Time Machine Essay: Research Presentation

Amy Overbury 1101760

Introduction
I have chosen to analyse the film Black Swan in my Time Machine essay because I have always enjoyed the film and found it quite perplexing and challenging to understand, so I am using this essay as a means to delve more deeply into the meanings portrayed in the film.

I really like the way the director has visually represented emotions in the film through imagery which I hope to explore and analyse in my essay.

Fig. 1. (Black Swan DVD artwork, n.d.)

Black Swan: Synopsis

Black Swan follows the story of Nina (Portman), a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her retired ballerina mother Erica (Barbara Hershey) who zealously supports her daughters professional ambition. When artistic director Thomas Leroy (Vincent Cassel) decides to replace prima ballerina Beth MacIntyre (Winona Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side with a recklessness that threatens to destroy her (MOVIEWEB, 2012).

Initial Research

I have decided to start my research by looking at a few film reviews to find different opinions on the themes throughout the film:
The first is a review titled, Sex and Ballet Slippers: The Themes of Black Swan, in this review sex is highlighted as the main focus of the whole film looking mainly at the main character, Ninas relationship with it. Every time Nina Sayers gets near sex, something terrible happens. It is the focal point catalyst for almost every major event of Black Swan where a character is forced to grow up in the most violent way possible. (Film School Rejects 2011). It definitely seems an important part of the film and Ninas life defined by the way the character reacts to the subject especially in certain relationships she holds which I am interested to look at. The review, The Current Cinema: Fancy Footwork, Black Swan and Love and Other Drugs taken from The New Yorker, is very critical of the film, so I am not only intrigued by the analysis but also the opinions of the author, David Denby. He looks into the relationships within the film, particularly between Nina and Lily, however some areas of the review I do not agree with Denbys comments such as when he says that Lily also has two personalities: a friendly one, who encourages Nina; and a predatory one, who wants to destroy her (Denby, D, 2010) so I feel this review would help me to analyse the film.

While watching the film I came up with ideas particularly when looking at the different characters in relation to Nina, for example her mother, Erica, seems to be very oppressive and still treats Nina as if she were still a little girl constantly calling her sweet girl. This has led me to read up on Freudian theories to build up on my previous knowledge of his work during my A-levels. His book, Standard Edition of the Complete Psychological Works of Sigmund Freud Volume XIV (1914-1916): On the History of the Psycho-Analytic Movement, Papers of Metapsychology, and Other Works, includes information and studies regarding oppression & repression saying, The process of repression is not to be regarded as an event which take place once, demands a persistent expenditure of force. I think this quote is very useful and explains Nina and her mothers relationship; after reading through the book I also began to consider how Nina, Erica and Lily have very similar characters to Freuds ideas of the id, ego and superego. The id being impulsive like Lily, the superego being moral like Erica and the ego, the conscious Nina battling between the two forces which I think would be very interesting to analyse and build on as a subject. Freud believes the ego can break off its relation to reality and he states, Amentia1 is the reaction to a loss which reality affirms, but which the ego has to deny (Sigmund, S, 2001). I think this explanatory quote from Freuds book is very similar to the way Ninas mind begins to break away from reality as the film develops and she starts hallucinating.

After thinking about this idea of the id, ego & superego I started researching further on the internet where I found an educational document about The Psychodynamic Approach, part of psychological theory. I discovered something called Ego Strength, The egos ability to function despite these competing forces is referred to as ego strength. A person with good ego strength is able to manage these pressures effectively, while those with too much or too little ego strength can become too unyielding or too disrupting. (Onlineclassroom.tv, 2009). I find this very intriguing and again very relative to the bonds between Nina, her mother and friend as it seems in the film that Nina is always battling against the two other characters to get to her performance at the end of the film.

