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Cronenberg's Protagonist in the film "A Dangerous Method."
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October 8, 2020
Cronenberg's Protagonist in the film "A Dangerous Method."
In the 16:30 mark of the 2011 film A Dangerous Method by director David Cronenberg about two of the most prominent psychologists, Sigmund Freud and Carl Jung, and the latter's patient-paramour, Sabina Spielrein. In the scene, Sabina, played by Keira Knightley, explains her mental condition by recalling a past traumatic, and at the same time titillating, memory to Carl Jung, the psychologist managing her case.
The scene plays out as typical psychoanalysis is portrayed to play—with the patient convulsing and contorting in both face and limb as she recalls, with shockingly palpable terror, how her father beat her when she was a child, and how she liked it. Keira Knightley conveys through her acting such terror in the face of her character that the viewer cannot help but wince as she winces and jerk.
The cinematography is relatively simple. The shots range from Dr. Jung, played by Michael Fassbender, in the background and Sabina in the foreground proceeding with her traumatic narrative laced with carnal sexual urges; to Dr. Jung in a close-up shot beside a bleak and dreary window gazing out unto a grey landscape; to just the back of Sabina as she heaves and cries; to another close-up of Sabina where the viewer can take in every gruesome detail of the story and her very physical retelling.
The two characters strike both an aesthetic and kinetic contrast, painted on a drab and sombre canvas. Sabina wears a disheveled dress, and Dr. Jung is in a dark suit, comfortably suited in his chair. They are inside a bare room, as plain as it gets, and outside is an environment that appears to resonate the plain-ness and parched simplicity of the room the characters are in. Dr. Jung is reserved and restrained, absorbing the wicked storytelling of the contorting figure before him. Sabina appears to be trying her best to contain herself, but the weight of the emotion from the story is too much—her body twists, her jaw protrudes out, she yells, screams, and cries out a sound that is a mixture of both pleasure and pain, the memories of an abused child confused with herself and what she felt during a time of what was supposed to be a punishment. "I liked it," Sabina says, "it excited me."
The choice of cinematography, lighting, and scenery, or whatever dregs of it are present, is interesting, and in the very least, audaciously deliberate. A predi...
Subject and section
Professor’s Name
October 8, 2020
Cronenberg's Protagonist in the film "A Dangerous Method."
In the 16:30 mark of the 2011 film A Dangerous Method by director David Cronenberg about two of the most prominent psychologists, Sigmund Freud and Carl Jung, and the latter's patient-paramour, Sabina Spielrein. In the scene, Sabina, played by Keira Knightley, explains her mental condition by recalling a past traumatic, and at the same time titillating, memory to Carl Jung, the psychologist managing her case.
The scene plays out as typical psychoanalysis is portrayed to play—with the patient convulsing and contorting in both face and limb as she recalls, with shockingly palpable terror, how her father beat her when she was a child, and how she liked it. Keira Knightley conveys through her acting such terror in the face of her character that the viewer cannot help but wince as she winces and jerk.
The cinematography is relatively simple. The shots range from Dr. Jung, played by Michael Fassbender, in the background and Sabina in the foreground proceeding with her traumatic narrative laced with carnal sexual urges; to Dr. Jung in a close-up shot beside a bleak and dreary window gazing out unto a grey landscape; to just the back of Sabina as she heaves and cries; to another close-up of Sabina where the viewer can take in every gruesome detail of the story and her very physical retelling.
The two characters strike both an aesthetic and kinetic contrast, painted on a drab and sombre canvas. Sabina wears a disheveled dress, and Dr. Jung is in a dark suit, comfortably suited in his chair. They are inside a bare room, as plain as it gets, and outside is an environment that appears to resonate the plain-ness and parched simplicity of the room the characters are in. Dr. Jung is reserved and restrained, absorbing the wicked storytelling of the contorting figure before him. Sabina appears to be trying her best to contain herself, but the weight of the emotion from the story is too much—her body twists, her jaw protrudes out, she yells, screams, and cries out a sound that is a mixture of both pleasure and pain, the memories of an abused child confused with herself and what she felt during a time of what was supposed to be a punishment. "I liked it," Sabina says, "it excited me."
The choice of cinematography, lighting, and scenery, or whatever dregs of it are present, is interesting, and in the very least, audaciously deliberate. A predi...
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