Window - 60 years old, two broken legs, with a super-zoom telephoto lens, in my pajamas all day watching other people's lives like they're TV, and Grace Kelly by my side taking care of me and doing all the leg work. In other words, I like movies that make me feel like a voyeur, observing and learning from others' experiences.

I like movies about nothing. "A movie about nothing?! That doesn't exist!" you might be thinking. In response, I would like you to think of a time when someone asked you to describe a movie you watched, and the only way you could describe it was by saying it was just about someone's "coming of age," or a character "just living their life." These movies, my friend, were about nothing.

In the 1950s and '60s, voyeurism became a very popular film technique. Making audiences part of the movie by rendering them merely voyeurs emerged as a horror trope. During this time, audiences were shown all parts of a story - everything the main character doesn't know - and suspense was built through the audience knowing all this information but not having any way to tell the main character. The exploitation of viewership draws viewers into the story, simultaneously immersing them in the experience and reminding them of the illusion of a film's false reality. Being trapped as a voyeur built anticipation in movies like Rear WindowandPeeping Tom. These films, and many others categorized under the voyeuristic genre, will use physical cameras, movies, video cameras, or film to emphasize the trapped nature of both the people inside the movie and the people outside.

Most literally and clearly, Rear Window is a great example of this voyeur style. The film presents audiences the main character, Jeff, with two broken legs, trapped in a wheelchair, who uses his camera to zoom in on the lives of others. Just like audiences watch the life of Jeff - unable to reach him or help him - he watches the lives of others unable to reach them or help them. This movie shows audiences that they are not just television viewers; they are, in fact, life observers.

Rear Window, and films like it, are not about nothing though; they're suspenseful thrillers. Audience-as-voyeurs was used as a plot device, but peering into the lives of others wasn't what the story was about. Voyeurism served a purpose in these films to make us feel just as trapped as the characters living out a horror-drama. As filmmakers explored and developed voyeuristic techniques, a new genre of filmmaking was created: movies and TV shows about nothing. What if audiences didn't just feel like observers in thrillers? What if they were also observers in movies and shows about other things, like romance, work, school, and everything else we do to fill time? Expanding the voyeurism to movies of all kinds of stories allowed viewers to be passive voyeurs soaking in information, learning, and observing without having to be on the edge of their seats.

Watching a character do something so familiar on television or in a movie creates a feeling of comfort. No matter how different that character may seem, they show through their everyday activities that they are not really too different from us. The familiarity of the mundane makes audiences feel safe with those characters. We trust them. For example, no matter how unrelatably selfish characters on the sitcom Seinfeld seem, their friendships, dates, coffee shop-hang-outs, and office jobs make audiences see themselves in the characters. When we see ourselves in a character and trust them, we are more likely to listen to what they have to say. Establishing a character's relatability through nothingness eases audiences into larger conversations they may have not been open to hearing otherwise. In this way, nothing can be used as a tool to persuade.

Seinfeld famously is a show about nothing. Jerry Seinfeld is a comedian living in New York City dating women and hanging out with his friends and we, the audience, just watch him. Of course, interesting things happen to him and his friends, but as far as the plot of the entire show goes, it's just a show about someone living in New York City. It's about nothing. At one point in the show, the characters George and Jerry make fun of the show's premise by creating their own show with NBC in which they pitch the idea of having television programming about nothing. "Everybody's doing something!" George says, "We'll do nothing!"

Episodes take on conversations any person could have found themselves having back in the 90s, but they discuss them in creative ways. In the episode " The Couch,"Jerry and Elaine discuss whether or not they would date someone who is pro-life, while Kramer fights with his business partner over when a pizza is officially a pizza: before it goes in the oven or after? This episode juxtaposes a regular conversation about a current event with an in-depth conversation on the same issue using metaphors. Not once does Seinfeld tell its audience how they should feel about this issue. The show just tells us how different characters feel about abortion as an issue and then uses metaphors of everyday life, i.e. pizza making, to present the arguments. The audience is a voyeur on conversations and arguments and then is urged to make their own opinions based on the subtle facts laid out before them in the form of metaphors. If the show was too aggressive about the overarching topic of abortion, the show risks losing viewers because of the strong emotion the topic evokes. Through the metaphor and subtlety of nothingness, Seinfeld is able to discuss issues in a way that maintains viewership and gives audiences the space to form their own opinions. In this way, nothingness is a more effective way of discussing controversial and complicated topics.

