A dark desire

from Wikipedia, the free encyclopedia
Movie
German title A dark desire
Original title A dangerous method
Country of production Canada ,
Germany ,
United Kingdom
original language English
Publishing year 2011
length 99 minutes
Age rating FSK 16
JMK 14
Rod
Director David Cronenberg
script Christopher Hampton
production Jeremy Thomas
music Howard Shore
camera Peter Suschitzky
cut Ronald Sanders
occupation
synchronization

A dark desire (Original title: A Dangerous Method ) is a historical film drama by the Canadian director David Cronenberg from 2011 . The film, based on facts, shows the affair between the psychiatrist C. G. Jung and his patient Sabina Spielrein and, in this context, deals with the acquaintance and professional debate between Jung and Sigmund Freud , the founder of psychoanalysis . Viggo Mortensen , Michael Fassbender , Keira Knightley and Vincent Cassel play the leading roles in the Canadian- British - German co-production .

A dark desire is based on the play The Method (original title: The Talking Cure ) by the British playwright Christopher Hampton , who in turn was inspired by the 1993 non-fiction book Eine dangerous method (Original title: A Most Dangerous Method ) by John Kerr. Hampton also wrote the script.

action

Zurich in 1904: The Russian Jewess Sabina Spielrein is admitted to the Burghölzli Clinic on behalf of her parents to be treated by the young senior physician and psychiatrist Carl Gustav Jung. The young woman suffers from hysterical attacks, but is also exceptionally intelligent. Jung applies a new method to her, the psychoanalysis of the Austrian Sigmund Freud . Without knowing her name, he gives her case the code name Sabina S. When he learns her real name, he refuses to believe it was a coincidence. During the discussions, the married therapist and his patient come closer, but he maintains a professional distance.

In Vienna, Jung met Freud, whom he admired, and who in turn saw the younger colleague as a possible continuation of his work. At Freud's request, his compatriot, the cocaine-addicted psychiatrist Otto Gross , is placed under Jung's treatment. The unconventional Gross follows a dissolute lifestyle and rejects monogamy as a social convention in his conversations with Jung . He convinces Jung to surrender to his suppressed feelings and savor his life. At the same time, Sabina Spielrein, who is now studying medicine in Zurich, has made a significant progress towards Jung. Jung begins an affair with her. In doing so, however, as a doctor, he exceeded limits. He is also plagued by his conscience towards his wife Emma, ​​who is pregnant with their second child.

The relationship between Jung and Freud begins to run down. Jung complains about Freud's stubbornness and his restriction to the sex drive as the trigger for all mental disorders. Freud, in turn, rejects Jung's ideas about using telepathy and parapsychology , which he regards as superstitions, to gain knowledge. As Freud fears, these could be grist to the mill of the opponents of psychoanalysis. The arguments between the two doctors take place partly by letter, partly during scientific conferences they attend.

After Jung unilaterally ended the affair with Sabina as a result of emerging rumors, she urges him to support her application as a patient at Freud in Vienna. Jung later supports Sabina in her plan to become a psychoanalyst and their relationship comes back to life, but this time it is she who, to his chagrin, ends the relationship. Sabina, meanwhile a staunch student of Freud, finally goes to Vienna, where Freud offers her to take over some of his patients. The men break up over their contrary views and Freud's lack of understanding for Jung's affair with the patient.

In 1913, a year before the outbreak of World War I , Sabina visits the depressed boy in his villa. Sabina is now married and is expecting a child. He himself has found a new lover in Toni Wolff , one of his former patients. Jung is haunted by a recurring apocalyptic dream that he sees as an omen of an imminent, Europe- destroying event. Despite their affection for one another, the boys and Sabina part ways again. In the end credits, the viewer learns that Gross starved to death in Berlin in 1919, Freud, expelled from Vienna by the National Socialists , died in London in 1939 . Sabina returned to her native Russia and was shot by the advancing German invaders in 1942. Only Jung found a peaceful death in 1961.

background

template

In the 1990s, based on Kerr's non-fiction book A Most Dangerous Method , Hampton had written a script called Sabina for the film studio 20th Century Fox , which was to be filmed with Julia Roberts . The project did not go through , however, and Hampton worked on the script for the play The Talking Cure . The Talking Cure premiered in London in 2003 , with Ralph Fiennes in the role of C. G. Jungs and Jodhi May as Sabina. The German-language premiere followed in 2005 in Zurich under the title The Method .

