1.Introduction

Paprika is discussed regarding its delightful fantasy or allegory that challenges viewers to reconsider their perceptions of consensus reality, freedom, and creativity [1]. Moreover, the dream is considered the central topic of Paprika in the sense that all characters are repeatedly experiencing multiple dreams, more importantly, lucid dreaming, which offers individuals the opportunity for unrestricted imagination and freedom, allowing them to shed their waking roles and adopt new personas [2]. According to Vernon, Freudian psychoanalytic theory is discussed to be associated with Kon's unique idea of dreams presented in this film. The concept of the "dream ego," as described by Freud, represents a distinct identity assumed by individuals within their dreams. This dream ego provides a psychological barrier that allows individuals to disassociate from their waking responsibilities and behaviors, enabling them to engage in unrestrained actions and experiences in the dream world.

Similarly, another scholar also argues that the film Paprika engages with Freudian theory, with a particular focus on the concept of "screen memories" and the role of dreams in psychoanalysis, claiming that Freud's approach to analyzing dreams as a means of accessing repressed memories and desires is reflected in the narrative construction of Paprika [3]. Freud's psychoanalytic theory provides a foundational framework for understanding the complexities of the human psyche, particularly about dreams and the structure of the mind. Freud posited that dreams serve as a window into the unconscious, reflecting hidden wishes and desires through symbolic imagery [4]. His method of dream analysis aimed to uncover the latent content beneath the manifest content of dreams, shedding light on the unconscious conflicts and motivations of individuals. Furthermore, Freud's conceptualization of the mind as consisting of the id, ego, and superego offers valuable insights into the dynamic interplay between instinctual drives, rationality, and morality [5]. This tripartite model serves as a lens through which scholars have explored the internal struggles and psychological transformations depicted in cinematic narratives such as Paprika.

The existing research has made various discussions regarding the idea of dream and reality, as well as its blurred boundary or integration. Someone has analyzed, in terms of the psychological aspect, the influence of Freudian psychoanalytic theory imposed on the film Paprika by examining the female protagonist-Chiba Atsuko. Nonetheless, the discussions of other figures of Officer Konakawa and the Chairman are insufficient. They are characters who have profound meaning in terms of representation and symbolism, presented by their respective dreams, as well in this film, other than Chiba Atsuko. Via Kon's portrayal, what kind of message does he want to convey to the audiences plus in what kind of forms does he adopt to present his message in the film?

This paper aims to explore the parallels and distinctions among three pivotal characters in the cinematic work Paprika by adopting the research methodology of textual analysis to conduct an in-depth analysis and interpretation of the film figures plus the related particular scenes and dialogues. Drawing upon Freudian psychoanalytic theory as a foundational framework of this paper from a psychological perspective, the discourse surrounding dreams will be expanded to encompass the concept of integration—a psychotherapy approach that aims at reconciling fragmented aspects of the self. Integration, as delineated by Fine, entails a process of introspection and self-reflection, wherein individuals amalgamate disparate facets of their psyche to facilitate personal growth and healing [6]. This notion of integration resonates with the thematic exploration of identity and self-discovery in Paprika, where characters confront their innermost desires and conflicts. Thus, the central thesis posited in this paper is that the film's underlying message lies in the journey of individuals transcending internal fragmentation to forge a new and cohesive sense of self through the process of integration, which acts as a determination of whether the protagonists in this film are positively or negatively presented based on the narrative.

2.Character's Analysis

2.1.Freudian Psychoanalysis, Egos and Integration

According to Freudian psychoanalysis, dreams operate by remodeling the innate desires of the unconscious through symbolic techniques such as condensation, displacement, representation, and embellishment [4]. Thus, analyzing dreams provides insight into a person's internal psychology, probing into their unconscious urges and conflicts. In other words, a dream, as an adorned desire, is compensation for reality. For example, individuals who are quiet and shy in real-life social relationships may adopt an angry, intrusive image in virtual games, expressing the suppressed aspects of themselves and the parts of their "true character" not openly acknowledged. The majority of scenes in the film appear to be unrelated dreams, leaving the audience puzzled. However, applying Freud's theory of dreams reveals that these dream sequences are not entirely unrelated. Instead, they are composed of obsessions that the protagonists cannot fulfill in the real world.

