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This study aimed to provide a psychoanalytic perspective to the first feature film, Les Quatre Cents Coups, which was shot in 1959 by François Truffaut, one of the most important representatives of the New Wave movement. The protagonist of the movie, Antoine Doinel, is a 13-year-old teenager who skips school, steals, and lies. Within the scope of this analysis, first of all, the psychoanalytic theory of adolescence was described. The process of change that the adolescents goes through and its effects on their mental structure were discussed. Afterwards, the relationships between the difficulties and acting out behaviors of Antoine Doinel and his early experiences were examined based upon Winnicott, Bion and Klein's theories, together with the scenes from the movie. In this context, the effects of problematic early object relations on conflicts of adolescence were discussed. Besides, Les Quatre Cents Coups is a semiautobiographical movie. Therefore, following Antoine Doinel's analysis, the life history of the director François Truffaut was explained. From this point of view, the relationship between adolescence and creativity was examined and the foundation of Truffaut's creative work was interpreted on the basis of psychoanalytic theory. [ABSTRACT FROM AUTHOR]

Horror films aim to create fear in the audience by embodying people's unconscious anxieties within the society and period they are presented. Yet, various techniques and technologies are used to blur the boundary between real and reality in the audience to make this created effect feel like a veritable experience. So, despite they handle their most basic anxieties in such a veritable way, what are the factors that make these movies attractive for many people? Within the framework of this question, this study aimed to examine the unconscious representations of horror movies on the audience based on Lacanian Psychoanalysis through presenting a psychoanalytic view of horror cinema. In this context, first of all, how the horror movies emerged and what kind of changes they have shown or not until today were examined. Afterward, Psychoanalytic Film Theory, which is a significant point in forming the basis of the study, and the transformation it underwent with the contributions of Lacan were mentioned. Besides, the Mirror Theory and the concept of the gaze were examined, emphasizing their importance in terms of the theory. Subsequently, the concepts of gaze, uncanny, passion for ignorance, and phantasm were discussed to examine the unconscious representations of horror films on the audience. In the last part, scenes taken from horror movies were analyzed as an example in line with the concepts that were discussed. [ABSTRACT FROM AUTHOR]