For the film adaptation of the play, which was a combination of the original, unrealized screenplay, the play and recent research, Hampton made some changes to his two-act act and deleted, among other things, a short scene set in Sabina Spielrein's year of death, 1942. According to his own statement, Cronenberg was interested in the "love triangle" Jung-Freud-Spielrein. He did not see Sabina Spielrein as the central figure in his version, but rather C. G. Jung, a development that, according to him, was not planned, but arose while working on his film. The title is a variant of Kerr's book title, which in turn goes back to a saying by the American psychologist William James , who described Freud's dream analysis as a “most dangerous method”.

production

The film was produced by Jeremy Thomas ( The Last Emperor ) , whose first collaboration with Cronenberg, Naked Lunch , dates back to 1991. In early 2003, Cronenberg piqued Thomas' interest in the material by recommending him to see Hampton's play The Method . As a first step, negotiations had to be conducted with 20th Century Fox, which still owned the rights to the unrealized Sabina script. Thomas and his co-producers (including the Berliner Lago Film) received extensive German film funding, without which, according to Thomas, the film could not have been made, since the studios concentrated on blockbusters and the audience for "Mainstream Arthouse" had disappeared from the cinemas . The state of Baden-Württemberg alone contributed 500,000 euros through MFG film funding from the Baden-Württemberg media and film company . According to Thomas, the total budget was 19 million US dollars (around 15 million euros).

Originally, Christoph Waltz was intended for the role of Sigmund Freud. However, he decided not to turn water for the elephants instead . The role has been re-cast with Viggo Mortensen, who had previously worked with Cronenberg in A History of Violence and Deadly Promises . Other employees, some of whom have been with Cronenberg for many years, were the cameraman Peter Suschitzky , the composer Howard Shore , the film editor Ronald Sanders and the costume designer Denise Cronenberg, the director's sister.

Filming

The filming of A Dark Desire took place in Germany and Austria. The interior shots were taken in May and June 2010 in the MMC studios in Cologne - Ossendorf .

The scenes taking place on Lake Zurich could not be filmed at the original locations because the bank was too sprawled. In February 2010, Isis Hager, location scout, was commissioned by the "Filmcommission Bodensee-Oberschwaben", which is subordinate to the Baden-Württemberg Film Fund, to look for suitable locations around Lake Constance and in the Upper Swabian hinterland according to the specifications of the Art Department .

The film was shot at the beginning of July 2010 in Überlingen and Konstanz . The Humboldt Gymnasium served as the backdrop for the Burghölzli Clinic, the facade of which had been over-modernized. In Allensbach , the Jungs villa was built one-to-one for five days of shooting. In the former Augustinian Choir Foundation Inzigkofen , outdoor recordings took place behind the monastery walls. The film was also shot on the restored Hohentwiel paddle steamer , which was featured in James Bond 007: Quantum of Consolation .

Other locations were the Mölker Bastei and the garden of the Belvedere Palace in Vienna . Post-production took place in Canada, where, among other things, digital effects were added.

music

In addition to an exclusively composed film score for piano and orchestra, Howard Shore also recorded a new recording of Richard Wagner's symphonic poem Siegfried Idyll in the Teldex Studios in Berlin. Shore rewrote the Siegfried Idyll , composed for orchestra , in which Wagner processed motifs from his opera Siegfried , into a pure piano piece, played by the pianist Lang Lang . Shore also used motifs from Siegfried for his own compositions .

