Important connection between "illness" film project and Freudian Theories

In my film I referenced the idea of dreams, or the 'editing' inspired by surrealism that is inspired by dream-work.
 Some years ago, I already read Sigmund Freud's works for my personal interest, and it has now become relevant. Prior to writing a script and afterwards, I have always had the ideas of Freud's psychoanalytical 'transcription' of dreams and how he sees where they can come from.

Similarly to dreams, surrealist art, and especially films is really abstract sometimes, quite often it lacks consistency or plot. I would like to take a few abstracts from the posts below that are fully quoting some parts of Freud's "The Interpretation of Dreams" book, and link them to how I edited my film.

Subconscious-explained:

Chapter about "Dream Work" 

Condensation

In view of the very great number of ideas which analysis elicits for each individual element of the dream-content, the principal doubt in the minds of many readers will be whether it is permissible to count everything that subsequently occurs to the mind during analysis as forming part of the dream-thoughts - in other words, to assume that all these thoughts have been active in the sleeping state, and have taken part in the formation of the dream. Is it not more probable that new combinations of thoughts are developed in the course of analysis, which did not participate in the formation of the dream? To this objection I can give only a conditional reply. It is true, of course, that separate combinations of thoughts make their first appearance during the analysis; but one can convince oneself every time this happens that such new combinations have been established only between thoughts which have already been connected in other ways in the dream-thoughts; the new combinations are, so to speak, corollaries, short-circuits, which are made possible by the existence of other, more fundamental modes of connection. 

> It leads to more details:

The condensation-work of dreams becomes most palpable when it takes words and means as its objects. Generally speaking, words are often treated in dreams as things, and therefore undergo the same combinations as the ideas of things. The results of such dreams are comical and bizarre word-formations. 


> Therefore, in my film I wanted to use a lot of objects. I used a lot of random objects that would have  a symbolic meaning I see within (i.e. two broken eggs/smashed/mixed can mean how two of them show who they really are, there is no shell, and it's mixed)


Work of Displacement

In dream-formation the essential elements, those that are emphasized by intensive interest, may be treated as though they were subordinate, while they are replaced in the dream by other elements, which were certainly subordinate in the dream-thoughts. It seems at first as though the psychic intensity of individual ideas were of no account in their selection for dream-formation, but only their greater or lesser multiplicity of determination. One might be inclined to think that what gets into the dream is not what is important in the dream-thoughts, but what is contained in them several times over; but our understanding of dream- formation is not much advanced by this assumption; to begin with, we cannot believe that the two motives of multiple determination and intrinsic value can influence the selection of the dream otherwise than in the same direction. Those ideas in the dream-thoughts which are most important are probably also those which recur most frequently, since the individual dream-thoughts radiate from them as centres. And yet the dream may reject these intensely emphasized and extensively reinforced elements, and may take up into its content other elements which are only extensively reinforced. 

>>There is a scene where a glass is looking around in panic. This scene is interrupted for less than a second by a preview to the future. I wanted to mix future and current;show how one scene can relate to another one, how one can interpret it. (Basically, it's when she passes by a flower wrapped in foil; and then he starts thinking whether he wants to accept it, but then this eye appears and he sees he body wrapped in foil; so he gives the flower back). It's about the main point and the 'fears'. One clashes with another. Again, it is full of symbolism

Generally speaking, in the interpretation of any element of a dream it is doubtful whether it 

(a) is to be accepted in the negative or the positive sense (contrast relation); 
(b) is to be interpreted historically (as a memory);
(c) is symbolic; or whether 
(d) its valuation is to be based upon its wording.

>>>Therefore, let's look at the examples how my film has been manipulated in editing referencing these theories:
1) each of the scene can be treated as a positive or negative development/ good vs evil. You the viewer can see 'evil' wins.
2) it's built in a way everyone can understand it from his own experience or from the cultural resources
3) it is full of symbolism, (below you will see typical objects of representation) from the phallic shapes to the triangles, water, machinery works, etc
4) Some words are referenced : "Building", "working" on a relationship -scenes(2nd part) are sequenced by the scenes of flower-planting and machinery-building works


Further typical objects representation:

