Textual analysis of Anne’s face (Emmanuelle Riva) in Amour (Michael Haneke, 2012) from the Primordial Imago perspective
DOI:
https://doi.org/10.24310/Fotocinema.2021.vi22.11735Keywords:
Real, Primordial Imago, Consciousness, Shot reverse shot, FaceAbstract
In this chapter we will analyze the film Amour (Michael Haneke, 2012). We have chosen the scene —third sequence of the film— in which the main character Anne stares at a void in catatonic state of mind while her husband Georges tries to recover her consciousness without any success. We will use the Theory of the Text and our conceptual framework will be the study of the real as it has been elaborated by Jesús González Requena within the psychoanalytic field. More specifically, we will focus on his theorization based on the role of the Primordial Imago in the emergence of consciousness through shot reverse shot technique. We then propose as an exploratory hypothesis the existence of a footprint of the real that challenges the communicative exchange of this filmic technique.
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