In the film, the character Paprika inherits the unacknowledged aspects of Chiba's "true character." Paprika is gentle and understanding, while Chiba herself is stern and verbally sharp. Chiba represents the embodiment of intellectual beauty in an Eastern woman, while Paprika, with her red hair, large eyes, cheerful personality, and somewhat provocative demeanor, is a representation of the Western women figure. For instance, after Chiba emerges from the chief's inpatient ward and walks through the enclosed corridor between buildings, she complains to her reflection in the glass, "Women of dreams are busy these days." But as she runs, her reflection in the mirror transforms into the image of Paprika, who responds with care, "You look tired. Want me to look in on your dreams?" When the director shifts the camera from Chiba's subjective point of view back to an objective long shot, Paprika in the mirror quietly reverts to Chiba. Osanai tears open Paprika's "shell," revealing the true Chiba inside. However, looking at two personalities in extreme opposition, Chiba's true personality is hidden, and the audience cannot determine whether the rational female scientist, in reality, is her, or if it is the emotional Paprika in the dream. The film does not provide an answer, due to the central theme of the movie revolves around the confusion between dreams and reality, a theme embedded in Paprika's character design from the beginning.

This mirrored relationship can also be seen as a product of dissociative identity. In the final scene, where Chiba and Paprika meet in the dream world, the two personalities question each other's identity. Chiba says, "Why don't you listen to me, Paprika? You are a part of me," Paprika retorts, "Haven't you ever thought that maybe you are a part of me?" This conversation alludes to the idea that Chiba might have lived with dissociative identity disorder since both egos have their characteristics and consciousness within the same body. According to Freud's psychoanalytic theory, the personality is divided into three levels, namely the id, the ego, and the superego [5]. Firstly, the id, or the primal self, represents the most basic desires, impulses, and life force. Chiba's id is embodied by Paprika, making her an "object of desire." Many male characters in the film harbor desires for Paprika, yearning to possess her. Paprika herself is depicted as a decisive and free-spirited character. As the dream girl, she is not constrained by the oppression and restrictions of reality, allowing her to soar freely through imagination in dreams. It reflects Chiba's pursuit of freedom and joy within her id. Secondly, Chiba's ego is her true self. In reality, she faces numerous constraints compared to the liberated Paprika. She may resort to cold words due to her difficulty expressing emotions and is reluctant to openly confront her attraction to "otaku" (a term for individuals with obsessive interests, often in anime and manga). In contrast to the bold and passionate Paprika, this version of Chiba may lack some charm but represents the epitome of many people's realities. Lastly, the superego, positioned as the highest regulatory component in the structure of personality, demands that the ego satisfy the id in socially acceptable ways. The superego embodies a perfect image. It is not difficult to infer that Chiba's superego is also Paprika. In other words, Paprika is the ideal she aspires to become, allowing her to confront her inner self and embody the courage to pursue love.

In the ultimate battle with the black giant Chairman, Chiba, and Paprika enter the body of the Tokita robot, and a baby stands up inside Tokita's mechanical body. The little girl inhales the black giant Chairman as well as his illusionary world, which metaphorizes Chiba finally accepting herself, symbolizing the fusion of Paprika and Chiba as two markedly different facets of the same person. In psychology, there is a concept known as "integration," wherein an individual's fragmented self and scarred past are reassembled through therapeutic means [6]. This process allows the individual to resolve internal conflicts, breakthrough inherent limitations, and emerge anew as a complete and fulfilled individual. At this moment, the merging of Paprika and Chiba, resulting in the birth of a new being, signifies the outcome of self-integration and the continuous growth of a whole and matured self, which is endowed with immense strength to overcome all darkness through the process of resolving inner conflicts and transcending limitations. She is both Chiba Atsuko and possesses the cheerful nature of Paprika, a fusion of the id, ego, and superego, which implies an evolution of her personality or a rebirth. The new Chiba Atsuko defeats the aggregation of evilness, the black giant Chairman, and she confesses her love and steps into the realm of marriage together with her beloved.

2.2.Recurring Dreams, Mirror Stages and Integration

Officer Konakawa is the protagonist of a subplot in the film, and he is the other character besides Paprika in this film who experiences personality disorder and then achieves integration via self-atonement and acceptance. As a child, Konakawa dreamed of becoming a movie director with his best friend, but he gave up due to a lack of confidence and his friend's untimely death. Accompanied by a strong sense of failure in tracking down the fugitive, as an officer in the real world, Konakawa embraces guilt towards his best friend, and his passion for the movie cannot be reconciled with himself This trauma manifests in his dreams as split personalities—a detective and a fugitive—symbolizing his internal conflict. Still, Konakawa finds himself in various movie scenes, either fleeing or chasing someone, claiming to be pursuing the perpetrator of a recent shooting. Moreover, his status of personalistic disassociation is presented in the scenes where he discovers that those roles he acts out in dreams—police officer, the culprit, and even the victim—are all himself.