Every person watching a movie or a TV show knows what it feels like to do nothing in a day. Maybe that's even the reason they're watching the movie or TV show: to fill the nothingness. Nothing is familiar and relatable. The Peanuts, by Howard Schultz,uses the relatability of nothingness to its advantage, because we all know what it feels like to be a little kid, sitting around, doing nothing, and pondering big questions. And since we know what this feels like, we also know how scary nothing can be. In the article How Peanuts Created A Space For Thinking, by Nicole Rudick, the author describes a comic strip of eight panels that all depict Charlie and Sally simply sitting on the earth, engulfed by the dark sky, discussing the Big Dipper. "Nothing much happens here, yet, in its openness and conversation, the strip is alive with wonder, possibility, and humanity."

Howard Schultz is not afraid of nothingness, and in his comics, he urges us to welcome and embrace it. There is beauty in moments of blissful nothing. In this context, nothing is being used to give audiences the space to gain a new perspective on big issues. How would their younger selves have approached this conversation? How can I embrace nothingness to have the clarity I need in this situation? Observing The Peanuts allows audiences to open their minds to the greater nothingness that surrounds us in everyday life, empowering us to use it to inform our decision making and thinking patterns.

There is also a kind of nothingness that comes from studies of everyday life. Deliberate nothingness can contribute to the exploration of culture and act as a cultural commentary. Content about nothing that depicts a certain time period acts as a time capsule of that time. The Graduatecame out in 1967. Taking place in the '60s, the movie could have been about a major political event or a movement in the '60s, but instead, the filmmakers chose to focus on the attitudes and feelings of young people during this period. Thus, the movie was not about anything, but audience members feel like voyeurs, or time travelers, peering into the life of someone in the 1960s.

Just as nothing can give us insight into a different time, it can also give us insight into people who are different from ourselves. Content where the consumer feels like a voyeur into the life of someone they may not understand serves to broaden their worldview. Movies like or help us to get into the head of others and understand their perspectives. Audience members can put themselves into the shoes of those on screen and for 90 minutes, they can live a life totally unfamiliar to their own whether that be today, or 1960. Similarly, the documentary Get Back gave Beatles fans 8 hours of voyeurism, as we watched footage of The Beatles write their album Let It Be. Although being about the creation of an album, Get Back has no plot and that is referred to multiple times throughout the documentary. Producers worry that they've gotten all of this footage, but who would want to watch it because it's not about anything. But in not being about anything, Get Back is about the intricacies, dullness, drama, and excitement of creating an album. It is about the nothingness of The Beatles going to work and doing their jobs-creating music.

Being a voyeur of life allows us as an audience to welcome new patterns, perspectives, ideas, and ways of thinking. Presented more subtly than in a thriller, passive voyeurism has found a role in broadening mindsets and introducing a new format for influencing audiences. Within the nothing is a lot of something. And that something is the way in which life has meaning and gives watching others' lives even greater meaning.

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The Article About Nothing: The Role Voyeurism Plays in Movies About Nothing - Film Cred

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Minnah Stein writes about the cinematic tradition of voyeurism and the role it plays in modern films "about nothing".

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Kate Moss in banned Calvin Klein Jeans ad

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- voyeurism in film narrartives (e.g. rear window)
- How sex sells in Fashion, does it still sell in 2023? (this is possibly too broad)
- Scopophilia- 'the love of looking' - maybe this is a good title for your video essay? Scopophilia in Cinema or Fashion Film? objectfying women into mere objects to be looked at (rather than subjects with their own voice and subjectivity). This leans in to feminism...

