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Alexander Escobar

Professor Granillo

English 103

11/05/19

Psychoanalysis: Without the lights

Is there a time in someone’s life when they are believed to be innocent, naive, and or

pure? All those definitions are subjective, but one can agree that at some point in one’s life, life

can suggest simplicity. Elliot Moss's music video, "Without the Lights," signifies turmoil within

a toxic relationship, but the video can also explain the unconscious process and freedom from

repression and other defense mechanisms one may go through when resolving psychological

trauma. Freudian psychoanalysis could be the lens to look through to break down Elliot moss,

and the lead male and female characters struggle between the id, ego, and superego. Thus, the

music videos representation of their efforts reaches out to almost any audience that can relate to

trauma and how it can tie to psychological destruction or resolve. This format of cinematography

should be more prevalent in music videos to advocate emotional awareness and communication

between people and their mental health as well as the effects of toxic relationships.

Now we may move into the Music video itself. Without the lights explores a semiotic

situation that consist of a girl in a clean beige dress alone in the woods who looks at herself in

the mirror (00:00:08). She is then attacked by a man who appears in her mirror and disappears

when she turns around (00:00:25). He then reappears and smothers her with black sludge and

taints her dress and face (00:00:53). At this moment, the video transitions and dives into her

unconscious (00:01:33). She kicks and swings her arms wildly and he then chokes her until she

can’t move (00:02:09). They resume their battle after some time where she finally breaks lose
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(00:02:24). We then see the character in a different setting, a lonely room, with blue jeans and a

shirt being tossed on a bed while her assailant climbs on top of her to use her for sexual

gratification (00:02:58) She touches his hand one last time making the audience question if she’ll

subjectify herself back into that fiasco (00:03:30). She refutes his hand and tears the space apart,

seeing herself alone again but instead, tainted, with his presence still lurking behind her affecting

her forever by the experience (00:03:30).

Additionally, some psychoanalytical terms can help decipher the possible meaning of this

music video. Repression, as stated by Sigmund Freud “the essence of repression lies simply in

the function of rejecting and keeping something out of consciousness” (Erdelyi, 500).

Psychoanalytic theory established by Sigmund Freud or classical psychoanalysis is meant to help

individuals find psychological resolve (Tyson, 12) The unconscious is the desires, motives, fears,

needs, and conflict in which one is unaware of (Tyson 12) Also, The id, ego, and super ego

concepts were also developed by Sigmund Freud and consist of these definitions “the psyche’s

three systems—the id, ego, and superego—are characterized by distinct roles and varying levels

of consciousness.” (Segrist 51). The super ego makes one think thoroughly and holds the id at

bay (Segrist 51). The ego is the most conscious out the three and determines what decision will

be made after reviewing information from the id and superego (Segrist 51). Lastly, the Id is the

unconscious desires and motives always attempting to dictate your decisions as mentioned

(Segrist 51). Trauma, as described by Tyson, refers to a painful experience that scars an

individual and their psyche (Tyson 21).

As the video progresses, the character seems to appeal to audiences who can relate to the

characters emotional and physical circumstances. The pathos or emotional approach Elliot moss

and his film team used to highlight the situation and emotions involved was a great way to
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illustrate repression and the unconscious. Some viewers believe her to be trapped in her

subconscious while the song spotlights her psychological resolve at the end of the video.

Although no one may completely rid themselves from their trauma, being content and free from

it is still the best option. She is free from her repression but more so content and accepting of the

traumatic experience which in turn will lead her to move forward from this experience. This is

how the video relates to the audiences that have come from similar backgrounds and allowed

their ego to take control leading them into a positive path rather than the temptations of the id

that could be damaging.

Furthermore, this video advocates the use of psychoanalysis from the choreography it

used. It puts an emphasis on the characters Active reversal, which is when someone works

through repressed emotions (Tyson, 14). At the end of the choreographed segment, the music

video explores the importance of active rehearsal in therapeutic practice; Quote “The importance

of reflective awareness for clinical practice is generally well recognized across a variety of

therapeutic approaches” (Simon, 2). If it is recognized among therapeutic professionals as a large

part of the healing process for a client, then it must hold some credibility and merit. The lead

female and the lead male in black sludge perform a choreographed set that shows the bondage

and constant battle between the two. The female lead character is first surprised by her

attachment to the man in black sludge and attempts to push him away. Some may say this

signified the moment her mind developed a defense mechanism known as fear of intimacy or the

act of being emotionally distant to prevent one from being emotionally hurt (Tyson, 16). They

have multiple pockets that make separation efforts nearly futile. She releases herself from him

and embraces a light above her. This is then followed with a numbed facial expression on her

face as the lyrics in the music video say “She waltzed her way into the sea, baby take me with
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you please” signifying her departure. The music video advocates the therapeutic process of

active rehearsal and how it was imperative to her psychological resolve according to the

psychoanalysis lens.

Also, a main reason why a video such as this should be revealed to audiences more often

is because it tells the perspective of both parties involved and affected by this toxic relationship.

The lead male character aligns with the lyrics, that Elliot Moss himself is singing, thus telling his

own version of the story audiences have become familiar with. Elliot begins the song with these

lyrics “Oooh, call off the dogs, we found her in the woods, that girl never stood a chance, after

that dark, dance with the waves” indicating his intentions (00:00:01). Metaphorically speaking

the lyrics indicate a search for a partner that was so severe it involved a search party and dogs

and or the longing for attachment. Through psycho analysis, Elliot moss displays several types of

defense mechanisms that have not been mentioned yet. The first that comes to mind, based off

the lyrics mentioned, is the oedipal fixation which is the abnormal attachment one has with a

parent of the opposite sex that was never outgrown and leads a person to have abnormal or no

relationships with others (Tyson 16). In this case Elliot appears aggressive and possessive to his

newfound victim. He acknowledges the abnormal relationship and seems to be excited by this

discovery as if his intentions were premeditated. This gives the audience a glimpse of his

unconscious motives prior to the toxic events to come. We also see a possible self-representation

of Elliot Moss through the choice of the lead male characters appearance. He never had a chance

to create a sustainable relationship due to this defense mechanism.