Konakawa's nightmare of recurring dreams aligns with Lacan's idea of the mirror stage, where one, specifically occurring between six and eighteen months of age, can confuse reality with imagination [7]. Besides Freud's theory regarding egos, Lacan's mirror stage adds a specific developmental moment when the ego forms through the infant's identification with their mirror image. This stage introduces the idea of the ego being founded on an external image, highlighting a fundamental misrecognition and the role of the Other in self-identity. Throughout the film, Konakawa continues to find out that the fugitive he always chasing has the same face as himself, indicating a status of confusion between the ego and the other. According to Lacan, Konakawa, like an infant with an immature and fragmented self-identity, believes that the other is the ego. In the film's conclusion, Konakawa achieves redemption by facing his nightmare and defeating Osanai, the other ringleader, which represents his reconciliation with his mirror image, overcoming the shadow of his past failures. He saves Paprika and decides to carry on his deceased friend's will, blending his passion for filmmaking with his role as a police officer. To conclude, Konakawa's journey illustrates the integration of his fragmented self through acceptance and resolution of inner conflicts, ultimately establishing a coherent self-identity.

2.3.Arrogance, Peril of Unchecked Desires, and Failure of Integration

While Konakawa and Chiba Atsuko epitomize the virtues of goodness, the Chairman symbolizes evil and destruction for his relentless pursuit of control over dreams, reflecting a misguided notion of enlightenment. Throughout the narrative, the Chairman's dream appearances consistently depict him as a towering tree-like figure, for all his body or feet. The Greeks suggested that the mighty oak, for its size, strength, and longevity, is a symbol of the strength and power associated with Zeus, the head of the Greek pantheon [8]. This imagery is reflected in scenes where the Chairman transforms into a formidable black giant, proclaiming his intention to "heal all deficiencies" and assert his dominance over the cosmos--"Now, to make the cosmos complete, I shall heal all deficiencies." Another scene is when Paprika is trapped by Osanai and the Chairman in their dreams, and the Chairman has a profound self-disclosure: "I will not allow the arrogant scientific technology to intrude in this holy ground. The dreams are horrified that their safe refuge is destroyed by technology. In a world of inhumane reality, it is the only humane sanctuary left. That is a dream. That parade is full of refugees who were unwillingly chased out of reality." As such, the ethics and values of the Chairman become apparent. He considers himself a sacred redeemer, aiming to address the issues of marginalized populations.

In addition, for the Chairman, dreams themselves represent an all-powerful and tangible realm of desires capable of liberating humanity entirely, relating to his words: "The spirit will be freed from the constraints of the body and gain limitless freedom. Including me." In the final crisis where the Chairman, using the DC mini, gains the whole control of the reality world, Satoshi Kon expands the perspective to various types of people in society. They become alienated ghosts consumed by their long-suppressed desires for revenge. Nonetheless, the widespread pursuit of desires through these illusions threatens to drive society into madness, resulting in chaos and dysfunction, exemplified by the uncanny parade shown up on the city streets. The Chairman's ideal of freedom, presented by his intention to release everyone's inner desire and lust in the endless realm of the dream world, is disputable for echoing Kant's paradox of enlightenment [9]. Kant proposes, "The greater civil freedom puts a limitation on the mind, while a lower degree of civil freedom provides the mind with room for each man to extend himself to full capacity." This statement can be interpreted as suggesting that unrestricted freedom can paradoxically lead to the subjugation of the individual by freedom itself, turning the subject into a slave of desires. The subject might regress into an absolute internal self that cannot accommodate others. Similarly, the Chairman's notion of justice is subjective and rooted in his absolute values, prompting his desire to eliminate Paprika, who represents "the Other" in his worldview. In the face of the beautiful notion of "freedom," he experiences the feeling of power in controlling dreams; desire ultimately triumphs over faith and, thus leads to its consumption and destruction. In this context, the Chairman's vision of freedom is flawed as it ultimately enslaves individuals to their desires, preventing true enlightenment and harmony. This reflects Kant's idea that greater civil freedom limits the mind, while a balanced degree of freedom allows individuals to reach their full potential without succumbing to chaos.

3.Enlightenment and Implication for the Japanese Film Industry

Paprika explores the blurred lines between dreams and reality, connecting it to the impact of virtual reality, the internet, and social media on modern life. The film analyzes how technology alters people's perception of reality and how individuals seek a balance between the virtual and real worlds. This interplay can be examined through Jean Baudrillard's concept of simulacra, where the dream world in Paprika becomes a hyperreality, indistinguishable from the actual world [10]. This blurring challenges the perception of reality, similar to how virtual realities and digital identities function in modern society. Manuel Castells' idea of the network society further emphasizes how individuals navigate and negotiate their identities in these interconnected, virtual spaces [11]. The phenomenon of creating and experiencing different identities in digital spaces, much like the characters in the film exploring their identities in dreams, reflects the era's redefinition of the boundaries between the real and the virtual, raising new questions about identity and mental health.

