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- 2019 (299) (remove)
Making films can be a lifeline, an aid to going on living when (we feel) the world around us has disappeared. Looking, showing that there’s a >there there,< recording the present moment and thereby preserving it, can, for a time, make us not feel the nothingness within us. But the rescue that comes from making a film is always provisional. Why? Because every film has an end. Because if there are no more films to make, if there is nothing that deserves to be looked at (the worst case scenario), going on living will have exhausted itself, and taking one’s own life (if indeed there was a life to take) may seem the only option. Chantal Akerman’s >No Home Movie< – a film recording the slow death of her mother in her Brussels apartment – is this worst case scenario. A moving record of the psychic devastation that comes about when we, slowly but surely, lose the one object worth looking at. Panic, depression, hopelessness, and a fierce determination to go where the disappeared object went. To this last home where nothing no longer moves.
Descendants of terror
(2019)
The aim of this paper is to approach transgenerational transmission aspects of the traumatic experience of terror in the large social group. The author makes use of the notion of chosen trauma, coined by Vamik Volkan, which shows how specific mental representations of a traumatizing historical event, shared by the large group, can be transmitted to descendants and eventually used by them as a linking factor of their large group. The above issues, along with the importance of reversal of helplessness and of inability to mourn, are discussed; relevant clinical material focusing on the interplay between large-group and individual transmission is presented.
This article intends to propose a basis for a reflection on how separation mechanisms, both intrapsychic and social, may, by a normal identification process, be comparable in traumatic situations to true forms of violence. According to the theories of Benedetti and Peciccia (1996), a symbiotic Self and a separate Self are continuously present, integrated development lines of the Self, even though they are never fully conscious. Conversely, in the structure of the psychotic Self, a deintegration is inferred between the symbiotic and the separate states of the Self, of which the patient is painstakingly conscious. In light of significant psychoanalytic theories relating to the anxiety of separation, we aim to interpret this symbiosis and separation through the history of Michele, a psychotic young man from a Camorrist family, who was currently hospitalized in a psychiatric facility. The article intends to investigate the separation imposed by the clan, and the even deeper one, inferred from the significant separations experienced within the family circle. Furthermore, we will also outline our therapeutic method and the use of progressive mirror drawing, a psychotherapeutic technique which can be used with patients suffering from different pathologies that compromise verbalization, such as psychosis.