For a scene in which an excerpt from Wagner's opera Die Walküre is played to patients , a historical recording from 1905 was used.

Leading actress Keira Knightley at the screening of the film in Venice

Film start

The film premiered on September 2, 2011 at the 68th Venice International Film Festival , where it was screened in competition. Further festival performances followed, including in Toronto , New York , Chicago , London and Rio de Janeiro . The German and Austrian theatrical release was on November 10th, 2011. Eine dark Desire reached around 260,000 viewers in Germany and grossed almost 1.8 million euros. The global box office was $ 27 million.

Publications

A Dark Desire is available internationally on DVD and Blu-ray Disc , with the European editions foregoing Cronenberg's audio commentary from the US. Howard Shore's film music was released on audio CD in November 2011 , including his arrangement of Wagner's Siegfried Idyll .

synchronization

The German dubbed version was directed by Axel Malzacher , the dialogue book was written by Alexander Löwe .

role actor Voice actor
Sigmund Freud Viggo Mortensen Jacques Breuer
Carl Gustav Jung Michael Fassbender Norman Matt
Sabina Spielrein Keira Knightley Dascha Lehmann
Otto Gross Vincent Cassel David Nathan

Further implementations

Even before Hampton's play and Cronenberg's film, authors and directors had taken on the authentic material. In 1982 Paul Schrader began work on a play about Sabina Spielrein and her relationship with Jung and Freud, which remained unfinished. In 1996 a play by Willy Holtzman premiered, in 1998 another by Snoo Wilson, both of which were entitled Sabina . In 2002 the German documentary I was called Sabina Spielrein (director: Elisabeth Márton) was released, a year later the Italian - French- British feature film production Prendimi l'anima (director: Roberto Faenza). In 2006, John Carter's drama Where Three Roads Meet was played for the first time . In the same year Bärbel Reetz's novel The Russian Patient was published .

analysis

Position in Cronenberg's factory

In response to the question repeatedly asked by journalists what attracted him to the material and what was the connection to his other films, Cronenberg referred to his first film Transfer (1966), which already illuminates the relationship between an analyst and his patient. The patient in Transfer has developed an obsessive relationship with his doctor and admits that he had intentionally told him details from his life in order to keep the other person interested. In later films, Cronenberg addressed the doctor-patient relationship again: In Die Brut (1979), a psychotherapist treats his patients, e.g. B. consciously takes on the role of your hated or missing father and thus builds a dependency. In Die Unzertrennlichen (1988), a gynecologist falls in love with his patient to the point of giving up on himself.

Cronenberg was also interested in Freud's attitude of insisting "on the facts of the human body", which would have a "huge influence" on a person's personality. Cronenberg: “I see myself as atheists and existentialists , and for me we are whole bodies. For me, that doesn't mean anything, it just means acknowledging the facts. So if the body is the first fact of human existence, you will immediately understand why my main focus is on the body. ”On the other hand, Cronenberg refused to reduce his films and themes to the term“ body horror ”.

A dark desire works visually with static images or very calm camera movements, the selected image sections vary mostly in the close range between close-up and medium-long shots . Cronenberg's staging style was praised as "elegant", but also criticized as "conservative". During a press conference as part of the London Film Festival, Cronenberg explained his way of creating images: “The film dictates what it needs. That era was very controlled and everyone thought they knew where their place was. You can see it in the high white collars and corsets and things like that, everything was checked. In a way, the style of the film is explained by what we wanted to create. "

Relationships of the characters

In an interview, Cronenberg interpreted all three characters - Jung, Freud and Sabina Spielrein - as part of a relationship triangle. In addition to the Jung – Sabina affair, he also saw a strong emotional bond in the relationship between Jung and Freud. In one of his letters, Jung describes Freud as “a father”, and parallel to their looming rift or “father-son rift”, Jung and Freud are publicly debating the erasure of Pharaoh Amenophis III's name. through his son Akhenaten . Sabina, on the other hand, changes from a follower of Jungs to a Freud, for which you Jung openly reproaches in the last scene of the film.

