Neurosis and Sigmund Freud's analysis of the mind have always been curious issues to Woody Allen, manifesting themselves in his films as key themes. This interest in psychoanalysis seems to be most thoroughly and directly explored in "Annie Hall" (Woody Allen, 1977). Another major theme of the film is the emotional and physical detachment that Alvy and Annie develop, which seems to originate from dissociation. The idea of dissociation in response to emotional trauma was first conceptualized by Pierre Janet, a contemporary of Freud, and contrasts Freud's notion of repression as a response (Singer, 1990). Dissociation involves detachment from emotional feeling and experience as well as a detachment from reality, also associated with neurosis.
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Annie is set in a mid-shot, addressing an off-screen Alvy, struggling to get his attention. He then enters the shot with his body facing the camera and engaging with an off-screen fan, after which never quite turns to Annie and the camera follows their walk backstage. The camera follows the movement of the characters, controlled by their erratic stopping and starting, changing size and shape in the frame. This movement symbolizes the lack of stability in the relationship from an exterior and stable perspective, where their conversation and movement lack cohesion and direction. The discourse also occurs backstage, implying a loss of control via the inclusions of ropes in the background and the allegoric significance of showing the audience the behind-the-scenes. This shows Alvy feels as if he doesn't have control of the situation, a puppet bound and being dragged along with something he's not comfortable with as well as being trapped, not able to truly express his feelings in anything other than humour. Furthermore, his apparent disinterest in Annie also suggests that he harbours some sort of resentment towards her forcing him into the situation. This could be also due to her claim that she understands his comedy, and by extension, his true emotions, possibly inciting him to become more distant in order to escape her judgement. This first scene solidifies the notion that Alvy feels uncomfortable with his inability to change events and express his emotions, choosing to simply drift on
Annie is set in a mid-shot, addressing an off-screen Alvy, struggling to get his attention. He then enters the shot with his body facing the camera and engaging with an off-screen fan, after which never quite turns to Annie and the camera follows their walk backstage. The camera follows the movement of the characters, controlled by their erratic stopping and starting, changing size and shape in the frame. This movement symbolizes the lack of stability in the relationship from an exterior and stable perspective, where their conversation and movement lack cohesion and direction. The discourse also occurs backstage, implying a loss of control via the inclusions of ropes in the background and the allegoric significance of showing the audience the behind-the-scenes. This shows Alvy feels as if he doesn't have control of the situation, a puppet bound and being dragged along with something he's not comfortable with as well as being trapped, not able to truly express his feelings in anything other than humour. Furthermore, his apparent disinterest in Annie also suggests that he harbours some sort of resentment towards her forcing him into the situation. This could be also due to her claim that she understands his comedy, and by extension, his true emotions, possibly inciting him to become more distant in order to escape her judgement. This first scene solidifies the notion that Alvy feels uncomfortable with his inability to change events and express his emotions, choosing to simply drift on