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Cuffed: Psychological And Genre Analysis - Essay Example

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Science fiction film is one of the hallmarks of 20th and 21st century genre filmmaking. The genre involves a complex array of conventions, and is often combined with hybrid forms of narrative filmmaking. Nina Salomon’s independent film “Cuffed” is one such complex psychological science fiction short…
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Cuffed: Psychological And Genre Analysis
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Cuffed: Psychological And Genre Analysis

Download file to see previous pages... Additionally, the film incorporates Freudian psychological concepts through its exploration of id, ego, and superego concepts. This essay examines this film in relation to its genre conventions, its psychological implementation of id, ego, and superego, and the film’s use of the unreliable narrator. While most individuals are familiar with the science fiction genre, a number of different perspectives exist on what truly constitutes “science fiction”. Gunn and Candelaria (2005) define the genre from a broad ranging perspective. They argue that science fiction constitutes “a fantastic event of development considered rationally” (Gunn and Candelaria, 2005, p. 5). The writers additionally recognize that science fiction involves a scientific or technological change that occurs in a real world context (Gunn and Candelaria, 2005). The importance of this change is generally on a scale that is larger than the individual (Gunn and Candelaria, 2005). Johnston (2011) additionally recognized that science fiction involves technological change and mutation. In terms of semiotics, science fiction contains a wide array of consistent signs. The Semiotics Encyclopedia indicates that among the major science fiction signs include objects with a real world purpose that have been imbued with fantastical properties (Semioticon.com 2012). For example, in Frankenstein, Mary Shelley was influenced by real world advances in medicine; however, she augmented these advances to fantastical proportions. Of course, Nina Salomon’s short film “Cuffed” both confirms and subverts many of the conventions of the science fiction genre. In terms of the film’s incorporation of science fiction generic conventions, this most clearly occurs after the man wakes up in the hospital and looks outside the window. In this instance, the man sees what appear to be futuristic aliens or advanced technology. Additionally, the film’s unconventional narrative structure, along with the ambiguity attached to the man’s interaction with the walkie-talkie, both have science fiction elements. Still, in totality, the short film appears to subvert many of the science fiction generic conventions. Rather than truly embodying “science fiction” genre characteristics, the film’s unreliable narrator appears to simply be imagining many of the fantastical events that are occurring, such as the spaceships outside the hospital window. In this way, the unreliable narrator is used to subvert the genre of science fiction. The Freudian distinction between id, ego, and supergo frequently emerges in film. Freud believed that the ego was the part of the psyche that supported the reality principle. The id was the part of the individual’s psyche that sought pleasure and satisfaction. Finally, the superego reflects the internalization of rules; the superego is in opposition to the id. Freud (2011) indicated that these psychic elements are in competition and act as defense mechanisms against one another, resulting in further subconscious confusion. It is subsequently possible that this is reflected in the film. One source indicated that the division between id, ego, and superego is often used in film by having different characters represent a separate elements of these subconscious elements (Tvtropes.org n.d.). For example, in The Dark Knight, Batman represents the ego, the Joker ...Download file to see next pagesRead More
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