The psychological transformations and self-discovery journeys of the characters in Paprika can be deeply analyzed using Freudian psychoanalysis, where dreams act as a window into the unconscious mind, revealing hidden fears and desires [4]. This process mirrors real-life psychoanalytic therapy, which aims to bring unconscious conflicts to consciousness. Additionally, Carl Jung's theory of individuation provides a framework for understanding the characters' self-discovery journeys, where confronting and integrating their unconscious fears and desires leads to personal growth and psychological wholeness [12]. By confronting and overcoming fears within their dreams, the characters demonstrate the crucial role of self-exploration and mental health in personal growth.

By illustrating the limitless possibilities of creativity and imagination through dreams, the film connects these themes to the importance of artistic creation and innovation in real life. This artistic expression can be explored through Mihaly Csikszentmihalyi's flow theory, where characters experience deep immersion and heightened creativity within their dream worlds [13]. This state of flow is crucial for artistic creation and innovation, highlighting the importance of fostering creativity in real life. Additionally, Pierre Bourdieu's concept of cultural capital can be used to understand the societal value of imagination and artistic production, demonstrating how Paprika reinforces the significance of cultural and artistic contributions to social progress and development [14]. The film, through its dream sequences, inspires the audience's imagination, reminding them not to overlook the power of dreams and creation while pursuing real-world goals.

The insights gained from analyzing Paprika can extend beyond this single film to offer enlightenment for other Japanese films with similar themes and even the entire Japanese film industry. By exploring the interplay between dreams and reality, mental health, and creativity, Paprika sets a precedent for how films can address complex psychological and societal issues. This approach can inspire filmmakers to delve deeper into these themes, promoting a more profound and reflective cinematic experience. The application of psychoanalytic theories and the emphasis on creativity can guide filmmakers in crafting narratives that resonate on both an intellectual and emotional level. Furthermore, the success of Paprika in blending rich visual effects with deep thematic content demonstrates the potential for Japanese cinema to innovate and influence global film trends.

Other works by Kon Satoshi, such as Perfect Blue, Millennium Actress, and Tokyo Godfathers, share thematic similarities with Paprika. Perfect Blue deals with the breakdown of reality and identity under the pressures of fame and media, while Millennium Actress blends reality and fantasy to explore memory and identity. Tokyo Godfathers, though more grounded, similarly delves into the characters' psychological struggles and self-discovery journeys. These films, like Paprika, challenge viewers to question the nature of reality and explore the depths of the human psyche. In addition to Kon's works, Hayao Miyazaki's Spirited Away explores similar themes of imagination and self-discovery. Spirited Away takes the protagonist, Chihiro, through a fantastical journey where she confronts her fears and grows, much like the characters in Paprika do within their dream worlds. Miyazaki's films are renowned for their rich fantasy elements and educational themes, often imparting moral lessons and highlighting the importance of environmental stewardship, bravery, and personal growth. The imaginative and transformative experiences in both Spirited Away and Paprika underscore the power of dreams and creativity in shaping the understanding of individuals and the world around them.

The significant contributions of directors like Hayao Miyazaki to the field of animation and film are well-documented. His innovative use of fantasy to convey profound messages has set a high standard within the industry. Similarly, Satoshi Kon's ability to blend surrealism with deep psychological and societal themes further exemplifies the potential of animation as a medium for sophisticated storytelling. The continued emergence of directors with such visionary approaches is essential for the advancement of the cinematic arts. Therefore, it is imperative to recognize and support filmmakers who, like Miyazaki and Kon, push the boundaries of animation and narrative complexity, thereby enriching the cultural and artistic landscape.

4.Conclusion

In conclusion, Paprika stands as a profound cinematic exploration of dreams and reality, intricately woven with psychoanalytic theories, particularly those of Freud. Through the complex character arcs of Chiba Atsuko and her alter ego Paprika, Officer Konakawa, and the Chairman, the film illustrates the multifaceted nature of the human psyche. Chiba's integration of her fragmented identities symbolizes the therapeutic process of reconciling different parts of the self, leading to personal growth and wholeness. Konakawa's narrative, framed within Lacan's mirror stage theory, further emphasizes the journey toward self-acceptance and the resolution of inner conflicts. In stark contrast, the Chairman's inability to attain integration and his descent into the enjoyment of the sense of control of dreams and illusion towards freedom serves as a cautionary tale, highlighting the dangers of unrestrained desire and the deceptive allure of freedom devoid of ethical constraints.

The film's thematic depth extends beyond individual psychology to address contemporary issues such as the impact of technology on the perception of reality, the importance of mental health, and the role of creativity in personal and societal development. By blending rich visual storytelling with deep psychological insights, Paprika not only challenges viewers to reflect on their own identities but also sets a precedent for how films can engage with complex psychological and societal themes. This analysis of Paprika offers valuable insights for the broader field of Japanese cinema, encouraging filmmakers to explore similar themes and continue pushing the boundaries of narrative complexity and visual innovation.