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A Jungian Approach to Three New German Cinema Films Utilizing The Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 A Jungian Approach to Three New German Cinema Films Utilizing the Archetype of the Other (Shadow) and the Affect of Fear Through Visual Presentation of the Other Michaela I. Densmore Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A JUNGIAN APPROACH TO THREE NEW GERMAN CINEMA FILMS UTILIZ- ING THE ARCHETYPE OF THE OTHER (SHADOW) AND THE AFFECT OF FEAR THROUGH VISUAL PRESENTATION OF THE OTHER By MICHAELA I. DENSMORE A Dissertation submitted to the Program LQ Interdisciplinary Humanities in partial fulfillment of the Requirements for the Degree of Doctor of Philosophy Degree Awarded: Spring Semester 2012 Copyright © 2012 Michaela I. Densmore All Rights Reserved Michaela I. Densmore defended this Dissertation on 12 March 2012. The members of the supervisory committee were: Birgit E. Maier-Katkin Professor Directing Dissertation Ernest C. Rehder University Representative Raymond R. Fleming Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the Dissertation has been approved in accordance with university requirements. ii DEDICATION To Oma, Bnoise, And Toni iii ACKNOWLEDGEMENT An undertaking such as this dissertation cannot be done without the guid- ance and support from many people. While there are too many individuals who have walked along the path to bring this journey to completion, some persons must be acknowledged by name. First and foremost my thanks goes to my major professor, Dr. Birgit Maier- Katkin and committee members Dr. Ray Fleming and Dr. Ernest Rehder. With- out their support, this dissertation would not have been possible. Secondly, many thanks go to all my professors during my graduate work and everyone in the Program in the Humanities, especially Dr. Golden and Bar- bara for their great support through many rough spots. Very special thanks for patience and caring beyond the call of duty are also owed to Ginger, Toni and Sarah and the patient staff at Strozier Library. Additionally, my sincere thank you also goes to the College of Education Dean’s Office for all the support during the writing process. Furthermore, I want to express my thanks to my Mom for her unwavering support and unending belief in the completion of the dissertation throughout it all. Too numerous to name each individually, I also want to collectively thank my friends for letting me talk it out when I had written myself into a corner, especially (in alphabetical order) Ashley, Barbara, Dawn, Faythe, Gina, Kay, Peggy, Sandy and Terrie. Lastly, a special thank you for all the support and time must go to Annell, Gini, Lisa and Meredith. Many other people have made this dissertation and the degree achieved possible. I apologize to all who have not been specifically named and want you to know, your wisdom, thoughtfulness and time has been greatly appreciated. iv TABLE OF CONTENTS ABSTRACT .................................................................................................................. VII INTRODUCTION—A BRIEF OVERVIEW ........................................................................... 1 CHAPTER 1: FIN DE SIÈCLE, FILM AND FREUD: AN ODE TO FREUD(E) ............................. 8 FIN DE SIÈCLE, FREUD AND FILM – A TRIPLE BIRTH ......................................................................... 9 NIGHTMARES OF FREUD(E)........................................................................................................... 13 EARLY FILM CRITICISM AND GRECIAN FREUD(E) ........................................................................... 16 ANCIENT GREECE MEETS MODERN FRANCE.................................................................................. 18 FREUD MEETS FEMINISM .............................................................................................................. 21 CHAPTER 2: A JUNGIAN‐BASED FRAMEWORK—AN OVERVIEW .................................. 30 FROM FREUD TO JUNG—AN OVERVIEW OF SELECTED JUNGIAN CONCEPTS .................................. 31 THE UNCONSCIOUS – A SPLITTING PERSONALITY? ....................................................................... 35 ARCHETYPES – A JOURNEY INTO THE UNCONSCIOUS .................................................................... 39 THE OTHER ARCHETYPE—AN ANIMATED SHADOW ....................................................................... 45 FILM HEROES—A PRESCRIBED JOURNEY’S TRAJECTORY ............................................................. 56 CHAPTER 3: THREE‐LEAFED CLOVER: SPECTATORSHIP FEAR / CATHARSIS AND NEW GERMAN CINEMA ....................................................................................................... 