|
|
|
xiii | |
| Foreword |
|
xv | |
|
|
| Preface and acknowledgements |
|
xvii | |
|
|
|
1 | (76) |
|
1 Introduction: modernity, fragmentation and film |
|
|
3 | (9) |
|
|
|
3 | (3) |
|
|
|
6 | (2) |
|
Writing about film; talking with filmmakers |
|
|
8 | (3) |
|
|
|
11 | (1) |
|
2 The face and film: the surface and what's beneath |
|
|
12 | (20) |
|
|
|
12 | (5) |
|
The therapist's perspective |
|
|
17 | (2) |
|
Daniel Stern and the mother's face |
|
|
19 | (2) |
|
The idea of the face as the surface and the hidden |
|
|
21 | (2) |
|
The value of the face as surface |
|
|
23 | (3) |
|
The actor: textures and layers (interview with Margaret Klenck) |
|
|
25 | (1) |
|
Becoming the character: `The more you can be surprised by your imagination, the truer the art is' |
|
|
26 | (1) |
|
`I would have been a better actor had I been in analysis' |
|
|
27 | (1) |
|
The material world and acting: `You endow all the props and they feed you and endow your unconscious' |
|
|
27 | (1) |
|
Blinded by the light: `When you are in the light, you are in your own world' |
|
|
28 | (1) |
|
Aware and not aware: I knew I was going to do it, but "she", my character, had no idea' |
|
|
29 | (1) |
|
`Acting - it's not like life. It's got all the interesting stuff about life without any of the boring stuff about life...' |
|
|
30 | (2) |
|
|
|
32 | (15) |
|
Film and its gaps - emptiness as shadow to substance |
|
|
32 | (1) |
|
The Red Book - Jung's encounter with the shadow of the civilised |
|
|
33 | (2) |
|
`Bewitched by the banal': pulp fiction, cinema and Jung's epiphany |
|
|
35 | (2) |
|
Shadow and motions - why do we cry at the movies more than at life? |
|
|
37 | (1) |
|
Shadow and society - gangsters, vampires and violence |
|
|
38 | (6) |
|
The shadow of death and the new vampire |
|
|
44 | (3) |
|
4 Cinema, Jung and the American psyche: how Europe got to know the mind of America through the movies |
|
|
47 | (30) |
|
|
|
47 | (2) |
|
Seeing America through the cinema |
|
|
49 | (1) |
|
The impossibility of a national psychology |
|
|
50 | (4) |
|
Plurality in the psyche, plurality in the culture |
|
|
54 | (3) |
|
Hollywood and the black actor |
|
|
57 | (1) |
|
The heroic ideal, the American male and the Western |
|
|
58 | (5) |
|
How did America face itself? |
|
|
63 | (4) |
|
|
|
67 | (4) |
|
The cinematographer: a dance they don't know I'm a partner in (interview with Tom Hurwitz) |
|
|
70 | (1) |
|
The logic and the intuition of shooting: `Our job is trying to set a trap for chance' |
|
|
71 | (1) |
|
The logic and intuition of cameras and lighting: `Beyond all the technical decisions you have made, you've just got to see it as image' |
|
|
72 | (2) |
|
Collaborating in the intuitive space: `We do a kind of intuitive dance all the time' |
|
|
74 | (1) |
|
`It's this odd combination of being relaxed and being absolutely tense at the same time' |
|
|
75 | (2) |
|
|
|
77 | (66) |
|
5 What makes movies work: unconscious process and the filmmaker's craft |
|
|
79 | (26) |
|
Structure and enabling the unconscious |
|
|
79 | (5) |
|
What do we mean by `unconscious factors and processes'? |
|
|
84 | (2) |
|
Personal psychology, collective creativity |
|
|
86 | (2) |
|
The mechanics of filming and the knowing unconscious: Michael Chapman, cinematographer |
|
|
88 | (2) |
|
`Writing with light': Vittorio Storaro and amplifying the image |
|
|
90 | (3) |
|
Last reel: a place of safety |
|
|
93 | (3) |
|
The writer/director: show me the opposite (interview with Dudi Appleton) |
|
|
95 | (1) |
|
On writing for film: `The thrust of the story - not the cause and effect episodic narrative, but more the tempulse of it' |
|
|
96 | (1) |
|
Asking the opposite question: `The audience want their expectations to be broken' |
|
|
97 | (1) |
|
The missing scene: `Taking a little bit out of the jigsaw' |
|
|
98 | (1) |
|
Getting the right idea: `Ideas appear because of the constraints that are put on you ... It's very difficult for ego not to be at the wheel' |
|
|
99 | (1) |
|
`What do you want, brick?': Change one small character element and the whole story changes |
|
|
100 | (1) |
|
Adapting books for the screen: `It's no accident that film is so psychological because film is the closest thing to your dreams' |
