<?xml version="1.0" encoding="UTF-8"?>
<itemContainer xmlns="http://omeka.org/schemas/omeka-xml/v5" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://omeka.org/schemas/omeka-xml/v5 http://omeka.org/schemas/omeka-xml/v5/omeka-xml-5-0.xsd" uri="https://urss.warwick.ac.uk/items/browse?tags=Freud&amp;sort_field=added&amp;output=omeka-xml" accessDate="2026-03-08T05:09:36+00:00">
  <miscellaneousContainer>
    <pagination>
      <pageNumber>1</pageNumber>
      <perPage>10</perPage>
      <totalResults>1</totalResults>
    </pagination>
  </miscellaneousContainer>
  <item itemId="127" public="1" featured="0">
    <fileContainer>
      <file fileId="118">
        <src>https://urss.warwick.ac.uk/files/original/a7f6432d7d2f6e1d03a90fb220847d4a.pdf</src>
        <authentication>0f425cf5684dcb3b7b15a888badb91ae</authentication>
      </file>
    </fileContainer>
    <collection collectionId="4">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="5">
                  <text>Arts</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="19">
      <name>Academic Poster</name>
      <description>An academic poster</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="530">
                <text>Valerie and Her Week of Wonders: Reawakening Czech Cultural Heritage through the Psychodynamics of New Wave Surrealism</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="531">
                <text>Film and Television Studies</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="532">
                <text>By 1960, Freudian psychoanalysis was commonplace across Europe. Central to this were the &#13;
concepts of the id, ego, and superego – forces pertinent at both an individual and societal &#13;
level. In an unhealthy subject, according to Freud, these three psychological components fall &#13;
out of an ideal dynamic balance and must be restored by an intervening external agent. &#13;
Freud’s theories particularly influenced art, especially the surrealism of the Czech New &#13;
Wave film movement, which sought to restore the ideal psychological balance by &#13;
stimulating radical reorganisations of society. A prime example of this is Jaromil Jireš’s &#13;
film Valerie and Her Week of Wonders (1970) which aimed to rebalance the unstable Czech &#13;
social dynamic by provoking the audience to reconnect with their historic cultural values &#13;
and synthesise these with the goals of communism. This article analyses three key &#13;
sequences that exemplify this objective: the first illustrates how Valerie (surrogate for the &#13;
ego) initially vacillates, but ultimately aligns herself with symbols of Czech heritage &#13;
(representing the id). The second sequence shows Valerie’s ill-fated appeasement strategy &#13;
of completely aligning with the film’s antagonist (superego). The final sequence is a &#13;
culmination of these themes, posing possibilities for a new Czech future created by the now &#13;
activated viewer.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="533">
                <text>Toby Phipps</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="534">
                <text>2021</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="293">
        <name>Czech New Wave</name>
      </tag>
      <tag tagId="294">
        <name>Freud</name>
      </tag>
      <tag tagId="295">
        <name>Jaromil Jireš</name>
      </tag>
      <tag tagId="296">
        <name>Surrealism</name>
      </tag>
      <tag tagId="297">
        <name>Valerie and Her Week of Wonders</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