In his review, Gottfried M. Heuer, chairman of the Otto Gross Society , points to another relationship that the film only suggests . For Jung, Otto Gross, who was entrusted to him as a patient by Freud, was more than just a catalyst for his previously suppressed feelings towards Sabina: as early as 1907, the two of them defended Freud's psychoanalysis against criticism at a congress. After Gross 'referral, this was not only analyzed by Jung, in return Jung went into Gross' analysis, and in a letter from Jung to Freud he spoke of Gross as a "twin brother".

Freud, Jung and Anti-Semitism

During a conversation, Freud pointed out to Jung that the entire psychoanalytic circle in Vienna was, like himself, of Jewish origin and therefore had to struggle with resentment in two ways - anti-psychoanalytic and anti-Jewish . Cronenberg: “[Freud] was looking for a Gentile, and Jung was perfect. He looked good and had charisma [...] Freud was desperately looking for someone like Jung to legitimize psychoanalysis. ” The director went on to say that it was precisely the things that made the pastor's son Jung interesting for Freud that would have made a confrontation inevitable. After the break between Freud and Jung, Cronenberg had Freud explain in a conversation with Sabina the incompatibility of the religious roots: “You don't put your trust in Aryans . We are Jews, dear Fraulein Spielrein, and we will remain Jews forever. "

The film does not identify Jung as being downright anti-Semitic (which he was later accused of because of repeated statements in this regard in his publications) and is limited to a statement in which Jung emphasizes his weakness for the declared anti-Semite Wagner, “music and people”. In the film, it is Freud who early on pointed out to Jung his typically Protestant attitude, which did not want to understand how much scientific work and its recognition depend on denominational affiliation. Here it is Freud who insists on his Judaism and finally asserts this identity with a touch of disappointment and bitterness. Cronenberg: "In the context of his time, Jung would not be considered an anti-Semite, but in the context of ours, it would." Jung's implied preference for Jewish women is based on a misrepresentation: Antonia "Toni" Wolff, Jung's lover since the early 1910s, was not half-Jewish, but came from a long-established Zurich family who belonged to the Evangelical Reformed Churches in Switzerland .

Jung, Sabina Spielrein and the position of women

Cronenberg found himself repeatedly criticized with regard to the portrait of the Jung – Spielrein affair and the emphasis on the sadomasochistic aspect: “Spielrein, however, only talks about the fact that she and Jung had made 'delicate poetry' together [...] The film turns the 'tender Poetry 'sadomasochistic whip scenes that are not documented anywhere. ”(Gottfried M. Heuer) Cronenberg confessed to having invented the S / M aspect of their relationship, but referred to a recording by Sabina Spielrein in which she openly confessed Jung To have sacrificed her “virginity” and “innocence” and the adequately documented, pleasurable punishments by her biological father. Cronenberg: “It's not too far-fetched if you assume that [young and playful] indulged in S / M games to banish their father from their sexuality. And of course Jung himself was something of a father figure. ”In this context, Heuer speaks of a clear abuse of a patient by her doctor and cites it as significant that the relevant literature repeatedly refers to the healing success on the one hand, and Jung and Freud on the other by her last name, Sabina Spielrein on the other hand by her first name. Likewise, her services as a child psychologist would hardly be appreciated.

When asked if he saw Sabina Spielrein as a feminist heroine, Cronenberg said that neither he nor his author Hampton had an agenda in this regard, but said: “She fought in a society in which women had it very difficult, one pretty heroic struggle. "Regarding the position of women within the psychoanalytic movement, he added:" I know that many feminists criticize Freud for being patriarchal . But there were many women who became psychoanalysts […] Their participation was not interpreted in such a way that they would have diminished the importance of the psychoanalytic movement, which was common in other professions at the time. ”- The first woman in the circle of The Viennese psychoanalyst was not Sabina Spielrein, but Margarete Hilferding , who was not mentioned in the film and whose recording was preceded by an intense debate. Emma Jung, portrayed in the film as a loyal, caring wife who acts in the background, actively promoted the establishment of her husband's analytical psychology and later worked as an analyst herself, a fact that Cronenberg mentioned in the interview but neglected in the film.