The other relationship I am quite interested to look at is that between Nina and Thomas the ballet director; although he seems very patronising and perverse, Nina seems to look up to him and while reading the book, Psychoanalysis and Feminism: a Radical Reassessment of Freudian Psychoanalysis. for my research I came across a possible explanation in the form of the Phallic stage also theorised by Freud in his study about a boy named Little Hans. In the phallic stage Freud believes: The androgyneity of the body that provided both receptacle and vehicle is lost, the boy cups his hand and the girl presses and rubs together the lips of her genitals: new hollows for new solids, back-forth contractions, tension and release. (Mitchell, J, 1975) These ideas explains Thomas obsession with Ninas sexuality as well as Ninas sexual relationships with Thomas, Lily and even her mother.

Key ideas
Quotations must be interpreted, importance discussed & correctly referenced. The key ideas that have come out of my initial research are Freudian theories of the id, ego & superego as well as the Phallic Stage and repression & oppression which have been previously sourced. However when researching oppression and repression I found a study by Freud called Repressing an oppressed identity; I am particularly interested in a section of the paper, Freud shared that perspective, as did his family. This can be glimpsed in comments about Adolphine, the youngest of Sigmund's five sisters Sigmund described 'Dolfi' as "the sweetest and best of my sisters"; She had a tendency to imagine insults - a tendency which the other members of the family attributed to a mixture of silliness and almost pathological phobia. When walking on the streets of Vienna, she would grip Martin's arm and whisper "Did you hear what that man said? He called me a dirty stinking Jewess and said it was time we were all killed" (p. 16). It was a family joke. She was talking absurdly... In the most awful way, Adolphine was to be proved correct. She and three of her sisters were taken by the nazis to the camps, from which none of them returned. (Billig, M) I find this quote interesting firstly in the way Freud called his sister the sweetest like Ninas mother called her, almost belittling her and then by the way Adolphine seemed to hallucinate like Nina does which in the end unfortunately comes true for both Freuds sisters and Portmans character.

That research has led me on to research hallucinations as well as the idea of doppelgangers which I looked up, A ghostly double of a living person that haunts its living counterpart. and found that Freud was very interested in the concept of a double explaining that, meeting ones doppelganger in life or in dreams produces sensations of the uncanny (Foster, N, 2012). I feel this reflects highly the use of hallucinations of Ninas double throughout the film in the way that Nina finds discomfort in them as well as the feeling of familiarity when she sees one. These doppelgangers add to the visual language of the film representing Ninas psychotic breaks from reality which has brought me to looking at the work of psychologists Thigpen and Cleckley. They did a case study on multiple personality disorder in a patient of theirs, I found that although Nina does not have multiple personalities she is battling different sides of her mind similar to the way that their patients different characters had to battle between each other. Eventually Thigpen and Cleckley helped her to get rid of all but one personality which is very similar to the way that Nina cannot seem to integrate the different sides of her mind so therefore must remove some to die peacefully in the end. The symptoms & causes of multiple personality disorder are outlined by Thigpen and Cleckley: Symptoms: depression & mood swings , amnesia & blackouts, sleep disorders, panic attacks & may hear voices of alters. Causes: severe trauma in childhood (eg; extreme & repeated sexual, mental or physical abuse), individual may dissociate as a form of mental escape, splitting of personality from conscious awareness - powerful defence against emotional pain. (herts.sch.uk) One of Thigpen and Cleckleys findings were results from an EEG test they did on all Eves three personalities, the EEG showed that Eve White and Jane had similar, normal levels of brain activity, whereas Eve Black had slightly high levels of brain activity (homepage.ntlworld.com). This creates the idea that the more impulsive side of her personality has higher arousal which reflects this relationship between Eve Black with Lily in Black Swan. I think the idea of her battling mind being represented by the different characters she is surrounded by is very key to the storyline and therefore I will use it in my analysis of the film.

