Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
:
Login
Tip: To use Pocket to save bookmarks to PEP-Web articles…

PEP-Web Tip of the Day

Pocket (formerly “Read-it-later”) is an excellent third-party plugin to browsers for saving bookmarks to PEP-Web pages, and categorizing them with tags.

To save a bookmark to a PEP-Web Article:

  • Use the plugin to “Save to Pocket”
  • The article referential information is stored in Pocket, but not the content. Basically, it is a Bookmark only system.
  • You can add tags to categorize the bookmark to the article or book section.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Gabbard, G.O. (1997). The Psychoanalyst At The Movies. Int. J. Psycho-Anal., 78:429-434.

(1997). International Journal of Psycho-Analysis, 78:429-434

The Psychoanalyst At The Movies

Glen O. Gabbard

In a recent interview, Claude Chabrol, the esteemed French film-maker, noted that he had collaborated with the psychoanalyst Caroline Eliacheff in the writing of his film, La Cérémonie (Feinstein, 1996). He went on to explain why such collaboration was exceedingly helpful: ‘It's very hard, when you deal with characters, not to use the Freudian grid, because the Freudian grid is composed of signs that also apply to the cinema’ (p. 82). Indeed, the intimate relationship between the medium of film and the psychoanalytic study of the mind has long been recognised. As early as 1916, Harvard psychologist Hugo Mnsterberg wrote The Film: A Psychological Study, in which he suggested that film transforms the external world into the mechanisms of the mind, including memory, imagination, attention and emotion.

By 1926 psychoanalysts were consulting with film-makers. Although Freud himself had reservations about the cinema as an art form, he did not discourage Karl Abraham and Hanns Sachs from acting as consultants to the German director G. W. Pabst (Schneider, 1985). The result was the classic Secrets of a Soul, which featured dream sequences rich in symbolism and compelling in their demonstration of Freud's dreamwork. The narrative of the film revolved around a chemist with a knife phobia, homicidal impulses and impotence, who was cured by psychoanalytic treatment.

In this issue, with Jacob Arlow's discussion of Ingmar Bergman's Wild Strawberries, we inaugurate something that will become a regular feature of the Journal: film reviews.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2020, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.