Berman E
Department of Psychology, University of Haifa.
Int J Psychoanal. 1997 Oct;78 ( Pt 5):975-96.
The author presents an interpretation of Hitchcock's 'Vertigo', focusing on the way in which its protagonist's drama resonates with the analyst's struggle with deep unconscious identifications, with the impossibility of maintaining detached objectivity or guaranteeing one's role as a reparative good object and with the dangers of grandiosity, omniscience and illusory control. The protagonist's 'countertransference love' crystallises around a rescue fantasy in which he is Orpheus striving to bring Eurydice back from Hades, or a Knight determined to behead an obscure Dragon endangering Beauty. Initially these key roles are sharply differentiated, through splitting and disavowal, which deprive the participants of their conflictual three-dimensionality. Eventually, however, the valiant Knight turns out to be as helpless and lonely as his Beauty, and in the final scene as ruthless and lethal as the Dragon. This interpretation is compared to numerous other views of the film offered in the literature. The survey and comparison of the various views leads to fundamental issues in the psychoanalytic study of art. Interpretations can be seen as unavoidably coloured by the (counter)transference of viewers. It is suggested that a film has no hidden true meaning, and a new individual significance emerges in the transitional space opened up by each viewer's encounter with the emotional universe of the film. A defensive emphasis on the pathology of artists and their work may alienate us from art, and blind us to ways in which we could learn from it personally and professionally.
作者对希区柯克的《迷魂记》进行了阐释，重点关注其主角的剧情如何与分析师在深度无意识认同方面的挣扎产生共鸣，与保持超然客观性或确保自身作为修复性好客体角色的不可能性产生共鸣，以及与夸大、全知和虚幻控制的危险产生共鸣。主角的“反移情之爱”围绕着一个救援幻想而具体化，在这个幻想中，他是努力将欧律狄刻从冥府带回人间的俄耳甫斯，或是决心斩杀危害美人的无名恶龙的骑士。最初，这些关键角色通过分裂和否认被鲜明地区分开来，这剥夺了参与者冲突的三维性。然而，最终这位英勇的骑士变得和他的美人一样无助和孤独，在最后一幕中也变得和恶龙一样无情和致命。这种阐释与文献中对该电影的众多其他观点进行了比较。对各种观点的审视和比较引出了艺术精神分析研究中的基本问题。阐释不可避免地会受到观众（反）移情的影响。有人认为，电影没有隐藏的真正意义，在每个观众与电影情感世界相遇所开辟的过渡空间中会浮现出新的个人意义。对艺术家及其作品病理学的防御性强调可能会使我们与艺术疏远，并使我们对可以从艺术中获得的个人和专业学习方式视而不见。