Cultural context
Again I feel that the research in previous slides relating to Freuds theories of the id, ego and superego as well as the Phallic Stage and doppelgangers all relate to the cultural context of the film; but I also think that the film is commenting on ballet culture. Being about the battles a ballerina has to get into character for her role as the Swan Queen in Swan Lake the film looks deeply into ballet life of strict directors, painful injuries and self-punishment which has caused a lot of uproar in reviews. I was particularly interested to hear out the opinions of ballerinas and found this article with interviews from English National and Royal ballet stars commenting on the film: Tamara Rojo- This is a very lazy movie, featuring every ballet clich going. If you want to look at the dark side of ballet, do it properly, don't just give us shots of a ballerina suddenly vomiting. Lauren Cuthbertson- We're all obsessive in how we approach a new role: it can dominate our thoughts for months. And some of us like to wear pastel colours sometimes. Edward Watson And the film was accurate about the stress levels in the profession. I've had those kind of dreams where I've missed performances, when I'm hearing the music, but I can't make it on to the stage in time. Elena Glurdjidze - When I was preparing for my first Odile [the Black Swan], I had a great dancer from the Mariinksy telling me that I had to be seductive like a cat, but it was all within the context of the choreography. Yes, you have to use your imagination to get into a role but not like Nina. Cassa Pancho - Some of the smaller details, like the broken toenails and the way Nina works on her ballet shoes [scoring the soles, breaking down the blocked toes], were accurate. And I've seen dancers get paranoid, I hated the ballet director. He was ridiculously patronising and bullying. (theguardian, 2011.) Although there is a lot of criticism I like the areas where they can relate to things that occurred in the film such as obsessiveness, stress, anxiety dreams & injuries; as this makes the story more plausible even if exaggerated. I am particularly interested in Ninas obsessive nature to be perfect and the way this effects her relationship with people around her as well as stress levels as this leads to visual manifestations which I find very representative of realistic feelings.

Key individuals
In his films, director, Darren Aronofsky frequently likes to tackle ideas of obsessiveness in a chosen sport such as ballet or wrestling which often leads to humankinds mortality. I watched two of his other films, The Wrestler and The Fountain, which although are very different visually to each other and have very similar storylines to Black Swan always focussing on the life and relationships of one, main character.

Fig. 2. (Darren Aronofsky, n.d.)

After all of the previous research I have decided to focus on only four characters in Black Swan so that I can analyse & compare them to one another; Nina the main character who battles to be perfect, her mother, Erica, who tries to protect her and keep her on the moral path, Lily her friend and co-ballerina, who is very sexual and impulsive and Thomas, the ballet director who is obsessed with Ninas sexuality and continues to push Ninas boundaries throughout the film.

Fig. 3. (Nina, n.d.)

Fig. 4. (Lily, n.d.)

Fig. 5. (bhershey-blackswan, n.d.)

Fig. 6. (Thomas, n.d.)

The main individuals in my research who I will be using to analyse the film are Sigmund Freud, looking particularly at his research on the id, ego and superego as I feel that his explanations relate to all aspects that I will be analysing about the film. As well as that I will be looking at his work on doppelgangers as the director, Aronofsky uses visual manifestations to represent the condition of Ninas mental state during the film. I will also be using the work of Thigpen & Cleckley, particularly their study about multiple personality (Thigpen, C.H. & Cleckley, H. (1954)) due to the way that the characters in the film relate to one another and could have been used to represent the issues going on in Ninas mind.

Fig. 7. (freud, n.d.)

Fig. 8. (evefilm_, n.d.)

Fig. 9. (cleckley, n.d.)

Fig. 10. (thigpen, n.d.)