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Have you ever noticed that denim ads are some of the sexiest? And most memorable? We can't tell you how many of the people featured on our site, jeanstories.com, swoon as they reminisce about the first time they watched the 1985 Levi's 501s "Laundrette" TV spot featuring the handsome Nick Kamen-who ends up, ahem, sans jeans. As for print ads, think Guess, Calvin Klein . . . not only sexy, but envelope-pushing and groundbreaking. If concerned mothers of America are writing angry letters to their local newspapers about the boob-baring faces of your campaign, you, as a jeans brand, know you've done something right. From the most unforgettable vintage Versace, to the latest featuring a girl with the last name Moss, these are some of the denim campaigns that made the most lasting impressions on us, and that made opening magazines-this one included-all the more exciting back when we were teenagers in the 90s. They planted the seeds that grew into what is now a deep, everlasting love for denim. Click through, and pearl-clutchers beware.

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12 of the Sexiest Denim Campaigns of All Time

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As it turns out, the best way to sell jeans is to get naked.

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Magazine ads featuring sex get attention, but the strategy won’t work for all brands or industries. Learn why sex is used in sales and when it won’t work.

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NEW YORK, NEW YORK - JANUARY 23: (L-R) Nina Agdal, Taylor Ballantyne, Emily DiDonato and Iskra ... [+]
Getty Images for Aerie

When the COVID-19 pandemic hit, everyone went into hiding. Marketers no longer pitched anything but staples and conservative looks. People were in hospitals, and the mood was too somber to evoke Aphrodite, the goddess of love, beauty, pleasure, and procreation in advertising.

Now as we see vaccines rolling out and the economy opening up again, the mood has changed. Consumers are bubbling with desire to physically gather and communications have changed to reflect that sentiment. Brands have been carefully backing into new marketing campaigns that are once again more upbeat and spark a new freedom of expression and sensuality once again. Advertising is now emphasizing a sense of sexual self-awareness as well as relationships among couples that live together. And that is bringing a return to more sexuality in advertising, albeit in an updated way.

Diesel was told by Cheryl Dunn, a filmmaker and photographer, that she was trying to capture intimate, candid moments in her creative work.

Wikipedia reminds us that sex in advertising is the use of sex appeal to help sell a particular product of service. According to their research, sexually appealing imagery used for marketing does not need to pertain to the product or service but merely evoke feelings that create a positive association and entice a customer to make a purchase. A few examples of sexually appealing imagery traditionally used in advertising include nudity, pin-up, models, and muscular men.

As we emerge from the pandemic, the use of sex and sexuality is changing. It is more expansive and emphasizes the emotional feelings that go along with intimacy, and even includes emotional feelings individuals have about themselves.

For instance, we see a new display of female sexuality. All women are empowered when they feel beautiful and confident in their body, regardless of their size shape or weight. And, that self-confidence can make them feel sexy and appealing. During the recent pandemic, many women may have gained some weight. But that does not matter. Whether it is Lululemon or Athletica, the subtle appeal is that their apparel is for every customer in every size - all can feel good about themselves.

There is still a huge focus in the beauty industry, and the media in general, that a woman's looks greatly influence the admiration, envy, and desire she evokes. However, NOW (National Organization of Women) and its "love your body" campaign is working to counter that narrow view. It supports advertising showing women of all shapes and sizes actively involved in making our world better and champions that use of femininity as the real power behind the advertising.

The earliest known use of sex to sell products was by the Pearl Tobacco brand in 1871; it featured a lightly draped maiden on the package cover and the tobacco sold well. Duke Brand cigarettes featured sexually provocative starlets and became the leading cigarette brands by 1890. Woodbury facial coal was almost discontinued until images of romantic couples were advertised, suggesting love and intimacy.

More recently, Benetton gained attention with their multicultural and sexual images which were developed by Oliviero Toscani and shocked readers (including me). And, we certainly must not forget Calvin Klein, who proclaimed that Jeans are about sex and was known for using young models whose ad images edged on "soft porn". Among other advertisers who also relied on the physical display of attractive bodies, often scantily clad, was Victoria Secret. Its bold use of muscular men at entrances of their stores and annual fashion shows caused widespread comments. Nonetheless, whether it was Benneton, Calvin Klein, or Victoria Secret, these tactics worked as their merchandise sold well to young customers who wanted to look attractive, and fashionably savvy.