Wagner's music

In the film, before the start of their affair, Jung and Sabina confess to each other that they love Wagner's music, especially Das Rheingold . Cronenberg: “One of the peculiarities of these people was that they mythologized themselves . Their intellectual passions were not of a purely abstract nature - they tried to enclose them, to integrate them into their lives and to shape their lives according to them. So it was easy for them to see themselves as characters in a Wagner opera. […] The idea was that [Sabina] has a sinful relationship with Jung and then gives birth to this hero, this heroic Siegfried . "- In the last scene Jung says to Sabina, her unborn child (from her husband Pawel Scheftel) should have been his, and she agrees with him. However, the common child is only a pipe dream, their affair ended more than a year earlier.

reception

Reviews

In Germany, a dark desire was received by the majority positively, despite isolated objections. Wolfgang Höbel from Spiegel criticized some of the "laughable stiffness of the theater", but also discovered "many great duels in Cronenberg's film, which tells of disgusting anti-Semitism and the enthusiasm for progress of an apparently glorious era". Exciting is "the passion with which a director explains the fundamentals of a science and tells of a way of thinking that revolutionized the world."

Fokke Joel von der Zeit , on the other hand, missed this very emotionality that did not want to be transferred to the viewer: “Although the polished dialogues by screenwriter Christopher Hampton ( Dangerous Liaisons ) make the film quite entertaining, there is a lack of portrayal of emotions that the viewer needs in important places of the drama of the story. ”Keira Knightley's attacks of hysteria appeared“ strangely unreal because of the eternally beautiful weather that gives the film a ' gold-rimmed glasses ' atmosphere ”.

In the daily newspaper, Cristina Nord tried to find the connection between Cronenberg's earlier work and his new film: “'A Dangerous Method' relates to earlier films by Cronenberg as psychoanalysis relates to the symptoms that it subdues. The formless, unshaped, between animal and human and machine that appears in ' eXistenZ ' or ' Naked Lunch ' is transformed into a mature, flawlessly staged period piece. ”Those who can come to terms with this will discover an“ astonishingly complex ”film : "Cronenberg makes the intellectual conflict between Jung and Freud (Viggo Mortensen) just as vivid as the typical ideas of morality and gender roles."

Fritz Göttler from the Süddeutsche Zeitung discovered the unifying element in Cronenberg's work in the “unhealthy love affairs”. His latest film is also "a story of violence, of dominance, of agony and self-torment, longed for punishment" and at the same time "a bold film that deals with resistance to unreasonable demands that have not yet been eliminated".

In Austria, Die Presse rated the film as “coherent, exciting and complex”, even if some people would miss the director's signature. The tension results “from the contrast between the abstract, sometimes almost theatrical atmosphere and the extremely realistic ambience of what is shown” in terms of its equipment details, and “the elegant combination of scientific questions with personal fates that make the story sometimes distant, undercooled, sometimes highly emotional Missed paint ".

In the English-speaking world, too, a dark desires predominantly received praise. In addition to Mortensen's portrayal of Freud, A. O. Scott of the New York Times praised the "quiet, eerie atmosphere of a horror film, but one in which the monsters are invisible and reside in the person who threatens them." The "meticulous and elegant compositions" adhere the "latent possibility of chaos and destruction". Spielreins and Gross' “untamed libido ” represent both the “Freudian unconscious” and “Cronenberg's principle of uncontrollability”.

Dave Calhoun from London's Time Out Magazine was less convinced . The appearance and mood of the film are "honest and talkative". "The most impressive scenes are those between Mortensen and Fassbender, while Knightley delivers an acceptable performance, but takes on himself with an irritating accent."