Historical examples
Swan Lake was composed by Tchaikovsky in 1875, commissioned by Vladimir Petrovich Begichev, the intendant of the Russian Imperial Theatres in Moscow. Swan Lake was unsuccessful after its first year of performance; it was said that Tchaikovksys music was too difficult to dance to. There is very little known about the original production of Swan Lake and until Tchaikovksys death Swan Lake was not performed again; however since then it has been revived and revised by the famous choreographers, Petipa and Ivanov. Tchaikovsky agreed that the swan represented womanhood in its purest form; stories and legends of swanmaidens date as far back as ancient Greece; when the Greek god Apollos was born, flying swans circled above his head. Swan Lake is known for its demanding technical skills simply because of the extremely gifted ballerina, Pierina Legnani. She performed with such grace and discipline that she was said to have set the bar for future ballerinas; every girl to dance the part of Odette/Odile after her was compared to Legnani's performance. Legnani performed 32 fouettes (a fast whipping turn on one foot) in a row, a move many ballerinas resent because of its extreme difficulty. Swan Lake remains a favourite for many girls because of its extreme difficulty; technically and emotionally. The status that comes with performing Swan Lake flawlessly is invaluable. (About.com, 2012) In Black Swan, Legnani could be seen to be projected on to Lily by Nina as she is seen as perfect for the role of the Black Swan. This creates envy and anxiety in Nina As it says the role is seen as technically and emotionally draining which is also seen in Nina character throughout the film through visual manifestations.

Fig. 11. (photo114, n.d.)

Fig. 12. (legnani, n.d.)

I have looked a little at the book, Seduction by Jean Baudrillard due to the relationships between Nina and the other main characters in the film. While reading I found this quote which I felt related well to the characters in Black Swan: Our center of gravity has been displaced towards a libidinal economy concerned with only the naturalization of desire, a desire dedicated to drives, or to a machine-like functioning, but above all, to the imaginary of repression arid liberation. Henceforth one no longer says: "You have a soul and it must be saved," but: "You have a sex, and you must put it to good use." "You have an unconscious, and you must let the id speak." "You have a body, and you must derive pleasFig. 14. (jean, n.d.) ure from it." Fig. 13. [seduction-cover-art, n.d. ) "You have a libido, and you must expend it, (Baudrillard, J, 1991. ) I chose this quote because of the way it explains the relationships in the film; to perform her final performance, Nina must escape her repression, the motherly oppression of her mother to be liberated; by removing this she is allowing her id, her sexuality to come out which is represented by the character of her friend Lily, this is nurtured by Thomas by the way he obsesses over her sexuality often demanding she explores her sexuality; however when Nina is unsuccessful with her sexual pleasure she punishes her body.

While researching the storyline of Black Swan I found it to be very similar to the plot of The Red Shoes released in 1948 (The Red Shoes, 1948). I made notes of the key points which relate this film to Black Swan while watching it: It is a fairytale in which Victoria Page, a young ballerina journeys to become the perfect part for the lead role in The Red Shoes composed by Julian Craster who she falls in love with, however this causes Lermontov, the ballet impresario to become scornful. She is torn between two sides- good & evil, wanting and needing to execute the perfect performance. In the ballet in which she performs at the end the storyline is also reflective of her own personal situation just like in Black Swan where Swan Lake imitates the plot. The Red Shoes are evil, when she puts them on and she begins to dance, the shoes do not allow her to stop, they never tire & therefore in the end she dies due to her obsession with performing just like at the end of Swan Lake. Again despite The Red Shoes being produced in 1948 the film contains many special effects- including projections and shadows, which are used to reflect the dancers mental turmoil and imagination much like the use of hallucinations and other visual metaphors used in Black Swan. Due to the shoes being seen as evil, the colour, red is associated with danger similar to the way that in Black Swan, when Ninas eyes turn red she has been taken over the dark side again relating red to danger as well as the obvious connection between the red blood and peril. At the end of the film Victoria Page dies due to her confliction between the love of her obsession which is to perform linked with Lermontov and her love for Julian Craster, however the dance consumes her like the part in Swan Lake overwhelms Nina isolating her from the people who love her.

Fig. 15. (The Red Shoes DVD artwork, n.d.)

Fig. 16. (The Red Shoes (Moira Shearer), n.d)

Fig. 17. (theredshoes2, n.d.)

