La explicación del inconsciente en el cine negro norteamericano (1940-1960)un estudio gadameriano

Laburpena

ABSTRACT GOALS Analyzing the cinema as contemporary historical phenomenon and deliberating the insertion of the explanation about the unconscious in the American Film Noir under a Gadamerian perspective during the years 1940-1960. Interpreting the speech of scripts and frames in the filmography of the American Film Noir, from the hermeneutics of the factual, in order to determine its scientific merit. METHODOLOGY In order to carry out this work we have prepared a list of films classified as film noir whose study period was limited to (1940-1960). Then, we select 100 films of American Film Noir which represent, according to Sánchez Noriega (1998, 1999) and Santamarina (2006), more relevance for the purposes we set. We have developed an ad hoc categorization, according to Sánchez Noriega (2008): "The dual structure of society and of the human being", "The revolutionary discourse about sex", "The personal narrator and the fatalistic evocation of the past", "Split personality and dreams and hallucinations", "Mental disorders as the origin of criminal behaviour" and "The role of the therapist resolves criminal conflicts". After watching them, we chose 76 films and we transcribed the dialogues, which were related to the subject of the unconscious. Moreover, we selected the frames corresponding to the scenes or sequences, in order to make a hermeneutical analysis of the dialogues - scripts, explaining the thought and language, we established the conceptual relations as "significant areas of explanation", and we also performed an iconological - iconographic analysis of the frames using the Panofsky's method. CONCLUSIONS The feature films used in our study are limited to a heuristic intent between image and text. So it would be an incomplete analysis of the same, if hermeneutics of scripts were not attended: the filmic text. We extracted the scientific explanation of the psychoanalysis in the selected films, through the Gadamerian twist and the Freudian postulates. The filmography which we studied, through the elaboration of Categories for watching each of the seventy-six films, gives us an efficacy and an intention in the dialogues where the unconscious is present in all of them. The category "The dual structure of society and of the human being" is found in each and every one of the films in this selection of 76 films. The category "The revolutionary discourse about sex" is in 38 films. The category "The personal narrator and the fatalistic evocation of the past" appears in 33. The category "Split personality and dreams and hallucinations" is in 56. The category "Mental disorders as the origin of criminal behaviour" appears in 40. The category "The role of the therapist resolves criminal conflicts" appears in 11. We found all the psychodynamic categories in two of the films, namely in: "High wall" directed by Curtis Bernhardt and "The dark past". We found 5 of the 6 psychodynamic categories in eight of the films, namely in: "Murder, my sweet", "Laura", "Black Angel", "The Locket", "Possessed", "Secret beyond the door", "The woman accused" and "The second woman". The director with the most representative films is Fritz Lang with 8 films, followed by Alfred Hitchcock with 5 feature films, Robert Siodmark with 5, Otto Preminger with 4, and Curtis Bernhardt, Raoul Walsh and Billy Wilder with 3 films. During the viewing of films is striking that, although the colour was used for filming in this period, it was just used in two of the seventy-six films studied. The black and white predominates in the Film Noir as representing the duality of both, the characters and the society of the time. The director who manages in his films noirs, with greater profusion and skill the psychodynamic elements, basically the unconscious, is Fritz Lang, who also combines images and text, with heuristics and scientific intent of the issues it addresses. Key Words: Film noir, psychiatry, unconscious, psychoanalysis.