74 SPECTATORSHIP—THE HIDDEN DRIVES TO WATCH FILMS ............................................................ 75 FEAR-A POWERFUL DRIVING EMOTION ......................................................................................... 82 PROPOSING A NEW APPROACH .................................................................................................. 107 CHAPTER 4: ALI – ANGST ESSEN SEELE AUF (RAINER WERNER FASSBINDER, 1974) .... 119 A LOOK AT NEW GERMAN CINEMA ............................................................................................. 119 ALI—THE TRUE OTHER? ........................................................................................................... 143 EMMI AND BARBARA—THE NOT-SO-OBVIOUS OTHERS? ............................................................ 157 CHAPTER 5 – DIE VERLORENE EHRE DER KATHERINA BLUM (VOLKER SCHLÖNDORFF, MARGARETE VON TROTTA, 1975) ............................................................................. 191 KATHARINA AND LUDWIG AS A POST-JUNGIAN-BASED ARCHETYPAL MOTIF: THE TERRORIST ....... 193 ARCHETYPES IN THE “TRADITIONAL” JUNGIAN-BASED SENSE ..................................................... 209 MOTHER-DAUGHTER VS. MADONNA-WHORE COMPLEX ............................................................... 214 CHAPTER 6 – NOSFERATU: PHANTOM DER NACHT (NOSFERATU: PHANTOM OF THE NIGHT, A.K.A NOSFERATU THE VAMPYRE, WERNER HERZOG, 1979) ......................... 231 VAMPIRISM, OTHERNESS AND EXPLORATION OF SEXUALITY ........................................................ 234 JONATHAN: EXPLORING DUALISTIC OPPOSITES IN SEXUALITY ..................................................... 247 RELIGION AND MUSIC ................................................................................................................. 256 CONCLUSION ............................................................................................................ 271 v SELECTED BIBLIOGRAPHY .......................................................................................... 284 DISCOGRAPHY .......................................................................................................... 339 BIOGRAPHICAL SKETCH ............................................................................................. 344 vi ABSTRACT Utilizing the Jungian-based framework of Archetypes, Carl Jung’s concept of the Shadow, especially the Underdeveloped Shadow (or Other) as defined by Janice H. Rushing and Thomas S. Frentz, and the affective interaction of the Other with spectators’ fears, this dissertation contributes a new model as a con- current and complementary approach to existing Freudian-based psychoanalyti- cal readings of films. The proposed model is applied to three selected films from the New German Cinema—Rainer Werner Fassbinder’s Ali, Fear Eats the Soul (1974); Margarethe von Trotta and Volker Schlöndorff’s The Lost Honor of Katharina Blum (1975); and Werner Herzog’s Nosferatu (1979)—to enhance and further the critical understanding of these films and their effect on spectator fear through the visual portrayal of the Jungian-based Other. vii INTRODUCTION—A BRIEF OVERVIEW This dissertation proposes an application of a Jungian-based framework in film analysis of three films which were made during the New German Cinema, an era spanning from 1962 to 1982 in West German film production. Utilizing the Jungian-based archetypal concepts of the Overdeveloped (Ego) and Underde- veloped Shadow (Other) the dissertation examines the interaction of fear and spectatorship in response to the portrayal of the Jungian-based Other in Fear Eats the Soul (Fassbinder, 1974), The Lost Honor of Katharina Blum (von Trotta, Schlöndorff, 1975) and Nosferatu (Herzog, 1979). This dissertation demon- strates, through the examination of these three films within a Jungian-based framework, an expansion of the analytical horizon, comparative to the expansion of the cinematic horizon experienced during the two decades in which auteur di- rectors of the New German Cinema produced their works. By examining films through a Jungian-based, rather than a Freudian-based framework, film analysis can be approached from a more holistic vision which provides a segue way into more detailed research combining character studies through the process of Indi- viduation with spectatorship analysis and the studies of emotional responses to visual representations. The dissertation is broken down in six chapters. The first chapter dis- cusses Freud and paints in large brushstrokes some historical aspects of his theories as applicable to film analysis. By no means can the contributions of Freudian scholars be overlooked in
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