The concentrat time of our four work sessions precipitat the haste to extract a writing for a study day entitl “History and psychoanalysis Flashing Cartel “. The “dazzling” cartel can take the form of a certain “promptness”. Our theme became more precise on the question of the screen memory. I question the screen memory in its link to fantasy. Fantasy is written, takes writing in the screen memory.
The part play by fantasy in the distortion of memory. The screen memory covers repress experiences or fantasies. As a production of the unconscious, just like the symptom, it is “a compromise formation”. The essential of childhood life is contain therein, and the screen memory serves to make “the scene innocent [1] “.
In accordance with the first topic
the psychic forces oppose each other, the memory insists. Persists in the memory: one authorizes itself from the importance of the phone number list liv experience to want to remember it and the other puts up resistance to it. This gives a compromise effect to this conflict: it is a displacement. And the substitution of the element emarsys brings more power to marketers which shock for a banal event. What is repress of sexuality is to be reveal in the work of analysis.
The two screen memories of Anna
a young girl of about twelve years old, heroine of the Japanese animat film, “Memories of Marnie”, shot in 2014 by the Japanese filmmaker Hiromasa Yonebayashi, insist by their fixity and their enigmatic character. They freeze this young girl. We could read there a sentence from the fantasy “We abandon a child”, whose be numbers signifier, real, is present by the young girl’s discomfort, as the truth of the subject. “Abandon”, like the mansion where lies the enigma of her being, Anna begins, thanks to a few little others, to construct a fiction, from these two memories, to cover a nameless reality, the death of her parents. This work of remembering brings new knowlge and provokes a subjective reorganization: Anna can be “adopt”. The vocation of fiction is to cover reality.