All elongated objects, sticks, tree-trunks, umbrellas (on account of the opening, which might be likened to an erection), all sharp and elongated weapons, knives, daggers, and pikes, represent the male member. A frequent, but not very intelligible symbol for the same is a nail-file (a reference to rubbing and scraping?). - Small boxes, chests, cupboards, and ovens correspond to the female organ; also cavities, ships, and all kinds of vessels. - A room in a dream generally represents a woman; the description of its various entrances and exits is scarcely calculated to make us doubt this interpretation.The interest as to whether the room is open or locked will be readily understood in this connection. (Cf. Dora's dream in Fragment of an Analysis of Hysteria.) There is no need to be explicit as to the sort of key that will unlock the room; the symbolism of lock and key has been gracefully if broadly employed by Uhland in his song of the Graf Eberstein. - The dream of walking through a suite of rooms signifies a brothel or a harem. But, as H. Sachs has shown by an admirable example, it is also employed to represent marriage (contrast). An interesting relation to the sexual investigations of childhood emerges when the dreamer dreams of two rooms which were previously one, or finds that a familiar room in a house of which he dreams has been divided into two, or the reverse. In childhood the female genitals and anus (the "behind") are conceived of as a single opening according to the infantile cloaca theory, and only later is it discovered that this region of the body contains two separate cavities and openings. Steep inclines, ladders and stairs, and going up or down them, are symbolic representations of the sexual act.Smooth walls over which one climbs, facades of houses, across which one lets oneself down - often with a sense of great anxiety - correspond to erect human bodies, and probably repeat in our dreams childish memories of climbing up parents or nurses. Smooth walls are men; in anxiety dreams one often holds firmly to projections on houses. Tables, whether bare or covered, and boards, are women, perhaps by virtue of contrast, since they have no protruding contours. Wood generally speaking, seems, in accordance with its linguistic relations, to represent feminine matter (Materie). The name of the island Madeira means wood in Portuguese. Since bed and board (mensa et thorus) constitute marriage, in dreams the latter is often substituted for the former, and as far as practicable the sexual representation-complex is transposed to the eating-complex. - Of articles of dress, a woman's hat may very often be interpreted with certainty as the male genitals. In the dreams of men, one often finds the necktie as a symbol for the penis; this is not only because neckties hang down in front of the body, and are characteristic of men, but also because one can select them at pleasure, a freedom which nature prohibits as regards the original of the symbol. Persons who make use of this symbol in dreams are very extravagant in the matter of ties, and possess whole collections of them.[46] All complicated machines and appliances are very probably the genitals - as a rule the male genitals - in the description of which the symbolism of dreams is as indefatigable as human wit. It is quite unmistakable that all weapons and tools are used as symbols for the male organ: e.g., ploughshare, hammer, gun, revolver, dagger, sword, etc. Again, many of the landscapes seen in dreams, especially those that contain bridges or wooded mountains, may be readily recognized as descriptions of the genitals. Marcinowski collected a series of examples in which the dreamer explained his dream by means of drawings, in order to represent the landscapes and places appearing in it. These drawings clearly showed the distinction between the manifest and the latent meaning of the dream. Whereas, naively regarded, they seemed to represent plans, maps, and so forth, closer investigation showed that they were representations of the human body, of the genitals, etc., and only after conceiving them thus could the dream be understood.[47] Finally, where one finds incomprehensible neologisms one may suspect combinations of components having a sexual significance. - Children, too, often signify the genitals, since men and women are in the habit of fondly referring to their genital organs as little man, little woman, little thing. The little brother was correctly recognized by Stekel as the penis. To play with or to beat a little child is often the dream's representation of masturbation. The dream-work represents castration by baldness, hair-cutting, the loss of teeth, and beheading. As an insurance against castration, the dream uses one of the common symbols of the penis in double or multiple form and the appearance in a dream of a lizard - an animal whose tail, if pulled off, is regenerated by a new growth - has the same meaning. Most of those animals which are utilized as genital symbols in mythology and folklore play this part also in dreams: the fish, the snail, the cat, the mouse (on account of the hairiness of the genitals), but above all the snake, which is the most important symbol of the male member. Small animals and vermin are substitutes for little children, e.g., undesired sisters or brothers. To be infected with vermin is often the equivalent for pregnancy. - As a very recent symbol of the male organ I may mention the airship, whose employment is justified by its relation to flying, and also, occasionally, by its form. - Stekel has given a number of other symbols, not yet sufficiently verified, which he has illustrated by examples. The works of this author, and especially his book: Die Sprache des Traumes, contain the richest collection of interpretations of symbols, some of which were ingeniously guessed and were proved to be correct upon investigation, as, for example, in the section on the symbolism of death. The author's lack of critical reflection, and his tendency to generalize at all costs, make his interpretations doubtful or inapplicable, so that in making use of his works caution is urgently advised. I shall therefore restrict myself to mentioning a few examples. - 
Right and left, according to Stekel, are to be understood in dreams in an ethical sense. "The right-hand path always signifies the way to righteousness, the left-hand path the path to crime. Thus the left may signify homosexuality, incest, and perversion, while the right signifies marriage, relations with a prostitute, etc. The meaning is always determined by the individual moral standpoint of the dreamer" (loc. cit., p. 466). Relatives in dreams generally stand for the genitals (p. 473). Here I can confirm this meaning only for the son, the daughter, and the younger sister - that is, wherever little thing could be employed. On the other hand, verified examples allow us to recognize sisters as symbols of the breasts, and brothers as symbols of the larger hemispheres. To be unable to overtake a carriage is interpreted by Stekel as regret at being unable to