Contemporary examples
For contemporary examples I have been looking at reviews and other peoples interpretations of the films meanings and found varying opinions: The review entitled, Sex and Ballet Slippers: The Themes of Black Swan focusses mainly on the effect of sexual relations on the main character Nina; Every time Nina Sayers gets near sex, something terrible happens. It is the focal point catalyst for almost every major event of Black Swan where a character is forced to grow up in the most violent way possible. For a bulk of the film, this character brought to life by Natalie Portman is passive about the world around her. Ninas mother has kept her in a state of arrested development, her boss relegates her to the background as he pleases, and even when shes given a chance to shine, she is unable to do so because of the psychological barriers she faces. All of those barriers are brought down by sex. A few more are created because of it. (Film School Rejects, 2011) The review taps into issues including violence, obsession, development & sexuality, subjects which are often studied in psychology such as Freuds study on Little Hans researching the stages of childhood development. The previous review then led me to this review, Black Swan, Freud, and the Monomyth, analysing the references to Freudian theories and Joseph Campbells Monomyth in Black Swan; You cant help but read the film in Freudian terms. I think Ive seen the word psychosexual in nearly every review of it Ive read. All the classic Freudian players are here: the overbearing, Superego of a mother, the fragile, repressed Ego hero, the free-spirited Id. The movie no less can be read in terms of Joseph Campbells Monomyth, with its Jungian concepts: the Bad Mother, the Hero, the Shadow, the Father. But the complexities that the film is able to twirl around with those concepts is what captivates me. (WordPress.com, 2011) Again this review highlights the relationships within the film representing Freudian theories and concepts as well as Jungian concepts; I am particularly interested in the idea of the Id, ego & superego as well as repression & oppression reflecting the relationships between Nina and the other female characters in the film.

I also looked at a review which featured concepts of femininity which looks at Ninas characteristics as well as her connections with the other females in the film. A quote from the review, Black Swan and the terror of femininity reads: After the first half of the film, I was relatively convinced that I was watching a horror movie about the terrors of femininity; the lecherous mentor, the beautiful rival, the overbearing Freudian mother, the aging diva. Many of the motifs of a threatening womanhood were there too. A syrupy pink bedroom, the smothering presence of mirrors. Injured feet and toes, references to and representations of self-harm. All in service of that most perfect of feminine icons: the ballerina. (Textural Relations, 2011) The review references parts of the film which highlight stereotypical feministic characteristics including, pink clothing & dcor throughout, the presence of mirrors which relates to narcissism and obsession as well as self-harm. This is all very similar to key features in The Red Shoes which portrays a young girl in a very obsessive and male controlled world.

I have also researched the different advertisement posters that were produced for Black Swan; my eye was caught particularly by the 1960/70s inspired posters, they echo Polish and Czech posters of the 60s and ballet advertisements of the early 20th century. The art deco inspired designs have a black, red and white colour schemes, heavily featuring silhouettes. Each poster, Bendall said, "aims to convey the grace and fragility of the White Swan in contrast to the aggression and power of the Black Swan". The colours she explains, "when used together ... create an instantly modernist feel and recall the Bauhaus aesthetic and with it their modernist thinking. (Danny Mitchell, 2012) The posters are very expressionistic & have a symbolist style of artwork, unapologetically non-realistic. In one, the red/black swan beak acts as a mask taking over the white, pure silhouette of the woman in the background; in another a tiny ballerina is consumed by a dark menacing black swan. The white ballerina reminds me of the tiny ballerina in Ninas music box which her mother winds up for her every night representing her controlling, repressive demeanour over Nina.

Fig. 18. (30s-posters, n.d.)

I also looked at the meaning behind the most well known advertisement poster for Black Swan; the crack down Ninas pale face highlights her purity being destroyed by mental turmoil and conflictions between her and her relationships which could refer to Freuds theory of the id, ego and superego. It could also relate to Thigpen and Cleckleys study on Multiple Personality Disorder, it looks at how trauma can cause a crack in someones personality. The crack could also highlight Nina fragility, showing how easily her soul can be broken like a vase.
Fig. 1. (Black Swan DVD artwork, n.d.)

