Translating Psychoanalysis: The Interpretation of Dreams in Mulholland Drive and Inception

• Main Authors: Tsai, Hsin-Yi, 蔡馨儀
• Other Authors: Lee, Hsiu-Chuan
• Format: Others
• Language: en_US
• Online Access: http://ndltd.ncl.edu.tw/handle/2v8v8k

碩士 === 國立臺灣師範大學 === 翻譯研究所 === 106 === With further development in the field of translation, recent studies have discovered that the act of translation appears in various forms. In this thesis, I propose the ideas of “interdisciplinary translation” and “intermedium translation” and discuss these two types of translation by examining how film texts translate psychoanalytic concepts. Based on my research on Sigmund Freud’s dream theory in The Interpretation of Dreams and examining two contemporary films—David Lynch’s Mulholland Drive and Christopher Nolan’s Inception, this thesis aims to study the process of translating dream concepts from psychoanalysis into cinema. This thesis is divided into five chapters. Chapter One sets up the framework of this thesis by discussing the relationship between translation, psychoanalysis and cinema. I point out that psychoanalysis is a form of translation process and cinema is a medium for translation. The process of psychoanalysis is similar to that of translation: just as translators aim to translate the source text into the target text, psychoanalysts attempt to translate one’s unconscious and dreams into a narrative. During the translation process, translators must first understand the language and meaning of the source text, and then re-express the source text using a language that is comprehensible to their readers. Psychoanalysts often use spoken or written words to express their interpretation of dreams while cinema can imitate the workings of the mind. Thus, I propose that cinema should be considered as a more appropriate form of media for translating psychoanalytic concepts, such as dreams. Chapter Two reviews the interplay of psychoanalysis and cinema in history. Inspired by the techniques of cinema, some psychoanalysts further explore certain psychoanalytic concepts, such as the double. Meanwhile, cinema is also indebted to psychoanalysis. For example, some theorists examine how psychoanalytic thoughts are incorporated into cinematic studies, forming a new field of study known as psychoanalytic film theory. In addition, many film directors are interested in incorporating psychoanalytic concepts and portraying psychoanalytic treatment process in their works. Chapter Three introduces Freudian dream theory and analyzes the ways Lynch translated dream theory in Mulholland Drive. Freud conceived that dreams consist of latent dream-thoughts and manifest dream-content; the former is transformed into the latter through “dream-work,” which includes condensation, displacement, representation and secondary revision. In Mulholland Drive, Lynch created the protagonist’s dream and her waking life. His translation of the protagonist’s waking life into dreams can be understood through a comparison of the elements that appear in both the dream and the waking life. I observe that Lynch’s translation of dream-work complies with Freudian dream theory. Chapter Four analyzes the ways Nolan translated Freud’s dream theory in Inception as well as his exploration of innovative dream concepts, such as the influence between different dream layers in dreams-within-dreams. I also analyze Nolan’s cinematic techniques, such as the use of a simple cut to imitate the entry and exit of a dream. Based on these analyses, I conclude that Mulholland Drive and Inception are good examples of interdisciplinary translation and intermedium translation. “Interdisciplinary translation” refers to the translation from discipline A to discipline B; and “intermedium translation” refers to the translation from medium A into medium B. Investigating the translation of dreams from psychoanalysis to cinema, this thesis expands the scope of “translation” by shedding light on both interdisciplinary and intermedium translations.