The recent wave of sexually explicit ads mirrors our times. The ads reflect a desire for intimacy and the joy of being together rather than just focus on raw sexuality. They are often shot in ordinary settings rather than glamourous, sexy backdrops. Diesel's recent campaign of couples happy to be together again and intimate has been credited with motivating young people to shop in Diesel stores. Customers responded to the brand and validated the advertising effort.

Business for specialty stores and chain stores has been slow in gaining momentum in this post-pandemic era. Retailers are searching for ways to bring customers to their stores. Advertising has to be creative and sparkle. The idea that joyful intimacy and/or a positive sense of self add sexual energy - can be just the creative spark that ignites customer interest in shopping again.
Update: This article has been updated to remove a quote from Ruth Bernstein, CEO of the creative firm Yard NYC.

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Consumers are bubbling with desire to physically gather and communications have changed to reflect that sentiment.

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Visual Pleasure and Narrative Cinema | 5 | Feminism and Film Theory |

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Visual Pleasure and Narrative Cinema - 1

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‘YOU’LL SEE IT JUST AS I SAW IT’: VOYEURISM, FETISHISM, AND THE FEMALE SPECTATOR IN LADY IN THE LAKE on JSTOR

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CATHERINE WILLIAMSON, ‘YOU’LL SEE IT JUST AS I SAW IT’: VOYEURISM, FETISHISM, AND THE FEMALE SPECTATOR IN LADY IN THE LAKE, Journal of Film and Video, Vol. 48, No. 3, Film and Television History (Fall 1996), pp. 17-29

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Looking Like a Woman: The Female Gaze in Sappho and Lafayette Joan DeJean W ITHIN [THE LOGIC THAT HAS DOMINATED THE WEST since the time of the Greeks], the gaze is particularly foreign to female eroticism. . . . [Woman's] entry into a dominant scopic economy signifies . . . her consignment to passivity: she is to be the beautiful object of contemplation." In This Sex Which is Not One, Luce Irigaray offers this categorical denunciation of an erotic econ omy dominated by the gaze. It could be objected that she follows too closely the logic which, from the time of the Greeks, has decreed that, since desire operates through the eyes, Woman should not be allowed to look directly on the male. However, Irigaray offers a challenge to this axiom dictating acceptable female behavior. She argues that " Woman takes pleasure more from touching than from looking." According to her theory, there is no need to forbid the gaze to women, for women do not speak their desire through the eyes. And why would they want to? The gaze, Irigaray argues, is the instru ment of a pleasure that is as restricted as it is restricting. " Can pleasure be measured, bounded, triangulated, or not?," she queries. Behind her question is a never explicitly formulated attack on the concept articulated by René Girard, the triangulation of desire. In Girard's theory, male desire is never original, but is inspired by the desire of a male rival. (In Girard's model, the desiring subject is always a man or a woman, like Emma Bovary, created by a man.) Both the functioning of the gaze as Irigaray presents it and the triangulation of desire act to objectify Woman, to deny her an active role in the economy of desire. It seems logical to assume as Irigaray does that " Woman's desire does not speak the same language as man's." However, what seems miss ing from Irigaray's reformulation of the language of desire is a reading of representations by women writers of the creation of a female erotic language. The gaze has been forbidden to women, but that does not mean that they have not used it. It may be that readers have not been sen sitive to Woman's invasion of " the dominant scopic economy" because the female erotic gaze does not function according to the model that male representations have schooled us to expect. I would like to examine two 34 W in t e r 1988 D eJ e a n of the founding texts of an erotic literature in which women authors por tray a female desiring subject in the process of expressing her desire. These texts run counter to the logic Irigaray develops, according to which Woman situates herself outside the erotic geometry constructed with the gaze, for they depict Woman openly speaking her desire through the eyes. Furthermore, they suggest that there may also be a female variant or variants of the triangulation of desire: in both these texts, female desire expresses itself voyeuristically, through a gaze that is mediated, although in ways that are not recognizable on the basis of male-oriented discussions of the triangulation of desire. The women's texts I have in mind also refute the rare portrayals by male authors of women who take an active role in " the dominant scopic economy." Without exception, male depictions of a female desiring sub ject who looks openly upon the object of her desire reveal that Woman adopts what is assumed to be a male language at her own risk. Woman is a dangerous speaking subject because she comes to language in order to speak about sexual desire. No one expresses with more complexity the power of Woman's prise de parole and its threat to the social order than Racine. Racine estab lishes female desire as a dangerous force that must be annihilated when he portrays the desiring woman as active subject controlling the gaze, and when he allows her to propose a novel triangulation of desire, in which the object of desire is doubled, rather than the desiring subject. In the two famous scenes where Phèdre avows her forbidden love for Hippolyte (1:3, 2:5...