Conclusion
I am interested in the way that director, Darren Aronofsky has used visual metaphors & music to represent the mental break down of Ninas mind such as, hallucinations and the placement of music in key moments throughout the film. I feel that the people that surround Nina all affect her in different ways by the character traits they have and portray which causes Ninas issues. Again the most important relationships are between Nina and her mother, Thomas and Lily whose relationships I plan to analyse and compare through the essay I will write. I will use Freudian theories and other psychological studies that I have researched to explore and analyse my chosen relationships. I have decided that the title of my Time Machine essay will be: Analyse the effect of different relationships on Nina through visual manifestations in Black Swan.

Bibliography

About.com, 2012. A Profile of swan Lake: The history of Swan Lake. [Online] Available at: classicalmusic.about.com/od/historyofballet/a/swanlakeproa.htm [Accessed 29 March 2012] Baudrillard, J, 1991. Seduction. London: St Martin's Press. Billig, M. Freud and Dora: repressing an oppressed identity, British Journal of Social Psychology, [Online]. Available at: http://www.massey.ac.nz/~alock/virtual/dora4.htm [Accessed 1 April 2012]. Black Swan and the terror of femininity, 2011. Textual Relations. [Online] Available at: http://text-relations.blogspot.co.uk/2011/01/black-swan-andterror-of-femininity.html [Accessed 25 March 2011] Black Swan, Freud, and the Monomyth, 2011. WordPress.com. [Online] Available at: http://cdw1103.wordpress.com/2011/01/17/black-swan-freudand-the-monomyth/ [Accessed 20 March 2012] Black Swan, 2010. [Film] Directed by Darren Aronofsky. USA: Twentieth Century Fox Danny Mitchell, 2012. DCP D & AD Brief 2 [online] Available at: http://dannyjmichael.wordpress.com/2012/01/31/dcp-d-ad-brief-2/ [Accessed 19 March 2012] Denby, D, 2010. The Current Cinema: Fancy Footwork, Black Swan and Love and Other Drugs, The New Yorker, [Online] Available at: http://www.newyorker.com/arts/critics/cinema/2010/12/06/101206crci_cinema_denby?currentPage=all [Accessed 26 April 2012] Foster, N, 2012. What is a doppelganger? wiseGEEK, [Online] Available at: http://www.wisegeek.com/what-is-a-doppelganger.htm [Accessed 5 April 2012] herts.sch.uk, Thigpen & Cleckley (1954) Multiple Personality Disorder. [pdf] Available at: http://www.loreto.herts.sch.uk/Home%20Learning/Psychology/AS/Ms%20Sheehan/Core%20Studies/20%20THIGPEN%20&%20CLECKLEY%20%2819 54%29.pdf [Accessed 29 March 2012] Homepage.ntlworld.com, Thigpen Evaluation Sheet. [pdf] Available at: www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&sqi=2&ved=0CFoQFjAF&url=http%3A%2F%2Fhomepage.ntlworld.com%2Fgary.st urt%2Fworkbook%2Fthigpen%2520evaluation%2520sheet.doc&ei=9taKT9DZEoSs0QW76o3ACQ&usg=AFQjCNG-PUGi1-_cQrWcw34L5LgMRhSoQ&sig2=2e0aZr8y1_TNOFjq8XEZtA [Accessed 29 March 2012] Mitchell, J, 1975. Psychoanalysis and Feminism: a Radical Reassessment of Freudian Psychoanalysis. London: Penguin Books Ltd. MOVIEWEB, 2012. Black Swan: Synopsis [Online] Available at: http://www.movieweb.com/movie/black-swan/synopsis [Accessed 20 March 2012] Onlineclassroom.tv, 2009. Chapter 3: The Psychodynamic Approach. [Online] Available at: http://onlineclassroom.tv/files/posts/the_psychodynamic_approach_free_chapter/document00/WJEC_AS_Ch_03.pdf [Accessed 29 March 2012] Sex and Ballet Slippers: The Themes of Black Swan, 2011. Film School Rejects. [Online] Available at: http://www.filmschoolrejects.com/opinions/black-swan-sex-natalie-portman-darren-aronofsky.php [Accessed 20 March 2012] Sigmund, S, 2001. Standard Edition of the Complete Psychological Works of Sigmund Freud Volume XIV (1914-1916): On the History of the PsychoAnalytic Movement, Papers of Metapsychology, an Other Works. Translated from German by J. Stachey & A. Freud United Kingdom: Vintage The Red Shoes. 1948 [DVD] London: ITV Studios Home Entertainment. Thigpen, C.H. & Cleckley, H. (1954) A Case of multiple personality, Journal of Abnormal and Social Psychology, Vol. 49, 135-151 [online] Available at: http://psycnet.apa.org/journals/abn/49/1/135/ [Accessed: 1 April 2012]. What Britain's ballet stars made of Black Swan, 2011. theguardian [Online] Available at: http://www.guardian.co.uk/stage/2011/jan/05/black-swannatalie-portman-tamara-rojo [Accessed 19 March 2012]

