\u00abI shall say\u00a0 we must consider necessary that,\u00a0 without the conceptualisation of the non-conscious images, we can not do any kind of research on the relationship between non-conscious and language and in particular on images and language. Within this I believe it is appropriate to propose a discourse on the method rather than a theory on the dynamic and the contents<\/i>\u00bb.<\/p>\n
The scientific breakdown dates back to 1964, when Massimo Fagioli starts the theoretical work on the dynamic of the human birth, published in January 1972 with Death Instinct and Knowledge<\/i>.<\/p>\n
A new thought, a revolutionary way of seeing the human being reality and to which he recognises an original creativity – linked to the disappearance fantasy that together with vitality the newborn realises in the instant that \u201ccomes to light\u201d – claiming the first year of birth without words \u201cbut with resistance and fantasy\u201d.<\/p>\n
The Human Birth Theory leads to the possibility of the knowledge to what is not visible and to the non-conscious, the night images are now comprehensive they become language.<\/p>\n
\u00abBody and mind are not splitted, different than the idea that the only way to human identity is given by reason. If we think how at birth the possibility of the body to motion is reduced to the minimum, we have to realise the image that the only movement is made in first place by the mind\u00bb.<\/p>\n
Research on images has always been a fundamental tenet in Massimo Fagioli\u2019s theory and praxis, his research takes in all kinds of arts, in all of their shapes, including cinema.<\/p>\n
It\u2019s extremely interesting to see that in the contemporary debate within all the methodology and theories of film analysis, Fagioli\u2019s research has a radical and innovative point of view that makes it possible to re-think and re-orient the knowledge and research on this language made by images.<\/p>\n
After the second World War, psychoanalysis sets its outlines and among other areas, becomes the reference of a new paradigm for a critical method for the methodological theory of cinema. The essay written by Serge Lebovici in 1949 \u201cPsychanalise et cin\u00e9ma\u201d guides the exploration by pointing out analogies between film and dream, in<\/p>\n
the 70\u2019 under the aegis of Lacan\u2019s interpretation of Freud, psychoanalysis becomes the key to understand cinema and its dynamics as experience and the spectatorial identification, which is still known nowadays, as a theme of interest in cinema in a continue dialogue with analytic philosophy and neuro-cognitivism.<\/p>\n
This approach, today in full growth, is linked to the survey of empathic relationships among audience and characters, and the empirical research of what happens in the mind of the spectator in front of a specific movie.<\/p>\n
Massimo Fagioli\u2019s unique research on images (where women\u2019s identity image plays a central role that never had before in history ) in the context of the contemporary debate of studies on cinema, shows a new way of seeing the representation and knowledge of the image, of which – on the occasion of the congress \u201cThe shapes of language\u201d held by the oriental institute of Napoli, on the 12th of May 1995 – was developed the formula \u201cnon-conscious non-oneiric image\u201d that opened the gate to a huge research and gave a new proposition to distinguish two words \u201cmeaning\u201d and \u201csense\u201d. An image that is non-conscious and is not the representation of a dream, we can find it in Ingmar Bergman\u2019s films such as Wild Strawberries <\/i>(Smultronst\u00e4llet, 1957), Ansikte mot ansikte <\/i>(1976), <\/i>or in Luis Bru\u00f1uel film\u2019s Un Chien Andalou <\/i>(1929) <\/i>and in Le charme discret de la bourgeoisie <\/i>(1972).<\/p>\n
An image through which the artist can find the silent language of images, saying without words what rationality does not see, recreating the first year of birth without words, which has the capability of imagination.<\/p>\n
Represent, the invisible movement of the internal image, that relates through the camera the internal dynamic of the psychic of the human being. Here then, on the other side of what the academics say, we can claim that this kind of image does not admit any identification and it obligates re-thinking the analysis of films: \u00abWhen it comes [\u2026] to use stories for proposing a language, a discourse, images, probably the possibility of identification is blocked. The spectator has to watch, follow, and try to feel before understanding\u00bb.<\/p>\n
On one side, we have the artist, who represents through images the invisible movement of the internal image; on the other side we have the academic, who has the job to look into what a certain move is saying, and finding the hidden \u201csense\u201d behind the images. Thereafter, the academic in front of the artistic images is obligated to see with different eyes and say what the artist intuition is saying, what the critics never picked up about the possibility of representing images – beyond the storytelling \u2013 and the relationship with the author.<\/p>\n
Re-search, \u00abfinding the original and absolutely personal language paradoxically uncommunicable that only the genius or the poet use to say things that only they can understand\u00bb.<\/p>\n
Brilliant insights of filmmakers such as Michelangelo Antonioni, who in 1960 with L\u2019avventura<\/i> (before with Cronaca di un amore<\/i>, 1950 and Le amiche<\/i>, 1955) represented in a completely original way the dynamic of the separation; or Manoel De Oliveira specially in Singularidades de una rapariga loura<\/i> (2009) and in Estranho caso de Ang\u00e9lica<\/i> (2010) \u00abwere made several films on women\u2019s \u201cdas radikal B\u00f6se\u201d but nobody said that she was \u201canaffettiva<\/i>\u201d (lack of affectivity). I saw that it was not the indifference of a woman proud of her beauty\u00bb.<\/p>\n
Finding out in what way images can become language (talking about his movie Il cielo della luna<\/i>, made between 1997 and 1998 where the main theme is the representation of the women image): \u00abI believe that with this movie we realized images that are language\u00bb. The language of images that says what rationality doesn\u2019t see, re-creating<\/p>\n
the first year of birth without words, that has the capability of imagination, that gives the opportunity to the artist to get back into the internal image, necessary to create something that is completely new and that was never made before.<\/p>\n
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Note<\/strong><\/p>\n Bibliografia<\/strong><\/p>\n Giornate di Studio<\/strong><\/p>\n\n
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