catch up with a difference in age (p. 479). The luggage of a traveller is the burden of sin by which one is oppressed (ibid.) But a traveller's luggage often proves to be an unmistakable symbol of one's own genitals. To numbers, which frequently occur in dreams, Stekel has assigned a fixed symbolic meaning, but these interpretations seem neither sufficiently verified nor of universal validity, although in individual cases they can usually be recognized as plausible. We have, at all events, abundant confirmation that the figure three is a symbol of the male genitals. One of Stekel's generalizations refers to the double meaning of the genital symbols. "Where is there a symbol," he asks, "which (if in any way permitted by the imagination) may not be used simultaneously in the masculine and the feminine sense?" To be sure, the clause in parenthesis retracts much of the absolute character of this assertion, for this double meaning is not always permitted by the imagination. Still, I think it is not superfluous to state that in my experience this general statement of Stekel's requires elaboration. Besides those symbols which are just as frequently employed for the male as for the female genitals, there are others which preponderantly, or almost exclusively, designate one of the sexes, and there are yet others which, so far as we know, have only the male or only the female signification. To use long, stiff objects and weapons as symbols of the female genitals, or hollow objects (chests, boxes, etc.) as symbols of the male genitals, is certainly not permitted by the imagination. 

...

I carefully refrain from suggesting to her the meaning of the symbols, and ask her only for the thoughts which occur to her mind in connection with the individual parts of the dream. In the course of the analysis her reserve gave way to a distinct interest in the interpretation, and a frankness which was made possible by the serious tone of the conversation. To my question as to what kind of flowers they had been, her first answer is: expensive flowers; one has to pay for them; then she adds that they were lilies-of-the-valley, violets, and pinks or carnations. I took the word lily in this dream in its popular sense, as a symbol of chastity; she confirmed this, as purity occurred to her in association with lily. Valley is a common feminine dream-symbol. The chance juxtaposition of the two symbols in the name of the flower is made into a piece of dream- symbolism, and serves to emphasize the preciousness of her virginity - expensive flowers; one has to pay for them - and expresses the expectation that her husband will know how to appreciate its value. The comment, expensive flowers, etc. has, as will be shown, a different meaning in every one of the three different flower-symbols. 
I thought of what seemed to me a venturesome explanation of the hidden meaning of the apparently quite asexual word violets by an unconscious relation to the French viol. But to my surprise the dreamer's association was the English word violate.

>>

>>>Both these abstracts above reference some typical interpretations of objects.
 Flower- "feminine dream symbol"often meaning 'virginity', appears in my project, it's a usual, not expensive flower, which I'd interpret as pure and unconditional, and it is red, which internationally would stand for 'love'.
"Most of those animals which are utilized as genital symbols in mythology and folklore play this part also in dreams: the fish" - I would say the fish that appear in my film's first part stand for the freedom and euphoric love and sexual affection of the couple. In Russian, there's a folklore saying "Free as a Fish in the water"- it means, free at doing something, or be capable of doing something really well and confidently. 
There's crystal and greenery rubbed by the Unknown, those scenes I'd like to explain as the Power from the Above, metaphysical flow of this relationship, that cannot be explain, as it's beyond our conscious, it's emotion and it's love. But it has a lot of facets, so the crystal hints in the beginning that you can't know what's the story going to be.