Then, the lyrics and music video move on to Elliot moss stating, “I don't know what I'd

do if you leave, she waltzed her way into the sea, baby take me with you please, I don’t know

what I’d do if you leave” (00:01:37). This signifies fear of abandonment which is another
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defense mechanism within the unconscious that makes one feel they will surely be abandoned by

those closest to them or loved ones (Tyson 16). As these lyrics are spewed to the audience, the

video itself has the lead male character still attempting to smother the female lead character. This

can give us insight on Elliot’s efforts to keep this person in arms reach and resume the toxic

relationship. Elliot would rather they destroy each other than to see this person leave. Elliot moss

has let his Id take complete control over his unconscious and has no regard for the damage

inflicted to both parties. This claim can be made based off his statement made about the song

“This song, for me, is about being confronted with a reality wherein we are forced to see our

circumstances for what they truly are.” (Myles 1). Psychoanalysis would help determine if

repression is the culprit for Elliot’s existent defense mechanisms that make him a potential

predator and victim. This allows the audience to consider multiple aspects and participants

involved in a toxic relationship including the involvement of the id.

Moving forward, the video puts an emphasis on mental health using the lead male

character. Some say the male in black sludge solely represents Elliot moss or another male

presence that is destructive by nature. The lyrics may also highlight Elliot’s own interpretation of

his own id but may not resemble or relate to the other male character that appears later in the

video. But the lead male figure can also be interpreted as the female characters own id too. The

female lead constantly investigates her mirror throughout the video which indicates another form

of a possible defense mechanism known as the insecure sense of self. The insecure sense of self

defense mechanism consists of an individual who has trouble with their personal identity and can

be easily influenced by others in the group. This leaves the man in black sludge having multiple

purposes for multiple parties. He is not his own identity but more of an idea that glues the people

involved in this song and video together.

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Lastly, the video touches upon another form of toxic relationships. It touches on abuse.

Videos like this should be made more often because it brings up an uncomfortable topic and

exposes the psychological trauma that comes with it. We are faced with a literal example of a

sexually abusive man who uses the lead female character for sexual gratification. We know this

because of his aggressive actions, such as pushing her on the bed before greeting her, and her

numb expression when he climbs on top of her (00:03:31). Through Freudian psychoanalysis we

can interpret his character through psychosexual analysis; the aggressor clearly has high libido,

or sexual energy, and clearly lets his id lead his actions with no visible influence from his super

ego (Tyson 24). He also may suffer from castration anxiety, the fear of one losing their penis,

which may lead to sexually aggressive behavior (Tyson 25). Overall the aggressive male can use

the lead male in black sludge as an interpretation of possibly his own temptations and desires that

are overwhelming, smothering, and toxic to the female lead. This adds to the videos depth and

hopefully sends a message to the abused to face their repression and speak out on their

conditions and a message to the abusers who hopefully understand how toxic their actions can be

to their victims.

In summation, Videos like Without the Lights do not happen often enough. It is through

facing uncomfortable scenarios that our society will progress. This video gives us an intended

message about the story of a toxic relationship and the unconscious battle in the female victim’s

mind (Silverman, Rader 253). But the music video also gave us many unintended messages

regarding Elliot Mosses involvement, the many interpretations of the lead male and female

characters, and the assailant (Silverman, Rader 253) Some critics give no credit to Freudian

psychoanalytic theories due to the lack of scientific evidence. But the theories do hold weight

being that many aspects of Freudian theories can be a part of the interpretation of this video.
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Most audiences relate or understand trauma which is why videos like Without the Lights should

be exported religiously to mass populations to bring awareness to the effects of toxic

relationships, abuse, trauma, and psychological resolve. Most give very little thought to how

vital the human mind is, even though the human mind is what has produced the world we know

to exist today. This video is the first step towards advocating emotional awareness and this is

how societies can finally begin to shed light to the silent wars that happen behind closed doors.
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Works Cited

Tyson, Lois. “Psychoanalytic Critism” Critical Theory Today: A User-Friendly Guide 2015: 11-

50. Print.

Boag, Simon. “Reflective Awareness, Repression, and the Cognitive Unconscious.”

Psychoanalytic Psychology, Oct. 2019. 1, EBSCOhost, doi:10.1037/pap0000276.

Crews, Frederick. “What Erdelyi Has Repressed.” Behavioral and Brain Sciences, vol.

29, no. 5, Oct. 2006, pp. 516–517. EBSCOhost, doi:10.1017/S0140525X06269115.

Segrist, Dan J. “What’s Going on in Your Professor’s Head? Demonstrating the Id, Ego,

and Superego.” Teaching of Psychology, vol. 36, no. 1, Jan. 2009, pp. 51–54.

EBSCOhost, doi:10.1080/00986280802529285.

Myles, Alex, and Yoli Ramazzina. “Chilling Dance Shows the Damage of Toxic Relationships.

{Video}.” Elephant Journal, Elephant Journal, 18 Nov. 2016,

https://www.elephantjournal.com/2016/11/chilling-dance-shows-the-damage-of-toxic-

relationships-video/.

Moss, Elliot, Chbeeb, Phillip, “Without the Lights”, Boomerang, Oct. 28th 2016,

00:00:00 – 00:04:15, Music video online media

Silverman, Jonothan, Rader, dean, “Reading and writing about television”, The world is a text:

Writing about visual and popular culture, 2018: 243-264. Print