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What or who got us into symptoms? What or who leads us out of the trap?
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Contents Introduction: Russ (Ryan Gosling) is a simple and honest person with few words. Being too introverted, Russ has few friends. He usually only communicates with his family. No one has visited him for several years. In fact, in his heart, Lass also longed to communicate with others, but the years of loneliness had made him forget how to communicate with others, and the people around him gradually got used to his silence. But suddenly one day Russ ran to his brother Gus's house and said that a girl named Bianca he met on the Internet came to visit him at the house. Surprised and delighted, the Guss and his wife accompanied Lass to the house for a party, but what they saw when they entered the door made Guss stay for a while - it turned out that the so-called visiting netizen was a life-size one Lass ordered from the Internet. inflatable doll. But Russ talks and jokes to her as if the doll was a real Bianca. Immediately after Gus left the Russ home, he consulted Dagmar, a family doctor, about his brother's condition. After listening to it, Dagmar believed that this was an illusion created by Russ subjectively. The reason for the illusion remains to be investigated, but in order to avoid the worsening of the situation, everyone must first follow his brother's wishes and do the real thing. So, in order to save Russ, the people around him began to actively cooperate with the doctor's orders, and embarked on an alternative spiritual journey with Russ and Bianca.
Russ has a great fear of being around other people, and even suffers greatly when others touch him. The pain is real, not imaginary. This kind of pain itself is a kind of speech, a kind of subconscious defense. It not only tells Lars not to let people touch you (don't have an intimate relationship with people), otherwise you will be hurt and hurt, and it also tells people around you not to touch you. Touch Russ and he will hurt. This somatic defense not only succeeded in preventing Rath from establishing relationships with those around him, but also kept Rath from being condemned on a moral level. If Russ didn't feel pain by not touching others, he himself might not accept being withdrawn because it is not socially acceptable, nor morally acceptable. In this way, he will be under a certain amount of pressure, but such pain gives him reason to ease the moral condemnation: it is not that I don't want to touch, but that it hurts when I touch it, and I have to not touch it.
Explained by Freud's theory of personality structure: I don't want to have relationships with people around me, so it pushes Lars not to have relationships with others, to live in the garage, and to live close to his brother without moving Go in and live together. The moral superego requires social morality to have good relationships with others. The ego mediates between the two. These three parties are opposed to each other and go their own way. The ego is powerful, the superego and ego are weak. The impulse of the ego is powerful, but this is not tolerated by the superego, so the ego functions to build a defense mechanism. The three-way compromise structure is a symptom of Lars. Symptoms, Freud said, are the result of a conflict between the subconscious and the conscious. Anna Freud believes that conflict is between subconscious impulses and self-subconscious defenses. It's all done subconsciously.
Russ was a little autistic at the beginning: he lived alone, he didn't interact with his brother's family, Karin invited him to dinner and used various excuses not to go, and other girls didn't pay much attention to him when he talked. We discuss the introversion of Lower Las Vegas. In Freud's theory, infants are primitive narcissistic, i.e. libidinal energy is directed towards themselves, and as they grow, the harsh reality makes the child aware of the existence of the outside world, and then integrates primary and secondary processes ( The primary process is based on logic and rationality, and the secondary process is based on fantasy), so that the primary process is adapted to the secondary process. He believes that the existence of realization is constructive to the development of the child's mind. But the example of Russ is a good one, and the harsh reality has caused problems with his psychological development. Without a loving upbringing, a brick wall of reality can be deadly, Hartman said, as Lars is an example. Freud would say that when Lars’ libido energy was poured out, because of the death of his mother, his father, as an object, did not catch his projection, causing the libido to return to Lass, and he focused on his own. The inner world is also introverted. According to Mahler's theory, the physical birth of a child is inconsistent with the psychological birth. When a child is born, the psychology is like being wrapped in an eggshell. A good growth environment (nurturer) will hatch the child. Russ just doesn't hatch (if it is within 1 month after birth), or the mother dies within 1 year of age, and the father is missing, essentially abandoning the child, and the child experiences a strong sense of weakness and incompetence cute concept. The pain of this separation trauma is experienced by the child as a part of the personality that lasts a lifetime. This fear of separation makes him subconsciously afraid to establish intimate connections with others, for fear of being abandoned again. There will be serious insecurity, because a mother can abandon herself not to mention other people.
At the beginning of the film, before Bianca appeared, Russ had one thing with him, which was a scarf, which appeared several times in the film. The loss of his mother made Russ experience doubts about his ability to control his surroundings, so he needed something to regain that sense of control, to regain his mother, and that was the scarf. The scarf is not only the representative of the mother, but also the control of the environment and the relief of insecurity through the control of the scarf. This phenomenon is very common, little girls always hold a bear, what is the same reason. To the little girl, the bear is Russ's scarf. Winnicott coined the term "transitional object". Objects can only be people, while transitional objects can be objects. The transitional object is neither the object nor the self, but is transitional in its mid-term. When the self is established, the transitional object is no longer needed. In the movie, when Russ and Margo are in a relationship, the unwantedness of Bianca's existence disappears, so Russ lets her die.
After Bianca appeared, there was a very interesting change. In the beginning, Karin didn't even ask Lass to come, but this time he took the initiative to come. It seems that since the appearance of the transitional object, things that Lass did not dare to do in the past have gradually become more daring. Done. Here, the role of the mother of the transitional object is very clear. Only when the mother is around can the child dare to enter a strange environment and come into contact with strange people or things.
Think about what Russ and Dr. Dagmar talked about Bianca, Dagmar said "you two have a lot in common", Russ projected his own experiences and wishes to Bianca, letting him subconsciously wishes and relationships are repaired. When two people, Lars and Bianca, establish an intimate relationship (boyfriend and girlfriend), this relationship is changing the original object relationship in Lars' mind, which is therapeutic in itself. By establishing a relationship with Bianca, the people around are actually establishing an object relationship with Lars, and these good objects will have a healing effect. Dr. Dagmar's help also helped him overcome the physical pain of being in contact with others. This is not a strictly set treatment, it reflects the deep connotation of foreign psychotherapy, respect, empathy, and companionship. Very existential and humanistic flavor.
The help of these people is healing, but think carefully about the death of Lass himself who dominated all this. It was he who customized Bianca and became a boyfriend and girlfriend relationship, until the marriage proposal failed, he fell ill, and died. All of this is Ruth's own fantasy. So Karin didn't understand why when Bianca fell ill, because she knew it was Lass. In fact, this reflects Ruth's subconscious tendency to no longer need Bianca. The fantasy of this story, in postmodern terms, the construction of this story is completed by Lars. It was he himself who decided that transitional objects were no longer needed. The biggest motivation for healing is Lars himself, back to Maslow's famous saying: Everyone has the potential to develop in his own way. This must be the norm for our practice.
What is it that pushes us into symptoms? Is it sex or love? And what brings us out of the trap? Is it sex or love? Or on top of both.
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