Most dreams in popular culture are, however, not symbolic, but straightforward and realistic depictions of their dreamer's fears and desires.[29] Dream scenes may be indistinguishable from those set in the dreamer's real world, a narrative device that undermines the dreamer's and the audience's sense of security[29] and allows horror film protagonists, such as those of Carrie (1976), Friday the 13th (1980) or An American Werewolf in London (1981) to be suddenly attacked by dark forces while resting in seemingly safe places.[29] Dreams also play a major role in video games. The Nintendo 3DS game Mario & Luigi: Dream Team follows the adventure of the Mario Bros. traveling through Luigi's dreams.
In speculative fiction, the line between dreams and reality may be blurred even more in the service of the story.[29] Dreams may be psychically invaded or manipulated (Dreamscape, 1984; the Nightmare on Elm Street films, 1984–2010; Inception, 2010) or even come literally true (as in The Lathe of Heaven, 1971). In Ursula K. Le Guin's book, The Lathe of Heaven (1971), the protagonist finds that his "effective" dreams can retroactively change reality. Peter Weir's 1977 Australian film The Last Wave makes a simple and straightforward postulate about the premonitory nature of dreams (from one of his Aboriginal characters) that "... dreams are the shadow of something real". Such stories play to audiences' experiences with their own dreams, which feel as real to them
Freudian view of dreams
In the late 19th century, psychotherapist Sigmund Freud developed a theory that the content of dreams is driven by unconscious wish fulfillment. Freud called dreams the "royal road to the unconscious."[30] He theorized that the content of dreams reflects the dreamer's unconscious mind and specifically that dream content is shaped by unconscious wish fulfillment. He argued that important unconscious desires often relate to early childhood memories and experiences. Freud's theory describes dreams as having both manifest and latent content. Latent content relates to deep unconscious wishes or fantasies while manifest content is superficial and meaningless. Manifest content often masks or obscures latent content.
Freud's early work argued that the vast majority of latent dream content is sexual in nature, but he later shied away from this categorical position. In Beyond the Pleasure Principle he considered how trauma or aggression could influence dream content. He also discussed supernatural origins in Dreams and Occultism, a lecture published in New Introductory Lectures on Psychoanalysis.[31]
Jungian and other views of dreams
Carl Jung rejected many of Freud's theories. Jung expanded on Freud's idea that dream content relates to the dreamer's unconscious desires. He described dreams as messages to the dreamer and argued that dreamers should pay attention for their own good. He came to believe that dreams present the dreamer with revelations that can uncover and help to resolve emotional or religious problems and fears.[32]
Jung wrote that recurring dreams show up repeatedly to demand attention, suggesting that the dreamer is neglecting an issue related to the dream. He believed that many of the symbols or images from these dreams return with each dream. Jung believed that memories formed throughout the day also play a role in dreaming. These memories leave impressions for the unconscious to deal with when the ego is at rest. The unconscious mind re-enacts these glimpses of the past in the form of a dream. Jung called this a day residue.[33] Jung also argued that dreaming is not a purely individual concern, that all dreams are part of "one great web of psychological factors."
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