Awards

  • 2011: National Board of Review Award for Michael Fassbender ("Spotlight Award" - also for Shame , Jane Eyre and X-Men: First decision )
  • 2011: Los Angeles Film Critics Association Award for Michael Fassbender (Best Actor - also for Shame , Jane Eyre and X-Men )
  • 2012: London Critics' Circle Film Award for Michael Fassbender (Best British Actor - also for Shame )
  • 2012: Genie Awards for the best supporting actor (Viggo Mortensen), the best equipment, the best film music, the best sound and the best sound editing
  • 2012: Premio Sant Jordi for Michael Fassbender (Best Foreign Actor - also for Jane Eyre and X-Men )
  • 2012: Directors Guild of Canada Awards for Best Picture, Best Director, Best Set, Best Editing, and Best Sound Editing
  • 2012: Vancouver Film Critics Circle Awards for Best Director and Best Supporting Actor (Viggo Mortensen)

literature

  • John Kerr: A Most Dangerous Method. The Story of Jung, Freud, and Sabina Spielrein, EA Knopf, New York 1993, ISBN 978-0-679-40412-5
  • John Kerr: A dangerous method. Freud, Jung and Sabina Spielrein, German by Christa Broermann and Ursel Schäfer, EA Kindler, Munich 1994, ISBN 3-463-40172-X , WA Rowohlt, Reinbek bei Hamburg 2011, ISBN 978-3-499-62754-5
  • Christopher Hampton: The Talking Cure, Faber & Faber, London 2002, ISBN 978-0-571-21485-3
  • Christopher Hampton: The method (program booklet), German by Alissa Walser, Schauspielhaus Zürich, 2005

