Table Of ContentJung & Film
Jungian film studies is a fast-growing discipline, but this is the first
book to bring together the best new writing from both sides of the Atlantic.
The essays represent both clinical and academic perspectives, forming
an essential bridge between analytical psychology as therapy and Jungian
studies as a way of understanding the world. Scholarly thinking and
analytic insight come together in focussing on the place of movies in
our psychological development – both through seminal films such as
2001: A Space Odyssey, Blade Runner, Pulp Fiction, and other important
movies which exemplify key concepts in gender and typology. The post-
Jungian perspective may be summarized as a truly psychological
involvement with the imagery and narratives of movies which, through
exploration of the emotional relationship between the unconscious and
the image on the screen, offers a transformative experience for the
audience. Christopher Hauke and Ian Alister have brought together an
outstanding array of contributors from Jungian analytic practice and from
the field of Film, Media and Cultural Studies.
Christopher Hauke is lecturer in Psychoanalytic Studies at Goldsmiths
College, University of London, and an IAAP Jungian Analyst in private
practice in Kent. He has recently published Jung and the Postmodern:
The Interpretation of Realities(Routledge, 2000).
Ian Alister is a professional member of the Society of Analytical
Psychology (SAP), in full-time private practice in Cambridge. He is
currently involved in the analytic training and teaching of supervision at
the SAP, London.
Ian Alister and Christopher Hauke are co-editors and contributors to
Contemporary Jungian Analysis: Post-Jungian Perspectives from the
Society of Analytical Psychology(Routledge, l998).
Jung & Film
Post-Jungian takes on the
moving image
Christopher Hauke and
Ian Alister
Published 2001 by Routledge
27 Church Road, Hove, East Sussex BN3 2FA
Simultaneously published in the USA and Canada
by Taylor & Francis Inc
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2001 Christopher Hauke and Ian Alister
Typeset in Times by Keystroke, Jacaranda Lodge, Wolverhampton
Cover design by Terry Foley
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Hauke, Christopher, 1953–
Jung & film : post Jungian takes on the moving image / Christopher
Hauke and Ian Alister.
p. cm.
Includes bibliographical references and index.
ISBN 1–58391–132–4 — ISBN 1–58391–133–2 (pbk.)
1.Motion pictures—Psychological aspects. 2. Jung, C. G. (Carl Gustav), 1875–1961.
I.Title: Jung and film. II. Alister, Ian, 1951– III. Title.
PN1995 .H394 2001
791.43′01′9—dc21 2001025532
ISBN 13: 978-1-58391-132-7 (hbk)
ISBN 13: 978-1-58391-133-4 (pbk)
Contents
List of films vii
Notes on contributors xi
Acknowledgments xv
Introduction 1
CHRISTOPHER HAUKE AND IAN ALISTER
PART I
A Jungian perspective 15
1 Jung/sign/symbol/film 17
DON FREDERICKSEN
2 The alchemy of Pulp Fiction 56
LYDIA LENNIHAN
3 Image in motion 70
PAT BERRY
PART II
Four films and a director 81
4 The Grail quest and Field of Dreams 83
JOHN HOLLWITZ
vi Contents
5 Dark City 95
JANE RYAN
6 “If you could see what I’ve seen with your eyes...”:
Post-human psychology and Blade Runner 110
DON WILLIAMS
7 2001: A Space Odyssey: A classical reading 129
JOHN IZOD
8 “Let’s go back to finding out who we are”: Men,
Unheimlichand returning home in the films of
Steven Spielberg 151
CHRISTOPHER HAUKE
PART III
Studies in genres and gender 175
9 Film noir: archetypes or stereotypes? 177
LUKE HOCKLEY
10 Love-life: using films in the interpretation of gender
within analysis 194
MARY DOUGHERTY
11 The anima in film 208
JOHN BEEBE
12 “Gay sensibility,” the hermaphrodite, and Pedro
Almodóvar’s films 226
JAMES WYLY
Glossary 243
Index 247
Complete list of films
