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November 10, 2000 - Image 93

Resource type:
Text
Publication:
The Detroit Jewish News, 2000-11-10

Disclaimer: Computer generated plain text may have errors. Read more about this.

Enjoy Our Specialties...

SR

and wholeness of being."
But now, as Sound and Fury so
passionately reveals, the
improved effectiveness of the
cochlear implant has threatened
the cohesiveness of the deaf corn-
munim
Chronicling a year and a half
in the lives of the Artinian fami-
ly, the film focuses on 6-year-old
Heather. She is animated, preco-
cious and bright; and she is
caught in an amazingly tense
struggle over whether or not she
should be given a cochlear
implant.
Heather's two younger broth-
ers and her parents, Peter and
Nita Artinian, all are deaf. But
when Heather begins to express
her desire to hear
she cre-
atively yearns to hear sounds like
car crashes, houses collapsing,
ghosts saying 'boo' — her par-
ents are forced to confront their
longstanding distrust of the sur-
gical procedure.
This conflict escalates when
Chris and Mari Artinian, Peter's
hearing brother and sister-in-law,
learn their newborn child, also
named Peter, is deaf, and they
opt to implant him.
To "be implanted," in the lan-
guage of those opposed, is to
turn the children into technolog-
ical experiments. To refuse the
implant, in the view of the pro-
ponents, is virtual child abuse.
Although Aronson's film resists
partisanship, he is motivated, in
part, by a reconciliatory drive.
"Once I started the story, and
doing all my research, I hoped
the film would make a plea for
acceptance of choice within the
deaf community and in the
greater hearing world," he says.
As Sound and Fury suggests, it
may well be a long, difficult and
painful reconciliation. "There's
been such a rift in the deaf com-
munity for hundreds of years
between the "oralists" and "man-
ualists," the people who lip-read
and speak, and the people who
sign," says Aronson. ❑

Sound and Fury screens at
the Detroit Film Theatre at
the Detroit Institute of Arts
7 and 9:30 p.m. Friday and
Saturday and 4 and 7 p.m.
Sunday, Nov. 10-12. $6.
(313) 833-3237.

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`Young Dr. Freud'

,

S

igmund Freud's work has become
so much a part of our way of com-
prehending the world that it is hard to
imagine a time when the existence of
the unconscious was not accepted as

scientific fact.
Axel Corti's Young Dr Freud, made for
Austrian television in 1976 and never
before shown in the United States, shows
us that world. The film, shot in black
and white, is a compelling reconstruction
of the early development of Freud's ideas.
The narrator (the voice of screen-
writer Georg Stefan Troller) takes on the
role of therapist in a kind of regression
therapy as young Dr. Freud relives the
experiences leading up to his ground-
breaking theories of human psychology.
Throughout the film, Freud
(Karlheinz Hackl) steps out of the lin-
ear moment to address the camera/nar-
rator/therapist. As he comments upon
his intellectual and personal develop-
ment, it is not only the narrator who is
psychoanalyst but the viewer as well.
We watch as Freud remembers forma-
tive moments from his childhood. In
one of these memories, "Sigi" Freud
walks with his father in provincial
Freiburg and they are verbally assaulted
by a group of anti-Semitic townspeople.
Forced to step off the pavement and
walk instead in ankle-deep mud, the
young Freud witnesses his father being
emasculated and humiliated.
Prominent in the film is Freud's repeat-
ed confrontation with anti-Semitism and
his growing understanding of how being
a Jew perpetually casts him in a role as
"other" in the social and scientific com-
munities of 19th-century Vienna.
The film is provocatively ambiguous
about the doctor's views on women.
Most notably, Freud fails to recognize
the compatible wit and intellect of his
wife, Martha Bernays.
Are Corti and Troller affirming the pop-
ular assumption that women aren't the
intellectual equals of men? Or are they
cautiously reminding us that there is a sup-
pressed feminist perspective at the periph
ery? Whatever the filmmakers' intent,
they never forget that Freud, despite his
brilliance, was a man limited by the
customs and beliefs of his own time. ❑
— Reviewed by Audrey Becker

Young Dr. Freud (in German and
French with English subtitles) will
be shown at the Detroit Film
Theatre 7:30 p.m. Monday, Nov.
13. $6. (313) 833-3237.

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