Secrets of a Soul

Abstract

After having presented the circumstances of the shooting of “Mysteries of the soul” by Pabst, the author explains the hostile attitude of Freud towards this movie which is actually quite well done. Whatever the absence of interest or reservations Freud might have had for the most advanced forms of art of his time, his theory on the unconscious processus could fit quite perfectly to describe what the cinema invents image wise. Where are we today? In what way do the movies carry the traces of the end of the great collective fictions and violence in history? Psychoanalysis, semiotics and motion science could join to treat movies not only as the narrative art, but also as an art which will articulate in its grammar, inflicted wounds to the common imagination and the ability to dream.