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Katzchen makes a cut with a razor blade and then draws out the blood from her shoulders or back with a set of suction cups. Katzchen said she has been a "black swan" for nearly 13 years and has yet to contract an STD or other illness. What she does get is a feeling of satisfaction. Vachmiel has been drinking blood since the age of 13 and it is a way he gets energy and sexual satisfaction. So, for her this is an effective coping mechanism for her life," he said. It's a group he describes as people who are "successful," and "ordinary," but also very tired, hence their desire to find a consenting adult willing to give them access to their blood.

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Terms Privacy Policy. On the one hand, Nina is alienated from herself when she sees her reflection, but when she faces other people—as if they were her mirror reflection—she often sees herself as a result of projective and introjective identification. The film expresses the universal idea that the self, or subject, is seen in the other, or object, and vice versa. She projects her black onto Lily and Erica, and she projects in the forms of vomiting into toilets, self-injury, and pulling a hallucinated black feather out of her back.

Though Erica is as annoyingly overprotective as always, she—as the good mother—is justified in trying to intervene when she can see that Nina is clearly going insane.


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  4. Blut Katchen lets real-life VAMPIRES drink blood directly from her body.

Her suffering from the paranoid-schizoid position is at its peak when she rushes over to the ballet company to ensure that she , and not she imagines usurping Lily, will perform as the Swan Queen. During her performance as the White Swan, she hallucinates seeing her own face on one of the heads of the corps de ballet , giving her a jolt and causing her male dancing partner to drop her onstage.

Analysis of ‘Black Swan’

She goes back onstage as the Black Swan, fully transformed. No longer is she in conflict about it; she fully accepts and embraces her dark side. She even hallucinates seeing her arms turn into black wings, and she grins at the transformation. Never does she notice her stab wound; nor does the audience, who loves her performance. She goes offstage and kisses Thomas hard on the mouth, as if she were Lily.

Finally, she is seducing him , instead of the other way around. Back in her change room, Nina must become the White Swan again; not just for the sake of the ballet, but because she can be neither only black, nor only white. Lily…dressed in an all white ballet outfit! Nina realizes she never stabbed Lily.

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Pulling out a shard of mirror glass from her bleeding gut, Nina weeps. Her persecutor has never been Lily, nor has she even been Erica in her bad mother mode. Fully integrated now, Nina no longer sees people in terms of all good or all bad, for she understands how illusory her projections are. Nina weeps copious tears as she prepares to go back onstage as the White Swan presumably having bandaged her stomach as best she can , for she has switched from the paranoid-schizoid position to the depressive position.

By stabbing herself, Nina was trying to stab the bad mother object inside herself, something projected onto Lily. Now she fears having killed her internal mother object, which means also killing herself. Thus sobbing Nina feels depressive , rather than persecutory, anxiety. Back onstage, she has a sorrowful face as she dances in the finale, as brilliantly as always.

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Red is visible on her belly, the blood gushing out of a vulva-like wound suggesting the symbolic breaking of her hymen, her loss of virginity and innocence. Is her mother—the good mother—watching her in the audience, tearfully moved by her performance, or is Nina just imagining her there, as part of her depressive wish for reparation with Erica? I'm merging the variety of topics I've blogged about--which include literary and film analyses, anarchism, socialism, libertarian-leaning Marxism, narcissistic abuse, and psychoanalysis--into a coherent philosophy centred on dialectical materialism, dialectical monism, and object relations theory.

Now, one dialectical opposition is that between the erotic and the ascetic, so accordingly, my writing encompasses the sexual as well as the philosophical; the former can be found in my publications on the Literotica website, as well as my self-published erotic horror writing on Amazon. View all posts by Mawr Gorshin.

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Black Swan Trailer (TVD style)

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Knights of Black Swan - Book Series In Order

Skip to content. Mawr Gorshin emotional abuse , erotic horror , eroticism , film analysis , Freud , horror movie , music , object relations theory , psychoanalysis August 9, August 18, 16 Minutes. Here are some quotes from the film: Nina Portman : I came to ask for the part.

Nina : I can dance the black swan, too. Thomas : What?


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Nina : I want to be perfect. Nina : I think I do have it in me. Nina : Not all of us have to. Lily : Little princess?


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  • He probably calls every girl that. Nina : No way! Lily : Sure he will. You just got to let him lick your pussy. Lily : Yeah. Nina : And then you just took off in the morning? Lily : In the morning? Nina : Yeah, you slept over. Lily : Um, no.

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    Unless your name is Tom and you got a dick. Nina : But we… Lily : But we what, Nina? Lily : Oh my God. Oh my God! You did! You fantasized about me! Nina : Shut up!