本文講的是視覺對精神分析的重要性，基於基本的精神分析，還有一種基本的驅動力叫做東莨菪鹼。這是所有(視力正常的)孩子與生俱來的基本驅動力之一。 ， 2001，第100頁)。弗洛伊德(1986,p. 172)認為，東莨範圍癖是一種性衝動，源於孩子想要窺探父母隱私的慾望，這樣孩子就能知道他們的來源。它是嗜東莨菪鹼的原始表現，是生長過程中的一種正常而基本的驅力。本篇論文代筆價錢文章由英國論文通AssignmentPass輔導網整理，供大家參考閱讀。
Based on the basic psychoanalysis, there is another basic drive called scopophilia. It is one of the basic drives that all (sighted) children are born with (Gillian, R., 2001, p. 100). According to Freud (1986, p. 172), scopophilia is a kind of sexual drive originating from the desire that the child want to pry into his parents’ privacy, and then the child can know their origin. It is the primordial manifestation of scopophilia and is a normal and basic drive in the growing process.
However, the person who cannot satisfy the prying desire in the childhood will pry other people’s privacy insanely after the growth stage. Freud proposed that the curiousness of sex can just be satisfied by prying the covert part of the sex object’s body. If this curiousness can shift from the sexual organs to the whole body, it will sublimate to a sort of art. On the other hand, scopophilia might be a psychopathic desire(Freud, S., 2000, pp. 526-527).
The visual is very important to psychoanalysis. “Film has proved particularly amenable to psychoanalytic interpretation. Cinema is an especially powerful visual medium because a film can create a total world for its audience” (Gillian, R., 2001, p. 101). As Mulvey, L. (1989, p. 25) says, by “playing on the tension between film as controlling the dimension of time (editing, narrative) and film as controlling the dimension of space (changes in distance, editing), cinematic codes create a gaze, a world and an object”.
In psychoanalysis, the Freudian argues that visuality is central to subjectivity, “It follows that film can address our sense of self very powerfully and that psychoanalysis can offer some powerful reading of films” (Gillian, R., 2001, p. 102). There are a lot of films which can reflect some psychoanalysis theories. Especially in Hitchcock’s film, a lot of classic scenes and stories can reflect the Freudian theory. The films Psycho and Rear Window are the good examples to show the relevant of the Freudian analysis of film narratives.
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