Buch, Englisch, 364 Seiten, Format (B × H): 128 mm x 205 mm, Gewicht: 446 g
Further Post-Jungian Takes on the Moving Image
Buch, Englisch, 364 Seiten, Format (B × H): 128 mm x 205 mm, Gewicht: 446 g
ISBN: 978-0-415-48897-6
Verlag: Taylor & Francis Ltd
As well as chapters dealing with particular film makers such as Maya Derren and films such as Birth, The Piano, The Wrestler and Breaking the Wave, there is also a unique chapter co-written by documentary film-maker Tom Hurvitz and New York Jungian analyst Margaret Klenck. Other areas of discussion include:
- the way in which psychological issues come under scrutiny in many movies
- the various themes that concern Jungian writers on film
- how Jungian ideas on psychological personality types can be applied in fresh ways to analyse a variety of characters.
The book also includes a glossary to help readers with Jungian words and concepts. Jung and Film II is not only a welcome companion to the first volume, it is an important stand- alone work essential for all academics and students of analytical psychology as well as film, media and cultural studies.
Zielgruppe
Postgraduate, Professional, Professional Practice & Development, and Undergraduate
Autoren/Hrsg.
Fachgebiete
- Sozialwissenschaften Psychologie Psychologie / Allgemeines & Theorie Psychologische Theorie, Psychoanalyse Psychoanalyse (C.G. Jung)
- Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
- Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften
Weitere Infos & Material
List of Films. Hauke, Hockley, Introduction. Part I: Image and Psychotherapy. Klenck, Hurwitz, The Decisive Image in Documentary Film, in Jungian Analysis. Hewison, "I Thought He Might Be Better Now": A Clinician’s Reading of Individuation in Breaking The Waves. Zanardo, Love, Loss, Imagination and The Other in Soderbergh’s Solaris. Izod, Dovalis, Birth: Eternal Grieving of the Spotless Mind. Hauke, Soul and Space in No Country for Old Men. Part II: Image and Theory. Fredericksen, Jungian Film Studies: The Corruption of Consciousness and the Nurturing of Psychological Life. Hauke, "Much Begins Amusingly and Leads into the Dark": Jung’s Popular Cinema and the Other. Jacobs, Contrasting Interpretations of Film: Freudian and Jungian. Izod, Individual Interpretations: A Response to Michael Jacobs. Hockley, The Third Image: Depth Psychology and the Cinematic Experience. Rowland, The Nature of Adaptation: Myth and the Feminine Gaze in Ang Lee’s Sense and Sensibility. Singh, Cinephilia: Or, Looking for Meaningfulness in Encounters with Cinema. Miller, Twilight: Discourse Theory and Jung. Bassil-Morozow, Individual and Society in the Films of Tim Burton. Part III: Image, Type and Archetype. Dougherty, The Shadow: Constriction, Transformation and Individuation in Campion’s The Piano. Lennihan, The Dark Feminine in Aronofsky’s The Wrestler. Paganopoulos, The Archetype of Transformation in Maya Derren’s Film Rituals. Palmer, Coppola’s The Conversation: Typology and a Caul to the Soul. Waddell, Navel Gazing: Introversion/Extraversion and Australian Cinema. Beebe, The Wizard of Oz: A Vision of Development in the American Political Psyche.