Black Swan, psychoanalytically seen

Movie Black Swan
US Psychothriller 2010
Actress: Natalie Portman
Starring: Vincent Cassel, Mila Kunis
Director: Darren Aronofsky
Subjective assessment and rating, are provided as an invalid in doubt. For the correctness I take no responsibility, no liability.
On the content will not be discussed here on purpose. But are there other.
The director has chosen here a cameraman who is on the fastest possible frame rate, plus under zealous zooming, invests, as if still today would be a feat, and instructed him to do so because of this nonsense, the director is responsible. Of course, the director knows that this is not a trick, but he wants to scare the viewer, tie, leaving them no time for their own thoughts and feelings, in short it, manipulate according to the rules of the non-art, of cheap tricks.
He also does not shy away from continuous, monotonous repetitions. So it shows again and again, ad nauseam, the upper back, sometimes scratched, sometimes not, and the neck of women up and down bobbing when standing or walking, as always the face of the protagonist with their terribly sterile raised eyebrows and other women in the Great Neck, for the screen on a regular basis is not enough, not to be enough. The fad and there is nothing else to it - is colossal tiring. The viewer is the same imposed repeatedly. The director himself is in love with his overvalued idea from back and oversized face of this woman and other women. The second protagonist, the ballet director is too thick as a ruler, as barking monsters, as Sadist, also with tiresome repetitions and also huge images of his face, as if there were to be read in this the truth, as has been the face the actress claimed falsely.
The director wants to show how his main character grows up. For this purpose he lets them twice. even the small children's toys and dolls from a later period, hinunterpoltern through the garbage chute. So simple and so obvious that childhood is disposed of, so you grow up. Once is not enough, there must be two times, according to the motto: And will you not then see, so I hau your skull, and it can be seen what the director trusts the audience to your own or want to leave them nothing, - he wants to do everything himself.

But the audience does not want anything, nothing at all, have hammered. He wants his own brain to work and even allowed to draw conclusions and not patronized, are disenfranchised. One can look at films from the point (and classify worth) how far the viewer is incapacitated by the always strongly suggestive visual medium. The director as guardian of the incapacitated? This we can not allow him. This is certainly not his job. He is responsible for implementing the art of stage theater movie world.

From clichés ample use is made. The long washed up, worn out, by analysts humbly's licked mirror motif including shards with the alleged mystery may not be missing, not even blood and knife (romanticism out of mothballs old inventory of Acting Mack the Knife!) As well as other references to sado - masochism or carried forward to a psychosis amateurish, but the claim of an experienced connoisseur. The director knows it, and we can learn much from him. Through him we have only gained an understanding of what it is at a schizophrenia, a borderline.
In places, the film sinks to the level of a mere ballad.
Finally, as expected, following the death of the protagonist. Unlike the director could not come to an end. He did not fall another one more. Final and dead, finished. The time was up, and you had to come to an end, probably feels every spectator.

The film served clichéd expectations and tries the lack of artistic ideas with billigster, agitated camera technology in the form of breathless leaps from face to mask to face, now and then with a small, stupid sensationalism, so when an old man at the sight of the beautiful lead actress can be sexually arouse in the subway or other deliberately bizarre little incidents inserts. He probably feared his audience could fall asleep, so you have a blast forth quickly, and he feared rightly so. At least you can if you probably want the director to believe that he wanted to show her secret pleasure, to be considered and to arouse an old (they should therefore not be gotten up and walked away, as they would have it so can you do?). But this would be incoherent since. What he has therefore inserted this scene? This remains his secret. But we must think of his desire to make himself interesting, the only motive.