All About My Mother (Almodóvar, 1999)
American History X (McKenna, 1998)
Angels with Dirty Faces (Curtiz, 1938)
Any Given Sunday (Store, 1999)
Apocalypse Now (Coppola, 1979)
L’Avventura (Antonioni, 1960)
Bambi (Disney, 1942)
Basic Instinct (Verhoeven, 1992)
Batman (Burton, 1989)
Being John Malkovich (Jonze, 1999)
The Big Sleep (Hawks, 1946)
Blade Runner (Scott, 1982)
The Blair Witch Project (Myrick and Sanchez, 1999)
The Blue Angel (von Sternberg, 1930)
Blue Velvet (Lynch, 1986)
Boys Don’t Cry (Pierce, 1999)
Breaking the Waves (Von Trier, 1996)
Broadcast News (Brooks, 1987)
Cat People (Tourneur, 1942)
Cider House Rules (Hallstrom, 1999)
Citizen Kane (Welles, 1941)
A Clockwork Orange (Kubrick, 1968)
Close Encounters of the Third Kind (Spielberg, 1977)
The Color Purple (Spielberg, 1985)
Crossfire (Dmytryk, 1947)
The Crying Game (Jordan, 1992)
)
viii Complete list of films
Dark City (Proyas, 1998)
Dark Habits (Almodóvar, 1984)
The Deer Hunter (Cimino, 1978)
Dick Tracy (Beatty, 1990)
Disclosure (Levinson, 1994)
Double Indemnity (Wilder, 1944)
Duel (Spielberg, 1971)
81⁄ (Fellini, 1963)
2
The Elephant Man (Lynch, 1980)
Empire of the Sun (Spielberg, 1987)
Eraserhead (Lynch, 1976)
E.T. – The Extra-Terrestrial (Spielberg, 1982)
The Exorcist (Friedkin, 1973)
Eyes Wide Shut (Kubrick, 2000)
Falling Down (Schumacher, 1992)
Farewell My Lovely (Dmytryk, 1944)
Farribique (Rouquier, 1946)
Field of Dreams (Robinson, 1989)
The Flower of My Secret (Almodóvar, 1996)
Forest of Bliss (Gardner, 1985)
Ginger and Fred (Fellini, 1986)
The Godfather (Coppola, 1971)
The Great Ecstasy of the Sculptor Steiner (Herzog, 1973)
The Great Train Robbery (Porter, 1903)
Hamlet (Almereyda, 2000)
Heart of Glass (Herzog, 1976)
High Heels (Almodóvar, 1991)
Hook (Spielberg, 1991)
How to Marry a Millionaire (Negulesco, 1953)
Ikiru (Kurosawa, 1952)
In a Lonely Place (Ray, 1950)
Indiana Jones trilogy (Spielberg, 1981, 1984, 1989)
The Insider (Mann, 1999)
Jaws (Spielberg, 1975)
Juliet of the Spirits (Fellini, 1965)
Complete list of films ix
Jurassic Park (Spielberg, 1993)
Kika (Almodóvar, 1993)
LA Confidential (Hanson, 1997)
Labyrinth of Passion (Almodóvar, 1982)
Laura (Preminger, 1944)
Law of Desire (Almodóvar, 1987)
Live Flesh (Almodóvar, 1997)
The Maltese Falcon (Huston, 1941)
Mask (Bogdanovich, 1985)
Matador (Almodóvar, 1986)
Matrix (Wachowski, 1999)
Mean Streets (Scorsese, 1973)
Mildred Pierce (Curtiz, 1945)
My Own Private Idaho (Van Sant, 1991)
1941 (Speilberg, 1979)
Ninotchka (Lubitsch, 1939)
Notorious (Hitchcock, 1946)
Old Yeller (Stevenson, 1957)
The Paradine Case (Hitchcock, 1948)
Pepi, Luci, Bom... (Almodóvar, 1980)
Persona (Bergman, 1966)
The Piano (Campion, 1993)
Pretty Woman (Marshall, 1990)
The Prince and the Showgirl (Olivier, 1957)
Pulp Fiction (Tarantino, 1994)
Raiders of the Lost Ark (Spielberg, 1981)
Reservoir Dogs (Tarantino, 1992)
Roman Holiday (Wyler, 1953)
Saving Private Ryan (Spielberg, 1998)
Schindler’s List (Spielberg, 1993)
Song of Ceylon (Wright, 1935)
Stalker (Tarkovsky, 1979)
x Complete list of films
A Star is Born (Cukor, 1954)
Star Wars (Lucas, 1977)
The Straight Story (Lynch, 1999)
Sugarland Express (Spielberg, 1974)
Summer of Sam (Lee, 1998)
Superman (Donner, 1978)
Tender Mercies (Beresford, 1982)
The Terminator (Cameron, 1984)
Thelma and Louise (Scott, 1991)
Tie Me Up! Tie Me Down! (Almodóvar, 1990)
Timecode (Figgis, 2000)
Trainspotting (Boyle, 1996)
Trip to the Moon (Melies, 1902)
The Truman Show (Weir, 1998)
2001: A Space Odyssey (Kubrick, 1968)
Vertigo (Hitchcock, 1958)
Walkabout (Roeg, 1970)
What Have I Done to Deserve This? (Almodóvar, 1985)
Whistle Down the Wind (Forbes, 1961)
The Woman in the Window (Lang, 1944)
Women on the Verge of a Nervous Breakdown (Almodóvar, 1988)
Wonderland (Winterbottom, 1999)
Workers Leaving the Factory (Lumiere, 1895)
