Sample Sociology Essay on Evaluation of ‘Edward Scissorhands’

Evaluation of ‘Edward Scissorhands’

            The purpose of this essay is to illustrate how the film, Edward Scissorhands, portrays psychoanalytic theory. Psychoanalytic theory is a theoretical perspective by Sigmund Freud, which focuses on arguing that human behaviour results from interaction of three component parts. This relates to the id, ego, and superego. The theory places great significance on the influence of unconscious psychological conflicts towards shaping behavior, as well as personality of an individual. Psychoanalytic theory is the technique in the investigation and treatment of personality disorder applicable in the psychotherapy incidents. Psychoanalytic theory has five critical stages (Wallerstein 145). The first stage of the theory relates to the oral stage, which takes place from birth to 1.5 years of age.

            During this stage of development, the essential pleasure center is the oral cavity, which enables the baby to experience the physical world through mouth. The second stage of the theory relates to the anal stage, which starts from 1.5 to 3 years of age. During this stage, the major pleasure center is the anal cavity, which enables the baby to learn on how to control the excretion system, thus the mastery of the system. The third stage is the phallic stage relating to the genital organ in boys and girls as the major pleasure center. During this stage, the child has the opportunity to develop his order initial sexual desires (Safran 72). The next stage is the latency stage, which relates to the dormant sexual feelings for the opposite sex, thus the opportunity for the child to consolidate character habits in relation to the previous stage. The final stage is the genital stage relating to the surge of the sexual hormones during the puberty stage.

            In the course of the development of the plot, it is essential to note that the director seeks to offer a non-typical children’s film with reference to the adoption of Edward as the main character. This is through utilization of scarred face, leathery and black clothes, as well as a quiet personality and the absence of the human hands generating his name, ‘Scissorhands’. Audiences have the feeling of the preliminary moral lesson while encountering the film.

            In the film, the audiences meet Edward trying to apply his Scissorhands to food, hair, and the consequential locks, thus the distortion to the sense of human touch. In this context, it is essential to note that the hands are a gift of creation, which simultaneously amount as a curse of destruction. From the first pleasure, the context is followed by the occurrence of pain upon the death of the inventor, thus the platform for the occurrence of similar repetitive situations. For instance, in the film, Kim appears in a bodily form, there is the opportunity for the audience to encounter or experience Edward’s shyness through the rising of his hands to cover his face, thus the illustration of the development he is trying to make in the new world. The encounter generates the fulfilling moment prior to the scream of scary surprise by Kim. In addition, Edward decides to prick the waterbed while splattering water and ruining the bed, as well as expressing elements of being frightened. During the talk show, the host seeks to know whether Edward has a woman in his life. In expressing his response, Edward’s hands move excitingly at the mere thought of Kim. This is an illustration of the third stage of the psychoanalysis theory in the development of personality. 

            Tim Burton played a critical role in the course of directing the film, Edward Scissorhands. It is essential to note that the name of the film represents the entire movie because of the implications on the name of the main character. The main character has only one real name. The last name, Scissorhands, comes out as a blunt term, thus the definition of who Edward is in the development of the plot. From this perspective, Edward is different in comparison to any other individual because of the possession of scissors for hands. It is vital to illustrate the psychoanalytical interpretation of Edward Scissorhands. In this context, it is essential to note that past the ordinary existence of man or beneath the surface of appearance, as well as behind the walls of social conformity, there are elements of naïve, misunderstood, and incomplete individual in relation to Edward Scissorhands. The view is critical in the significant illustration of diverse perceptions of unborn man. Edward lacks substantive stage of growth in relation to the nuclear oedipal family. From this illustration, it is essential to note that unfinished body of Edward, as the main character, is a description of his self-identity. In the development of the film, the director focuses on bringing Edward as incomplete and all alone towards understanding the suburban world of conformity.

            In this context, it is essential to note that the world of the other is joining the world of people while opening the harsh truths, as well as well as painful realities of the suburban life with reference to the artistic director’s filmic fashion, thus the opportunity to illustrate the touch of fairy tale and the essence of reality. This relates to the first stage of the psychoanalytic approach with reference to the oral stage. During this stage, Edward Scissorhands, who had deprived of the human contact, discovers the imaginative mind under the influence of his Scissorhands, thus the illustration of the concept of the oral cavity. Edward focuses on entering in the suburban realm of humans, conformity, and social interaction.

            The discovery of cars, clothes, and children under the influence of the Peg’s vehicle window is vital in the illustration of the excitement evident in the Scissorhands, thus understanding of the reality in relation to the world. It is the obligation of Edward to focus on adapting to the world through learning to use his Scissorhands to hair, food, and the eventual locks, thus distortion of his psyche to the sense of human touch. From this perspective, social reaction in relation to the gentle, yet disturbing presence of Edward demonstrates interest, excitement, and curiosity. In the course of gratifying the pleasure, emotional intensity, Edward focuses on folding his Scissorhands towards his chest. His native mind experiences first emotion of love, thus the creation of the new pleasurable drive, which connects with pain. This is because of the role and influence of Edward in harming himself while nicking his face to leave a bleeding wound. It is essential to note that for every pleasure Edward enjoys in the development of the plot, there is an integration of direct pain. Edward’s pleasurable association exists in the identification of the adaptation of his Scissorhands to the world rather than the oral or anal stages in relation to the Oedipus complex.

Works Cited

Wallerstein, Robert S. “Review of Attachment and psychoanalysis: Theory, research, and implications.” (2014): 145.

Safran, Jeremy D. Psychoanalysis and psychoanalytic therapies. American Psychological   Association, 2012.