|
|
101 | (1) |
|
On directing film: `A poor faded image of what was in your head' |
|
|
102 | (1) |
|
`As a director you have two elements that you are there to do on set. The two things are completely contradictory: story and character' |
|
|
103 | (2) |
|
6 `Based on real events': narratives of fact and fiction in film |
|
|
105 | (19) |
|
`Does anything exist for the psyche that we are entitled to call illusion?' |
|
|
105 | (6) |
|
Narratives in the screenplay, on screen and within us |
|
|
111 | (2) |
|
The case example: David Cronenburg's A Dangerous Method (2012) |
|
|
113 | (5) |
|
The film editor: each moment needs to be absolutely true (interview with Jonathan Morris) |
|
|
118 | (1) |
|
|
|
118 | (1) |
|
Editing for Ken Loach: `We are always cutting; nothing is ever really finished' |
|
|
119 | (1) |
|
Cutting for dialogue: `What does the audience want to see?' |
|
|
120 | (1) |
|
Speed, dissolves and the cinematographer |
|
|
121 | (1) |
|
What's gained and what's lost when you work with the same team all the time? |
|
|
121 | (1) |
|
Ken, casting and the reality of actors |
|
|
122 | (1) |
|
Surprising the actor - even when it doesn't work, it works: `He's very tricky in that way and no one knows where it's going' |
|
|
123 | (1) |
|
7 Changing your story: narrative, time and meaning in the movies |
|
|
124 | (19) |
|
The screenplay and our need for story |
|
|
124 | (3) |
|
Ricoeur, narrative, time and the hero |
|
|
127 | (6) |
|
|
|
133 | (4) |
|
The alchemy of Pulp Fiction |
|
|
137 | (2) |
|
|
|
139 | (4) |
|
PART III Projecting movies |
|
|
143 | (43) |
|
The director/writer: out of the not-knowing, something forms (interview with Paul Morrison) |
|
|
145 | (1) |
|
Two sorts of stories: `Searching inside rather than researching outside' |
|
|
146 | (1) |
|
Joy in creativity: `I am still fighting to allow space for something that you don't know in advance - for the unexpected to happen' |
|
|
147 | (1) |
|
Casting - finding the right person to inhabit your character: `A little off-centred and at the same time, a vulnerability' |
|
|
147 | (1) |
|
Being the writer: `The story demands to be told in a certain way, and you get to a point where you're not running it any more' |
|
|
148 | (2) |
|
An actor's director: `In a way I had my training as a therapist from making documentaries' |
|
|
150 | (1) |
|
The transcendent moment on set and on screen: `Towards the end of the shoot - everyone was exhausted - and there was something else going on that was bigger than us' |
|
|
151 | (2) |
|
8 Unusual suspects: movies in the therapist's room |
|
|
153 | (19) |
|
|
|
155 | (1) |
|
The uses of film in therapy |
|
|
156 | (2) |
|
|
|
158 | (1) |
|
Are all films good for therapy, or are some films more equal than others? |
|
|
159 | (4) |
|
Does it matter who made the image? |
|
|
163 | (1) |
|
|
|
163 | (3) |
|
The production designer: a visual story-teller (interview with Gemma Jackson) |
|
|
165 | (1) |
|
Finding the image: `Getting it down and getting it out of you' |
|
|
166 | (1) |
|
Creating the world of the film: `You just have to... Kind of Zen yourself into the world that they are in and have your own response to it' |
|
|
167 | (1) |
|
Working together: `All these people making all these things you've imagined' |
|
|
168 | (1) |
|
Still working together: `Everyone's got an opinion' |
|
|
169 | (1) |
|
`Stop trying and let things settle... you just find one armchair and that sorts it all out for you' |
|
|
170 | (2) |
|
9 Anima-animus: soul-image and individuation |
|
|
172 | (14) |
|
The archetypes and the anima-animus syzygy |
|
|
173 | (3) |
|
American Graffiti (Lucas, 1972): individuation and anima all in one night |
|
|
176 | (2) |
|
American Beauty (Mendes, 1999): how the anima functions in movies |
|
|
178 | (2) |
|
Field of Dreams (Robinson, 1989): male individuation and the Grail legend analysis |
|
|
180 | (1) |
|
Individuation and gender confrontation: Pleasantville (Ross, 1998) and The Truman Show (Weir, 1998) |
|
|
181 | (3) |
|
Conclusion: balancing psyche |
|
|
184 | (2) |
| Glossary of Jungian terms |
|
186 | (4) |
| Film list and `Watch This' clips |
|
190 | (7) |
| Notes |
|
197 | (6) |
| Bibliography |
|
203 | (6) |
| Index |
|
209 | |
