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Film Und Psychoanalyse Film Im Film Adaptation Film und Psychoanalyse Film im Film Adaptation. (Der Orchideen-Dieb) | USA 2002 | R: Filme über das Filmen sind Filme über das Leben. Denn Spike Jonze | B: Charlie Kaufman, nach dem Roman nicht umsonst teilen die Psychoanalyse als Wissen- »The Orchid Thief« von Susan Orlean | K: Lance Acord | schaft vom Innenleben und die Welt des Films einen M: Carter Burwell | D: Nicolas Cage, Meryl Streep, Chris zentralen Begriff, den der Projektion. Was allerdings im Cooper, Tilda Swinton, Jay Tavare | 115 min | OmU | Der Kinosaal in voller Absicht und nach harter Arbeit ge- Kultfilm von Jonze und Kaufman, dem Dreamteam von schieht, dass nämlich durch die Projektion eine Schein- BEING JOHN MALKOVICH, parodiert sich selbst und die welt Gestalt annimmt, die gerade so realistisch ist, dass Filmindustrie. Zugleich verhandelt er den medialen Pa- sie zumindest zeitweise zu überzeugen vermag, das radigmenwechsel von der Lesekultur zur Bilderwelt. passiert im Leben meist unbewusst und gerade des- Der Drehbuchautor Charlie Kaufman (Nicolas Cage) soll halb oft mit Wucht: Wir alle projizieren unsere szeni- die poetische Dokumentation »The Orchid Thief« der schen Vorstellungen und Lebensentwürfe auf Personen Topjournalistin Susan Orlean (Meryl Streep) verfilmen und Situationen, versuchen also Skripte umzusetzen – und zwar möglichst packend. Sein hoher Anspruch und Anderen implizite Regieanweisungen zu geben, die und die unmögliche Aufgabe versetzen ihn in eine aus- sich nur allzu oft sträuben, weil sie eben gerade einem weglose Schreibblockade. Sein (fiktiver) Zwillingsbru- ganz anderen Drehbuch folgen. der Donald (Nicolas Cage) geizt nicht mit banalen Rat- Während man in der frühen Psychoanalyse davon schlägen. In diesem von zunehmenden Turbulenzen ausging, dass die Motivation zu einer solchen inszenie- gezeichneten Handlungsfeld ergeben sich inhärente renden Projektion weitgehend einer naturwüchsig ver- Rollenkonflikte für Filmschaffende ebenso wie für das Film und Psychoanalyse standenen Triebhaftigkeit des Menschen entspringt, Publikum – gerade letzteres wird in diesem Film durch rückt schon seit Jahrzehnten immer mehr das in Sozia- seine »metaleptische«, die eigene Form sprengende 18 lisationsprozessen geschaffene Begehren in den Vor- Erzählstruktur intensiv einbezogen. Ein Film, den man dergrund. Sexualität, Männer- und Frauenrollen, narziss- gehasst haben muss, um ihn lieben zu können. tisch Erstrebenswertes: das entspringt nicht der »Na- Sonntag, 17. März 2019, 17.30 Uhr | Einführung: tur«, es wird täglich produziert und in Diskursen korri- Andreas Hamburger giert, ist aber eben auch Quelle triebhaft verfolgter Rollenentwürfe. Inneres Begehren ist also nicht nur pri- vat, sondern sozial. Eine Vorlage dafür aber bilden – unter anderem – die Figuren der Filmindustrie, die an- dererseits in einer Kreisbewegung das Begehren der Zuschauer aufgreifen und ausdrücken muss, um kom- merziellen Erfolg zu sichern. Die in dieser Staffel der Reihe »Film und Psycho- analyse« gezeigten Filme bilden diese Verhältnisse auf vielfältigen Ebenen ab, indem sie Filmschaffende und Filmschaffen direkt thematisieren: Da wird um Drehbü- cher und Lebensentwürfe gerungen (ADAPTATION.), da verlieren sich Menschen in veröffentlichten Imaginatio- nen ihrer selbst (SUNSET BOULEVARD), da wird schöp- ferischer Allmachtsanspruch durch soziale Unordnung Sunset Boulevard (Boulevard der Dämmerung) | zurechtgestutzt (LA NUIT AMÉRICAINE), da entdecken USA 1950 | R: Billy Wilder | B: Charles Brackett, Billy wir historische und moderne Schichten der Geschlech- Wilder, D.M. Marshman jr. | K: John F. Seitz | M: Franz terverhältnisse (THE FRENCH LIEUTENANT´S WOMAN), Waxman | D: Gloria Swanson, William Holden, Erich von und erleben, wie Begehren – und Filmemachen – an Stroheim, Nancy Olson, Cecil B. DeMille, Buster Keaton der Anpassung an die »Wirklichkeit« scheitern kann (LE | 110 min | OmU | Jungautor Joe Gillis hat Probleme – MÉPRIS). Schließlich gilt ja auch für Filmschaffende, keiner kauft seine Drehbücher. Zufällig gerät er, vor was Freud über uns alle sagte: »Das Leben ist nicht Schuldeneintreibern fliehend, auf das Anwesen der al- leicht«. ternden Stummfilmdiva Norma Desmond, die dort al- Matthias Baumgart lein, nur mit ihrem Diener Max lebt, umgeben von De- votionalien ihres