Web links

Individual evidence

  1. ↑ Certificate of Release for A Dark Desire . Voluntary self-regulation of the film industry , October 2011 (PDF; test number: 129 549 K).
  2. ↑ Age designation for a dark desire . Youth Media Commission .
  3. ↑ Two of the dates mentioned in the credits are incorrect: Otto Gross died in 1920, Sabina Spielrein in 1942.
  4. ↑ a b c Dee Jefferson: Jeremy Thomas: The Lone Ranger ( Memento of the original from September 3, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Interview with Jeremy Thomas on Thebrag.com August 14, 2012, accessed November 8, 2012. @1@ 2Template: Webachiv / IABot / www.thebrag.com
  5. ↑ Michael Billington: The Talking Cure In: The Guardian, January 14, 2003, accessed January 8, 2017
  6. ^ Review by Christian Gampert. In: Deutschlandfunk , March 24, 2005; Retrieved November 9, 2012.
  7. ^ A b Edward Douglas: Exclusive Interview: David Cronenberg Practices A Dangerous Method , Comingsoon.net, November 18, 2011, accessed November 18, 2012.
  8. ↑ a b c d e Gottfried M. Heuer: "The Birth of Relationship Analysis" and Sexual Abuse in Psychoanalysis. About David Cronenberg's film “Eine dunkle Begierde / A Dangerous Method” , Literaturkritik.de No. 1, January 2012, accessed on October 28, 2012.
  9. ↑ a b Interview with David Cronenberg on the 2012 Blu-ray Disc .
  10. ↑ Andrew O'Hehir: David Cronenberg: It's as if my old movies don't exist , interview with David Cronenberg on Salon.com on December 3, 2011, accessed on November 8, 2012.
  11. ↑ James Bell: Sight & Sound Interview with David Cronenberg (online video), Bfi.org.uk, accessed November 18, 2012.
  12. ↑ For example: Commercially attractive and at the same time artistically demanding films.
  13. ↑ Director David Cronenberg & Keira Knightley shoot at Lake Constance ( Memento of the original from April 28, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , Schwäbische Zeitung of July 9, 2010, accessed on November 9, 2012. @1@ 2Template: Webachiv / IABot / www.filmregion.de
  14. ↑ Scott Feinberg: Academy Award-Winning Producer Jeremy Thomas on 'A Dangerous Method' (video) , interview on Hollywoodreporter.com on November 26, 2011, accessed on November 9, 2012.
  15. ↑ Christoph Waltz doesn't play Sigmund Freud after all . In: Südkurier from March 15, 2010.
  16. ↑ David Croneneberg (sic) is shooting "A Dangerous Method" in MMC Studios ( memento of the original from December 14, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , Article on VPLT Live, accessed November 8, 2012. @1@ 2Template: Webachiv / IABot / vplt-live.de
  17. ↑ a b Sebastian Brauns: The lake is the star . In: Südkurier of July 31, 2010, accessed on November 8, 2012.
  18. ↑ Kerstin Conz, Niklas Frielingsdorf: Locationscout: Isis Hager brings Hollywood to Lake Constance , Westdeutsche Zeitung Newsline from December 5, 2011, accessed on November 8, 2012.
  19. ↑ Stefan Hilser: Stars feel at home in Überlingen . In: Südkurier of July 8, 2010, accessed November 8, 2012.
  20. ↑ Sebastian Brauns: After all: Keira left an autograph in Konstanz . In: Südkurier of July 12, 2010, accessed November 8, 2012.
  21. ↑ Ute Korn-Amann: Film stars hide behind the monastery wall . In: Schwäbische Zeitung , July 12, 2010.
  22. ^ Tilmann P. Gangloff: A touch of Hollywood at the Humboldt-Gymnasium . In: Südkurier of July 13, 2010
  23. ↑ Sebastian Brauns: Dark drama about Sigmund Freud . In: Südkurier of July 12, 2010, accessed November 8, 2012.
  24. ↑ a b A Dangerous Method in the Internet Movie Database (English)
  25. ↑ a b c Source: Film credits.
  26. ^ A dark desire on Mediabiz.de, accessed on November 9, 2012.
  27. ↑ grossing according to Box Office Mojo; Retrieved November 9, 2012.
  28. ^ A dark desire in the German dubbing index , accessed on May 27, 2011.
  29. ^ Schrader on Schrader and Other Writings. Faber & Faber, London 2004, p. 209.
  30. ↑ Entry on Where Three Roads Meet  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. on Indietheaternow.com, accessed November 9, 2012.@1@ 2Template: Dead Link / www.indietheaternow.com  
  31. ↑ a b c Rüdiger Suchsland: David Cronenberg in conversation: Unrestricted thinking , Frankfurter Allgemeine Zeitung of November 9, 2011, accessed on November 12, 2012.
  32. ^ A b Regina Weinreich: A Dangerous Method: Interview With Director David Cronenberg , The Huffington Post, November 22, 2011, accessed November 12, 2012.
  33. ^ " I consider myself an existentialist and an atheist, and I think that body is what we are. That's not diminishing it to me, it's just accepting the reality of it. So, if the human body is the first fact of human existence, then immediately you see why I focus on the body. ”- Marlow Stern: David Cronenberg on 'A Dangerous Method,' Robert Pattinson's Acting, and S&M With Keira Knightley , The Daily Beast, November 20, 2011, accessed November 12, 2012.
