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Tell all the Truth but tell it slant-Successin Circuit liesToo bright for our infirm DelightThe Truth's superb surpriseAs Lightning to the Children easedWith explanation kindThe Truth must dazzle graduallyOr every man be blind——Emily Dickinson
In this article the Australian film Proof , directed by Jocelyn Moorehouse, is used to study the psychic reality of a 32-year-old blind man, as well as to study how it developed in a particular way, and how it changed (that is, how he changed). I view unconscious beliefs, perceptions, and behavior as parallel processes, determining both the choice of love object and the way of relating to that object. The internal drama is repeated and lived out in external relationships. In this film the struggle for growth and development inevitably lead the protagonist to find a person who helps him resume his blocked development. The film affords an avenue to understand the subject's affect and intrapsychic conflict, and how it plays out in seeking safety, pleasure, and power in interpersonal relationships. The keys to sorting out psychic reality from historical reality are the distortions and enactments in the analytic situation between patient and analyst