Suzanne Fletcher as Talking Lips in Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, and Jane Weinstock’s Sigmund Freud’s Dora, 1979.
Sigmund Freud’s Dora is a 40 minute film (16mm color sound) by Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, and Jane Weinstock.
Sigmund Freud: Joel Kovel
Dora: Silvia Kolbowski
Dora’s Mother: Anne Hegira
Talking Lips: Suzanne Fletcher
Additional writing: Ivan Ward
Camera: Babette Mangolte
Sound: Deedee Halleck
Anna Hegira as The Mother in Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, and Jane Weinstock’s Sigmund Freud’s Dora, 1979.
In 1899, Sigmund Freud began treatment with an 18-year-old girl who was brought to him for analysis by her father after she had written a suicide note. Freud was eager to use this case to demonstrate the hypotheses laid out in his “Interpretation of Dreams” but after only three months of treatment the young woman walked out, without being cured.
Five years later Freud published an account of this failed treatment, calling it a “Fragment of an Analysis” and giving his patient the name Dora—that of a servant in his household.
Recently, Dora has been a focus for the appropriation of psychoanalysis by feminist theory. Questions about the exchange of women, the representation of female sexuality, and the marginal or contradictory position of women in language, have been discovered in her story.
But the descriptions Freud gave of Dora are not innocent documentary facts. Freud constructs her as a character in the structure of his “novelette,” as a recollection of the words he remembers her having spoken, as an object for his scientific detective-work. Thus the presentation of her sexuality is also a function of these analytic and narrative processes.
Film still from in Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, and Jane Weinstock’s Sigmund Freud’s Dora, 1979.
The psychoanalytic method itself is a process of reading the language and symptoms of the patient; Freud’s written case history is a reading of that reading, which we in turn read.
The film, Sigmund Freud’s Dora starts from the position that these processes of representation are not only a factor in psychoanalytic texts. They exist no less in a film’s shot-counter-shot than they do in advertising; no less in the iconography of the mother than they do in pornography.
—New York City, 1979
Quotes from television advertising and film pornography divide up the narrative sections of Sigmund Freud’s Dora: The most pervasive and the most extreme forms of sexual representation.