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