According to Laurence Rickels, author of The Vampire Lectures, and a master of the catchy academic turn of phrase (yes, such a thing does exist),

Of course, neither film nor psychoanalysis attended to this double feature in isolation from one another. Otto Rank, in a 1914 paper, claimed that “the uniqueness of cinematography in visibly portraying psychological events calls our attention, with exaggerated clarity, to the fact that the interesting and meaningful problems of man's relation to himself – and the fateful disturbance of this relation – finds … imaginative representation” (7). And after reading Rank's piece, Freud himself makes mention of Paul Wegener's German doppelgänger film, The Student of Prague (1913), in his seminal 1919 essay, “The ‘Uncanny’.”