List of Illustrations

Fig. 1, [Black Swan DVD artwork] n.d. [image online] Available at: http://www.moviefanatic.com/2010/12/memorable-quotes-from-black-swan/ [Accessed 5 April 2012] Fig. 2, [Darren Aronofsky] n.d. [image online] Available at: http://www.popcornless.net/article/darren-aronofsky-eyeing-human-nature-his-nextproject [Accessed 28 March 2012] Fig. 3, [Nina] n.d. [image online] Available at: http://cathymalvar.blogspot.co.uk/2011/02/nueve-black-swan-perfection-its-limits.html [Accessed 29 March 2012] Fig. 4, [Lily] n.d. [image online] Available at: http://www.imdb.com/list/J95PoHbBLwE/ [Accessed 30 March 2012] Fig. 5, [bhershey-blackswan] n.d. [image online] Available at: http://darkeyesocket.blogspot.co.uk/2011/05/take-three-tfe-barbara-hershey.html [Accessed 29 March 2012] Fig. 6, [Thomas] n.d. [image online] Available at: http://www.quizlet.nl/quiz/363035/wie-ben-jij-van-black-swan/results.php [Accessed 29 March 2012] Fig. 7, [Freud] n.d. [image online] Available at: http://www.articlesdot.net/all/reference-and-education/psychology/sigmund-freud.html [Accessed 28 March 2012] Fig. 8, [evefilm_] n.d. [image online] Available at: http://www.holah.karoo.net/thigpen.htm [Accessed 28 March 2012] Fig. 9, [cleckley] n.d. [image online] Available at: http://www.holah.karoo.net/thigpen.htm [Accessed 29 March 2012] Fig. 10, [thigpen] n.d. [image online] Available at: http://www.holah.karoo.net/thigpen.htm [Accessed 29 March 2012] Fig. 11, [photo114] n.d. [image online] Available at: http://www.tchaikovsky-research.net/ [Accessed 31 March 2012] Fig. 12, [legnani] n.d. [image online] Available at: http://www.dancer.com/legnani.php [Accessed 31 March 2012] Fig. 13, [seduction-jean-baudrillard-paperback-cover-art] n.d. [image online] http://www.tower.com/seduction-jean-baudrillardpaperback/wapi/101414858 [Accessed 1 April 2012] Fig. 14, [jean] n.d. [image online] Available at: http://eswinfield.blogspot.co.uk/2010/09/jean-baudrillard.html [Accessed 1 April 2012] Fig. 15, [The Red Shoes DVD artwork] n.d. [image online] Available at: http://www.imdb.com/title/tt0040725/ [Accessed 1 April 2012] Fig. 16, [The Red Shoes (Moira Shearer)] n.d. [image online] Available at: http://zoffe.blogspot.co.uk/2012/03/red-shoes-tutorial.html [Accessed 1 April] Fig. 17, [theredshoes2] n.d. [image online] Available at: http://visforolive.blogspot.co.uk/2011/05/red-shoes.html [Accessed 1 April 2012] Fig. 18, [30s-posters] n.d. [image online] Available at: http://dannyjmichael.wordpress.com/2012/01/31/dcp-d-ad-brief-2/ [Accessed 2 April 2012]