  34. ↑ “ A horror film genre in which the main feature is the graphically depicted destruction or degeneration of a human body or bodies. "(German:" A horror film - genre whose main theme is the clearly shown destruction or decay of a human body or bodies. ") - Definition in the online edition of the Collins English Dictionary , accessed November 12, 2012 .
  35. ↑ Ann Hornaday: Freudian slips and Jung lust , The Washington Post, December 16, 2011, accessed November 17, 2012; Liam Lacey: A Dangerous Method: It's risky, but it works , Globe and Mail, January 13, 2012, accessed November 17, 2012.
  36. ↑ a b Review in Time Out London, September 15, 2012, accessed November 17, 2012.
  37. ↑ a b “ It's the movie that tells you what it wants. That era was very controlled and the feeling was that everybody knew his place. You can see by the high white collars and corsets and stuff, everything was controlled. So, I think in a way the style of the film comes to me from what we were trying to create… ”- Interview , reproduced on Indielondon.co.uk, accessed November 17, 2012.
  38. ↑ "He totally wanted a Gentile, and Jung was perfect. He was also handsome and charismatic, he was Swiss and German. […] It was Freud's desperation to have psychoanalysis be legitimized by somebody like Jung. ”- Interview with David Cronenberg on Salon.com from December 3, 2011
  39. ↑ See, among others, C. G. Jung: To the present situation of psychotherapy, Vol. 10, 1934, pp. 190 ff .; Heinz Gess : From fascism to new thinking. C. G. Jung's teaching through the ages, Lüneburg 1994, p. 169 f.
  40. ↑ K. Freigedank (= Richard Wagner): Judaism in Music , in New Journal of Music , Leipzig 1850th
  41. ↑ "In the context of the times, you wouldn't think that Jung was anti-Semitic, but in the context of our times, you might well." - David Ng: 'A Dangerous Method', 'Melancholia' take cues from Richard Wagner , Los Angeles Times website, November 25, 2011, accessed November 8, 2012.
  42. ^ Entry on Antonia Wolff in Alain de Mijolla (Ed.): International Dictionary of Psychoanalysis , Thomson Gale, 2005, pp. 1871–1872.
  43. ↑ "It is not far-fetched to think they had a little playtime S&M to exorcize her father from her sexuality, from her past, and of course Jung was a bit of a father figure as well." - Regina Weinreich: A Dangerous Method : Interview With Director David Cronenberg . In: The Huffington Post , November 22, 2011, accessed November 12, 2012.
  44. ↑ Wolfgang Höbel: Artists are like doctors of the soul . In: Der Spiegel . No. 45 , 2011 ( online ).
  45. ↑ Cristina Nord: “It's all about speaking” . taz.de of November 4, 2011; Interview; Retrieved November 16, 2012.
  46. ^ Entry on Margarete Hilferding in Alain de Mijolla (Ed.): International Dictionary of Psychoanalysis, Thomson Gale, 2005, p. 746.
  47. ^ Entry on Emma Jung in Alain de Mijolla (Ed.): International Dictionary of Psychoanalysis, Thomson Gale, 2005, pp. 903–904.
  48. ↑ "One of the unique things about these people is that they kind of mythologized themselves," he said. "Their intellectual passions were not just abstract - they tried to embody them, they tried to bring them into their own lives and live out of them. And so they could very easily see themselves being characters in a Wagnerian opera. […] The idea was that [Sabina] would have a sinful relationship with Jung and then give birth to this hero, this heroic Siegfried. "- Interview with Cronenberg, 'A Dangerous Method', 'Melancholia' take cues from Richard Wagner , Los Angeles Times website as of November 25, 2011
  49. ↑ Segelboot und Leitsche , Spiegel Online, November 10, 2011, accessed on October 28, 2012.
  50. ↑ Leiden unter Psychoanalystern , Zeit Online, November 9, 2011, accessed October 28, 2012.
  51. ↑ German "Historiendrama". Source: Dict.cc German-English dictionary.
  52. ↑ Something is crawling under the covers , taz.de of September 2, 2011, accessed on November 16, 2012.
  53. ↑ Violence, Dominanz, Qual , Süddeutsche.de of November 10, 2011, accessed on October 28, 2012.
  54. ↑ Review ( Memento of the original from April 28, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on DiePresse.com, accessed November 16, 2012. @1@ 2Template: Webachiv / IABot / kino.diepresse.com
  55. ↑ Taming Unruly Desires and Invisible Monsters , New York Times, November 22, 2011, accessed November 16, 2012.
This article was added to the list of articles worth reading on November 29, 2012 in this version .