The Routledge International Handbook of Jungian Film Studies Edited by Luke Hockley

New Book: The Routledge International Handbook of Jungian Film Studies Edited by Luke Hockley

An essential resource for students and researchers interested in Jungian approaches to film

The Routledge International Handbook of Jungian Film Studies weaves together the various strands of Jungian film theory, revealing a coherent theoretical position underpinning this exciting recent area of research, while also exploring and suggesting new directions for further study.

The book maps the current state of debates within Jungian orientated film studies and sets them within a more expansive academic landscape. Taken as a whole, the collection shows how different Jungian approaches can inform and interact with a broad range of disciplines, including literature, digital media studies, clinical debates and concerns.The book also explores the life of film outside cinema – what is sometimes termed ‘post-cinema’ – offering a series of articles exploring Jungian approaches to cinema and social media, computer games, mobile screens, and on-line communities.

The Routledge International Handbook of Jungian Film Studies represents an essential resource for students and researchers interested in Jungian approaches to film. It will also appeal to those interested in film theory more widely, and in the application of Jung’s ideas to contemporary and popular culture.

“Jungian Film Studies has been energetically pushing open the doors of the academy for years. Now, with this volume, full entry has been achieved. The book is reliable, fascinating and beautifully put together. To Lecturers in Film and Related Subjects: Abandon whatever prejudices you have left and put this one on your assigned reading lists! To Students: If your lecturers do not assign this book as essential reading, make a noise about it because you are missing out on where the action is! The Jungians are not only coming, they are here.” —Professor Andrew Samuels, Department of Psychosocial and Psychoanalytic Studies, University of Essex

“Hockley and his colleagues have essentially resisted the ‘confirmation bias’ of much contemporary film theory in this innovative and insightful collection. Enjoying a rich balance between determining embodied meanings and insinuating wider cultural affect in film, the essays are as valuable for the clinician as the theorist. Repositioning cinema as a font of psychological and emotional questions beyond the imprimatur of Freudian and Lacanian readings, this international collection speaks to the theory, therapy and thought the image has always promised to offer, and in many of these analyses, is here so usefully revealed.” —Professor Paul Wells, Animation Academy, Loughborough University.

Table of Contents:

List of Contributors; Acknowledgements; IntroductionLuke Hockley;

  • 1) A Jungian textual terroir, Catriona Miller; 
  • 2)Dionysus and textuality: Hockley’s somatic cinema for a transdisciplinary film studies, Susan Rowland; 3)Stick to the image? No thanks! Eric Greene; 
  • 4)Archetypal possibilities: meta-representations, a critique of von Franz interpretation of fairy tale genre focusing on Jean Cocteau’s retelling of The Beauty and the Beast, Leslie Gardner; 
  • 5) Human Beans and the flight from otherness: Jungian constructions of gender in filmPhil Goss;
  • 6) It’s alive: The evolving archetypal image and Mary Shelley’s Frankenstein, Elizabeth Nelson;
  • 7) Music in film: Its functions as image, Benjamin Nagari;
  • 8) Psychological images and multimodality in Boyhood and Birdman, Shara Knight;
  • 9) Feminist film criticism: Towards a Jungian approach’, Helena Bassil-Morozow;
  • 10) Teaching Jung in the academy: The representation of comic book heroes on the big screen, Kevin Lu;
  • 11) Horror and the sublime: Psychology, transcendence and the role of terror, Christopher Hauke;
  • 12) Hungry children and starving fathers: auteurist notions of father hunger in American Beauty, Toby Reynolds;
  • 13)Beyond the male hero myth in Clint Eastwood films, Steve Myers;
  • 14) True detective and Jung’s four steps of transformation, Stephen Anthony Farah;
  • 15) Film futuristics: A forecasting methodology, Michael Glock;
  • 16) The Australian lost child complex in adaptation: Kurzel’s Macbeth and Stone’s The daughter, Terrie Waddell;
  • 17)Numinous images of a new ethic: A Jungian eiew of Kieslowski’s The decalogue, Judith R. Cooper and August J. Cwik;
  • 18) The han cultural complex: Embodied experiences of trauma in New Korean Cinema, Amalya Layla Ashman;
  • 19) The outsider protagonist in American film, Glen Slater;
  • 20) Spirited Away and its depiction of Japanese traditional culture, Megumi Yama;
  • 21) Cold comforts: Psychical and cultural schisms in The Bridge and Fortitude, Alec Charles;
  • 22)Cultural hegemonies of forms and representations: Russian fairy tale women and Post-Jungian thought, Nadi Fadina;
  • 23) Feeling film: Time, space and the third image, Luke Hockley;
  • 24)Getting your own pain: A personal account of healing dissociation with help from the film War Horse, Donald E. Kalsched;
  • 25) Healing the holes in time: Film and the art of trauma, Angela Connolly;
  • 26) Discovering the meaning of a film, John Beebe ;
  • 27) Under the skin: Images as the language of the unconscious, Joanna Dovalis and John Izod;
  • 28) Beyond the second screen: Enantiodromia and the running-together of connected viewing, Greg Singh;
  • 29) Anima ludus: Analytical psychology, phenomenology and digital games, Steve Conway;
  • 30) Cinema without a cinema and film without film: the psychogeography of contemporary media consumption, Aaron Balick;
  • 31)Digital media as textual theory: Audiovisual, pictorial and data analyses of Alien and Aliens, Andrew McWhirter;
  • 32A networked imagination: Myth-making in fan fic’s story and soul, Leigh Melander;
  • 33) The unlived lives of cinema: Post-cinematic doubling, imitation and supplementarity, Kelli Fuery