Analyzing Sarah and James Through Freudian and Queer Film Theory

Introduction: Film Theories and the Role of James

The film Sarah and James, directed by Nikowa Namate, offers an opportunity to reflect on deeper themes through several film theories, including Freudian theory, queer theory, and an understanding of realism, naturalism, and kitchen sink drama. This essay provides a nuanced and thorough analysis of my role in the filmmaking experience. In Sarah and James, I played the role of James, one of the title characters. As the title suggests, however, James is not the only protagonist. The interplay between James and his sister Sarah is the foundation of the film, which addresses the way mental illness impacts intimate relationships. In addition to acting, I was also responsible for lighting during production and will discuss elements related to that role as well. The essay hinges on the application of realism, naturalism, Freudian theory, and queer theory to my experience as an actor.

Freudian Psychoanalysis and Cinema

Freudian psychoanalysis and film share a common language and semiotics because "cinema and psychoanalysis were born at the same time" ("Honey I Kidded the Shrink" 1). This historical convergence suggests that a film like Sarah and James serves the function of reflecting the psyche of the screenwriter, who in turn captures universal dimensions of human existence that can be understood through Freudian psychoanalytic theory. Because film must appeal to the psyche of each viewer for genuine engagement to occur, "psychoanalytic film theory, despite its relatively late development, has become one of the most widely practiced theoretical approaches to cinema studies today" (Netto 1).

Furthermore, applying Freudian theories to film reveals that the audience is also participating in a psychoanalytic process when watching a movie. The audience willingly surrenders to the "fourth field," as Netto puts it, allowing the unseen director, cinematographer, and producer to manipulate minds and control realities, albeit temporarily (1). The audience is "being coerced, through a careful manipulation of compositional framing, lighting, editing," and other dimensions of the cinema experience (Netto 1).

Sarah and James exemplifies the core elements of Freudian theory. First, Freudian theory remains centrally concerned with childhood and its repressed memories. Those repressed memories haunt the individual, create neuroses, and contribute to the person's personality, behavior, and relationships. This is true for films that do not address mental illness, but Freudian theory applies with particular force to Sarah and James, which directly engages with psychological disturbance. Cinema accomplishes the goal of "rendering subjective experiences — the innermost psychological depths of the characters it portrayed" (Netto 1).

A second reason Sarah and James exemplifies Freudian theory is that "the birth of cinema offered a collective sense of what Freud called the uncanny: the images on screen were both familiar and somehow strange, alive and yet lifeless, real but illusory" ("Honey I Kidded the Shrink" 1). Sarah and James is not a documentary; it is a work of fiction. In this sense, the film presents something removed from reality yet simultaneously real. The audience, as well as actors like me, can identify with the characters while also maintaining a certain distance from them. Characters become mirrors for our subconscious.

Queer Theory and Mental Illness in Sarah and James

Sarah and James concerns the delusional and hallucinatory dimensions of mental illness as experienced by the titular Sarah. Sarah's delusions create a complex relationship between her and an imaginary female lover, and therefore the film must also be analyzed through the lens of queer theory. Queer theory is somewhat linked to psychoanalytic theory and can be used in conjunction with it. Issues related to power, sexuality, and fetishism are addressed in the film in tacit but meaningful ways. Queer theory demonstrates that Hollywood has historically treated homosexuality in ways that promote stereotypes of queer sexuality as inherently perverse or monstrous (Ellis 2). The goal of cinema, in the case of Sarah and James, is to subvert Hollywood's control of social norms.

Realism, Naturalism, and Kitchen Sink Drama

Sarah and James belongs to an interconnected set of genres known as realist and naturalist cinema. It can also be considered a kitchen sink drama. These terms refer to films that depict real life in all its grittiness, presenting reality to the viewer without glamorous embellishment. "Realism as a dramatic style refers to the appearance of lifelikeness (verisimilitude) in setting, costume, dialogue, gesture, facial expression, and so on" (Dietrich 1).

Naturalism takes realism a step further. Usually considered a more demanding standard, naturalism offers a "more secular, more contemporary, and more extensive" depiction than "whatever passes at that moment for realistic" ("Naturalism in Literature and Film" 1). A related genre is kitchen sink drama, which applies a naturalistic approach strictly to working-class life. In the case of Sarah and James, the film is both realistic and naturalistic. Due to the budgetary limitations of production and the reliance on natural lighting, Sarah and James comes across as a quintessentially naturalist film. It confronts the grim realities of mental illness and the way psychological disturbance impacts intimate relationships.

Conclusion: Reflection on the Filmmaking Experience

In this essay I have tried to give a reflective account of my contribution to the project. I introduced both the film and the theoretical concepts I intended to explore, and made a point of analysing the film from multiple angles using Freudian analysis and queer film theory. After the introduction, I provided an in-depth review of the literature on each theory and showed how each applied to Sarah and James. Freudian psychoanalysis emerged alongside cinema, which underscores the cultural and historical connections between film and Freud. Both allow us to peer into the subconscious minds of characters and audiences alike. Particularly striking is the way film can tap into the psychological underpinnings of the writer, the actor, and especially the viewer. Each audience member brings unique psychological experiences to the act of watching a film, and in processing what they see, they draw on deep reservoirs of memory and emotion. This is why some films resonate strongly with certain viewers and not others, and why some films provoke genuine discomfort or aversion.

The writer of a film may be unaware of the psychological processes at work during the creative process. Even when those domains are consciously engaged, there will be a cathartic quality to producing the material and communicating it to an audience. The director similarly projects psychological material through their vision, and of course actors do the same. As an actor in this film, I was prompted to delve into my own subconscious. Sarah and James is a psychological film about mental illness, and it addresses themes of loyalty, love, and sexuality with directness and honesty.

Although homosexuality may not be viewed as deviant by many contemporary audiences, it is important to acknowledge that for some viewers it remains a subject of taboo. Filmmakers since Freud's era have often treated homosexuality as deviant, which is precisely why it is important to bring both Freudian theory and queer film theory to bear on an understanding of Sarah and James. Whereas Freud posits that a film like this releases the repressed unconscious desires of all stakeholders — actor and audience alike — queer film theory calls for a more sociological interpretation that also touches on questions of individual identity. This analysis has been highly productive for me as an actor, and I will certainly continue to apply multiple theoretical frameworks to future productions. Acting is demanding work, far less glamorous than popular perception suggests.

As a lighting director and technician, I could have learned more, but we were constrained by time and budget. In the future, I would like to study the lighting techniques of early cinema masters such as Orson Welles. Lighting illuminates certain elements of mise-en-scène while leaving others in shadow, contributing both to the film's aesthetic quality and to the control of mood and content. In Sarah and James, we relied on natural lighting partly because the film belongs to the naturalist and realist genres, which capture life without embellishment or gloss. The psychological state of Sarah is conveyed through grainy images and darkness; similarly, my character James is frequently cast in shadow. These are dimensions of filmmaking I look forward to exploring more deeply in the future.

Participating in the making of Sarah and James was a rewarding early filmmaking experience. I valued the process of researching the characters in depth and developing a genuine understanding of schizophrenia and mental illness, which gave me a much richer sense of my character and his situation. Self-analysis and reflection on the process are essential to becoming a more professional and accomplished practitioner of the art of film.