From this week’s readings, I particularly enjoyed Hugo Münsterberg’s “Why We Go To The Movies.” In summary, the psychologist reflects on film (which he calls “photoplay”) as its own artistic form, very distinct from painting, photography, and specifically theater. While he does recognize film’s potential in education and documentation, Münsterberg ultimately believes that cinema’s greatest strength lies in its capacity to evoke emotions in its audience and affect their thought processes. The onscreen visualization of memory is another major element in the author’s argument, emphasizing the absence of the constrictions of time and space. By being able to piece together scenes in different locations and time periods, it resembles and almost reproduces the inner workings of memory.
In István Szabó’s Lovefilm (1970), the protagonist’s memories and fantasies guide the film. The mix of Jancsi’s real and imagined events put the viewer in the mind of the character. These images of his time with Kata blend with his innermost desires, confusing what is truly real with what he wishes to be real. What was additionally quite striking to me about Szabó’s film is the childlike romanticization depicted through memory. Some scenes have unfortunate circumstances but are still presented in a sweet, light-hearted fashion. For example, the moments when Jancsi and Kata, as children, must share a solitary plate of food due to the hardships of poverty and Hungarian wartime conditions take on an almost tender quality from the character’s perspective. If this same scene were depicted through a mother’s viewpoint, it would surely be more grim. In Jancsi’s eyes, however, it is more of a moment of friendship and bonding. All of these childhood moments are portrayed through the eyes of love. This demonstrates Münsterberg’s argument of the true power of film.