Rarely seen such a boring film. If it were a patient (but he is not, and therefore everything is true indication, highly subjective, with no claim to validity, so it does not apply only ideas), I would call him a narcissist, who has only one thing in mind: make an impression, make sensational, placing flood of images.
In between, he delivers the must have this somehow guessed himself, obediently some pleasing morsels of Machohaftigkeit, sexuality or hints of a rolled-lesbian scene had into it, something just in case, so to speak, for everyone. Even from a psychosis (but the way of what kind exactly? That does not interest him) knows the director just the word and the way small Hänschen imagines a psychosis. Something bizarre, something abstruse enough for him to also and of course the mirror motif, because glass is callous, cold and splintery, and probably he would thus alluding to the alleged split personality and split and would like to, in the wake of countless predecessors from the film industry, deep-claim put. And the psychoanalyst find rows of their feeding frenzy, have been waiting for something like this to get started. For this, the stereotype of psychosis is always good.
He is also not too good, serve up the analytical tales, after the object in reality the subject itself is, and vice versa. So the Ballettkonkurrentin of the lead actress is allegedly stabbed to death, so that they will cover the supposed bloodstains in mania finally, but actually stabbed himself. This is only noticed by herself, her trainer and her colleagues when it's too late. The director they transfigured at the end of an almost divine figure in bright, radiant and confident of victory. You can just tell with a blissful smile that it was perfect. Now she is dead, dead by profession, a great new job and obituary. It is psychiatrically and psychoanalytically true that narcissists her death in Purchase take (drug addiction, anorexia), if they have only won (s. The numerous suicides of famous actresses, high up to 50% -Todesrate of Anorexia- nervosa patients, the true Master in starvation and weight loss and in lowering the desperate mother and the professional helpers). She has a Anorexia Nervosa including artificially induced vomiting in the toilet bowl. This was to be assumed from the outset and eventually displayed correctly. There nothing comes out, because it has been emptied chronic, - here again no doubt a good invention of the director. But this fact has the right director can not stop trying to create sensation and shudder with his psychosis trick and his washed-mirrors trick. Only naive viewers can still fall for something so today.
Compare this with Hanke's film Love or films by Fassbinder. There goes the man also not good. These and other great directors have such tricks, but do not have needed such manipulations. This company clearly depends the heart of the director of the works, by and placed by artificiality. Although here the Anorexia Nervosa is indicated correctly in parts, it is out of tune, because you can feel the intention of the director, to spread fear and sensation, and to make itself at the center. The director is nothing to swear. He is not at his characters and not the piece, but only to himself and his vanity. It is similar to the figure of the shock tamer with his unpleasant barking, the brutal chin and the lust for power in his face, but I do not trust this director is not that he had seen through herewith. With this figure, the director plays - perhaps unconsciously - yourself, without self-reflection, I'm afraid, but perhaps I underestimate him on this point. One can not look into it, yes. Clairvoyant we are not yes.

An inventor would be the one who dispensed such clichés and really own idea brings.

Even an artistic transformation of porn scenes available in youtube can not be seen, but the similarity and the Abgekupferte is painfully evident, except that here the Intrusive of representation, as it were, for the very stupid, who have never seen a porno, stands in the foreground , in opp. to a real porn, which nevertheless still can breathe the audience.

Nothing helps, any attempt by the director to engage in artistic, fail miserably. Heavy-footed aufstampfend what unlike some well danced scenes (which can not come from the director, and actually do not come from him). All the more surprising that the director so behind his presentation of their subject (Ballet) where he abhaspelt his clumsy and puny intentions remains. The ballet life has been unable to stimulate him. Where is your lightness, your elegance, Director? Do you have let you drive out this from the wrong program or never acquired?
Luckily he has not the ballet life with his pudgy, pretentious, false spiced Sado - masochism can smother sauce. But the artistic realization in the cinematic has not succeeded.

By the way are the movie but a good insight into the cruel and vain world of ballet stars, - cruel to their own bodies and against Konkurrentinnen- well in the submission to the ballet director, and in the vain world of
rich spectators who enjoy the suffering of others.
Psychoanalytically it should be noted that the main defense is to turn from passive (suffering) to active (success in the ballet), against fears of being inferior to turn against their own person (starvation, Sich- Enjoy a good work, Submission, suicide) than defense against feelings of guilt as well as shame, trying to outdo other, denial of the mischievous side of ballet director in order to continue to work with him may, for the same reason or for the same purpose reaction formation (submission instead anger against their trainer) and last but not least idealization their persons, their tamer and the ballet (arms still swinging pretty high,? - what do the arms up there get in touch with the celestial setting up their own larger continuous harmonic movements at all), to ward off their own anger at the Ausgebeutetwerden, and if you want, even identification with the aggressor (the exploitative society, its tamer) by stabs himself in the innards, rather than be further eviscerate (here at the same time turn against itself). So it's still last become really analytically in this criticism. Late, but not too late.
2013
Dr. med. Manfred krill, psychoanalysis (DPV, IPV, FPI, IPAA)