früheren Ruhms. Auch der Film selbst lässt mit bildsprachlichen Anspielungen, Altstars in Nebenrollen und düsterem Schwarz-Weiß die Stumm- filmzeit wiederaufleben. Widerstrebend erklärt sich Joe bereit, Normas Drehbuchentwurf über das Leben der Salome zu bearbeiten. Aber Norma ist unbelehrbar, auch was Joe betrifft: Er soll sie als Liebhaber zurück ins Leben begleiten und ihr gleichzeitig als finanziell abhängiger Unterstützer zu neuem Starruhm verhelfen, zur einzigen für sie akzeptablen Lebensform. Joe kann sich aus der verstrickten Verbindung nicht lösen, Norma keine ihrer Illusionen aufgeben. So taumelt die Ge- schichte einem katastrophalen Ende entgegen. Sonntag, 14. April 2019, 17.30 Uhr | Einführung: Reigen von Aufgeregtheit, Chaos und Katastrophen Matthias Baumgart bringt, aber dabei immer auch auf die anderen hinter und vor der Kamera angewiesen ist. Für Truffaut war Le mépris (Die Verachtung) | Frankreich 1963 | R+B: die »Gleichheit des Blicks« wesentlich: Die Perspektiven Jean-Luc Godard, frei nach dem Roman »Il Disprezzo« von acht wichtigen Charakteren werden gleichzeitig von Alberto Moravia | K: Raoul Coutard | M: Georges und gleichgewichtig gezeigt. Der Titel des Films bezieht Delerue | D: Brigitte Bardot, Michel Piccoli, Jack Palan- sich auf ein Verfahren, bei dem mithilfe eines Blaufilters ce, Giorgia Moll, Fritz Lang, Raoul Coutard, Jean-Luc Nachtszenen am Tag gedreht werden können – ein Ver- Godard | 102 min | OmU | Der Film zeigt auf der Ober- weis auf die Täuschungen, die dem Kino als Verfahren Film und Psychoanalyse fläche der Bedeutung die Auseinandersetzung zwi- notwendig zugrunde liegen. So wie der Film von einer schen den Beteiligten eines Filmprojektes mit allen Gruppe von Menschen handelt, die für eine bestimmte 19 emotionalen Krisen vor der wunderbar gefilmten Kulis- Zeit intensiv an derselben Sache arbeiten, sind auch wir se Capris. Auf einer nächsten, gar nicht verborgenen Zuschauer im Kino als Gruppe vereint im Sehen des Ebene, geht es um Godards Auseinandersetzung mit gleichen Films. den Bedingungen des Filmemachens, der drohenden Sonntag, 23. Juni 2019, 17.30 Uhr | Einführung: Eva Kommerzialisierung des Films und der Identität des Friedrich, Mathias Lohmer Autorenfilms. Drittens geht es bei dem Film um ein Metakunstwerk, wie wir es von Godard kennen: Inwie- The French Lieutenant's Woman (Die Geliebte des fern gelingt es einem Autor, Regisseur, Künstler im All- französischen Leutnants) | GB 1981 | R: Karel Reisz | gemeinen, gleichzeitig eine packende Geschichte zu B: Harold Pinter, nach dem Roman von John Fowles | K: erzählen und uns für die Bedingungen der Produktion Freddie Francis | M: Carl Davis | D: Meryl Streep, Je- von Kunst ernsthaft zu interessieren? Diese Gleichzei- remy Irons, Hilton McRae, Emily Morgan, Charlotte Mit- tigkeit von Erleben und Reflektieren markiert den Unter- chell, Peter Vaughan | 124 min | OmU | Der Film erzählt schied zwischen philologischem Seminar und Filmer- die Geschichte von Sarah Woodruff (Meryl Streep) im lebnis. viktorianischen England, die in Verruf gekommen ist, Sonntag, 26. Mai 2019, 17.30 Uhr | Einführung: weil sie angeblich vorehelich eine sexuelle Beziehung Katharina Leube-Sonnleitner, Corinna Wernz mit einem französischen Leutnant gehabt habe. Der junge Charles Smithson (Jeremy Irons) verliebt sich in La nuit américaine (Die amerikanische Nacht) | die geheimnisvolle Sarah und verlässt seine Verlobte, Frankreich 1973 | R: François Truffaut | B: Jean-Louis was ihn gesellschaftlich entehrt. Der Film setzt diese Richard, Suzanne Schiffmann, François Truffaut | K: Liebesgeschichte in eine Rahmenhandlung: Während Pierre-William Glenn | M: Georges Delerue | D: der Verfilmung des Romans führen die Hauptdarsteller Jean-Pierre Léaud, Jacqueline Bisset, François Truf- Anna (Meryl Streep) und Mike (Jeremy Irons) eine heiße faut, Valentina Cortese, Jean-Pierre Aumont | 116 min | Affäre. Weiblichkeits- und Männlichkeitsentwürfe von OmU | Ein Film über das Filmemachen, ein Film im Film, früher und heute werden mit Eleganz und Witz vergli- ein Film wie ein Traum – und manchmal auch ein Alb- chen, und das Finale lässt alle Fragen offen. traum: Truffaut spielt Truffaut, also den Regisseur, der Sonntag, 7. Juli 2019, 17.30 Uhr | Einführung: Vivian als ruhender Pol Ordnung und Orientierung in einen Pramataroff-Hamburger.
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