The Only 'I' in the World
"Religion, Psychoanalysis, and "The Dybbuk
Bibliographic Data
| ID | 8905382 |
|---|---|
| Authors | Ira Konigsberg (corresponding author) |
| Year | 1997 |
| Volume | 36 |
| Issue | 4 |
| Pages | 22-22 |
| Publication date | 1997-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Cinema Journal (JOURNAL) |
| Journal identifiers | ISSN: 0009-7101 • E-ISSN: 1527-2087 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1225611 |
| OpenAlex | W2326309020 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
The restoration of the Polish-Yiddish film The Dybbuk (Der Dibek, 1938) was a ritual of discovery and exposure, not only of bringing the dead back to life, but of bringing into light a world that had become obscured and lost. Most films tell us something about the society and time that produce them; but sometimes a film can also be a window onto a culture and its beliefs, can be as much an ethnographic recreation as an artistic creation. I wish to take my argument for the significance of The Dybbuk one step further by claiming that it is also a film that opens up a vista into the human psyche, that gives us some important insights into needs and desires that have remained disguised by and sought relief through religious myths and creeds. The Dybbuk dramatizes one of the strangest love stories ever to appear on film while at the same time embodying and making accessible insights into a significant tradition and system of beliefs in one of the world's major religions, especially into beliefs concerning the male and female elements of its Godhead. But there are two external stories that must
Art · Humanities · Psychoanalysis · Jewish and Middle Eastern Studies · Jewish Identity and Society · Polish-Jewish Holocaust Memory Studies · Psychology
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,04 |
| Citation span | 2000 - 2000 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |