The Fantasy of Human Consciousness and the Impossibility of Repressing Crimes - On Theatrical Design in Film and Hollywood

Introduction

Human consciousness is characterized by the capacity for fantasy—a creative achievement that transforms, expands, or alienates reality. While fantasy is considered a source of aesthetic innovation on the one hand, it is also closely related to social and legal orders. In particular, the artistic treatment of violence and crimes in the medium of film raises the question of whether criminal acts can be "repressed" through narrative and aesthetic means, or whether they—despite aesthetic transformation—continue to be repressed. remain indelibly anchored in the collective memory.

1. Fantasy and Consciousness

Fantasy can be understood as a function of consciousness that mediates between real experiences, imagined constructions, and cultural symbols. It operates in a field of tension between individual creativity and social codes. From a philosophical perspective (Kant, Sartre, Ricoeur), it has a twofold dimension:

  1. Projective: It designs possible worlds.

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  2. Reproductive: It redesigns what has already happened without resolving it.

This dialectic shows that fantasy is not a simple "forgetting." or "repression," but always carries traces of reality within itself.

2. The Impossibility of Repressing Crimes

From both a psychological and legal perspective, "repression" of crimes in the full sense is not possible.

Fantasy, one could conclude, only allows for a theatrical displacement: a recoding, but not an elimination.

3. Film, Hollywood, and Theatrical Design

Hollywood functions as a laboratory for this dynamic. Crimes—murders, war crimes, organized crime—have always been central narrative drivers of cinematic narratives. Three strategies can be distinguished:

  1. Aestheticization: Violence is made "beautiful" through visual and dramatic means. made (e.g., in action or gangster films).

  2. Heroization: Perpetrator figures are mythologized so that guilt is overlaid with charismatic representation (e.g., "The Godfather").

  3. Tragic Catharsis: Crimes serve as a narrative stage for moral reflection (e.g., courtroom and war dramas).

In all cases, this is a theatrical transformation—the crime is not erased, but transferred as an aesthetic object.

4. Cultural Function of Fantasy

Cinematic fantasy fulfills a dual function here:

The "impossibility of repression" thus becomes itself a productive source of cultural narratives: crimes do not disappear, but rather transform into symbols, archetypes, and collective projections.

Conclusion

The imagination of human consciousness is not capable of completely repressing crimes. Rather, they are kept present as theatrical representations in cultural forms of expression such as film and theater. Hollywood's narratives exemplify how cinema operates at the interface of law, morality, and aesthetics: It makes visible that fantasy can shift and alienate, but never completely erase.

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