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Project MUSE - Looking Like a Woman: The Female Gaze in Sappho and Lafayette

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Looking Like a Woman: The Female Gaze in Sappho and Lafayette Joan DeJean W ITHIN [THE LOGIC THAT HAS DOMINATED THE WEST since the time of the Greeks], the gaze is particularly foreign to female eroticism. . . . [Woman's] entry into a dominant scopic economy signifies . . .

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Author(s): Zoe Dirse
Subject(s): Gender Studies
Published by: Addleton Academic Publishers
Keywords: female gaze; cinematography; camerawoman; female director of photography; gender difference

Summary/Abstract: For the last thirty years, feminist film theory has explored gender in cinema through detailed analysis of filmic texts, focusing on elements such as modes of narrative address, structuring principles of vision, and patterns of identification. Beginning with Laura Mulvey's landmark essay, "Visual Pleasure and Narrative Cinema," the evolution of feminist film theory was grounded in a paradigm of sexual difference in which the gaze of spectorial pleasure was affiliated with masculinity, and the "female" within mainstream cinema was assigned the position of object and spectacle, connoting, as Mulvey put it, an exemplary "to be looked-at-ness." Now, a recent generation of feminist film theorists has critiqued this founding paradigm, and the axioms of psychoanalysis on which it was based, arguing that it does not allow for other forms of difference: sexual orientation, race, and ethnicity. These arguments were largely based in deconstructions of mainstream (i.e. Hollywood) films.

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download central and eastern european journals

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Central and Eastern European Online Library - CEE journals, documents, articles, periodicals, books available online for download, Zeitschrfitendatenbank, Online Zeitschriften, Online Zeitschriftendatenbank

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Transhumanism is a challenging movement that invites us to rethink what defines humanity, including what we value and regret the most about our existence. Vulnerability is a key concept that require thorough philosophical scrutiny concerning transhumanist proposals. Vulnerability can refer to a universal condition of human life or, rather, to the specific exposure to certain harms due to particular situations. Even if we are all vulnerable in the first sense, there are also different sources and levels of vulnerability depending on concrete social circumstances. Recently, Michael Hauskeller argued about a fundamental incompatibility between transhumanism and vulnerability. He understands vulnerability as an existential category, linked to woundability and mortality. This idea is akin to ontological vulnerability, but it does not notice some important features of social vulnerability. On the other side, transhumanism is a complex and non-homogeneous movement. Here we distinguish between a strong and a weak version of transhumanism. We will propose that the salience of vulnerability is only diminished in the radical one, while a moderate version can reconcile vulnerability with human enhancement. Thus, vulnerability, a concept that has recently gained much importance as an anthropological category in contemporary ethics, is not necessarily at odds with any transhumanist project.

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Belen Liedo Fernandez & Jon Rueda, In defence of posthuman vulnerability - PhilPapers

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Transhumanism is a challenging movement that invites us to rethink what defines humanity, including what we value and regret the most about our existence. Vulnerability is a key concept that require ...