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Elisabeth Márton
was born in Stuttgart in 1952. She has resided in Sweden since 1973.
STATEMENT BY THE DIRECTOR
Since Sabina Spielrein reemerged from oblivion through the discovery of her correspondence with Sigmund Freud and Carl Gustav Jung, numerous publications and interpretations of her life story and scientific work have appeared. The spectrum of phrases about her ranges from "tragic victim” through "incest victim” to "seduction on the couch”, "scandalous connivance between Jung and Freud”, and the feminist variant, the "victim as heroine”. My intension in making this feature-documentary is primarily to create a cinematic counter-image to the above fragmentary and often negative views, one that deals with Sabina’s many-sided personality, her story and her work. Since Sabina Spielrein’s story is so closely bound up with the early history of psychoanalysis, I chose an analogous way to structure it. The search for undiscovered landscapes of the soul, the subconscious, and the language of dreams with its own world of symbols suggest this path. I proceed like an analyst in a psychoanalytic session: linearly and chronologically on the one hand, disconnectedly and associatively on the other, leaping over the boundaries of time, place, and causality, back to childhood memories, and anticipating future events. This form also determines the rhythm of montage and the multi-layered sound backdrop. Classical elements of documentary films such as inserts from historical documents and photographs, archive films and newsreels will convey the objectivity of the film story, interwoven with subjective scenes from Sabina Spielrein’s inner world.
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FILMS BY ELISABETH MÁRTON
Stillness Documentary The Garden Short The Gull TV-play Moonshadow Fiction Leonardo da Vinci 7 Short films The Way of the Winds 16mm |
AWARDS
Stillness1987 Best Documentary Best Editing Best documentary in Huesca, Spain Prix de jeunes realisateurs in Tours, France, Best feature film Nordic Panorama Hungarian Television Price The Way of the Winds Price for best essay 13. Montreal International |
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