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Michael Apted was born in the UK, and studied history and law at Cambridge University before beginning his career in film. He soon became a well-established television director soon after beginning work as a TV researcher. In 1972 he directed Triple Echo, followed by Stardust, The Squeeze and Agatha. Apted's acclaimed film, The Coal Miner's Daughter, marked his first directing project in the United States. In the USA in 1981 he directed The Continental Divide and Gorky Park, before returning to England to shoot Kipperbang. In 1984 he directed First Born and three years later, Critical Condition. Gorillas In The Mist (1998) was filmed in Rwanda and Kenya, following which Michael travelled to the Soviet Union to film The Long Way Home, a documentary about Boris Brebenshikov. In 1990 he directed Class Action. Two years later he directed three films: Incident at Oglala, Thunderheart and 35 Up. The latter was a follow-up to his acclaimed 1963 Seven Up documentary, of which 42 Up is the latest instalment. Fascinatingly, the model of Seven Up has been exported to Russia. In 1994 Michael Apted directed the thriller Blink. Also in 1994 his documentary Moving the Mountain described the events leading up to the Tiananmen Square atrocity. The film was premiered at the Human Rights Watch International Film Festival. Later that year, he directed Jodie Foster in Nell. More recently he directed the medical drama Extreme Measures and also the documentary Inspirations, chronicling the lives of six diverse artists including David Bowie and Roy Liechtenstein. He also directed the James Bond movie, The World Is Not Enough. The quality of his contributions to the Documentary film was recognised in 1999 when he received the Career Achievement award from the International Documentary association. Michael Apted has had made 20 major feature films in approximately the same number of years. His latest, Enigma has just been released. It is a story set in the context of the successful efforts of British cipher experts in cracking the secret coding system used by the Germans. Candy
Aubrey is a candidate of
the Geneva section of the Swiss Michal Aviad has been working as a director and producer of documentary films in since 1986. Her films include: Acting Our Age (1987, 60 min), which explores women and aging. The Women Next Door (80-min, 1992). Filmed during the Intifada, the film examines the roles of Palestinian and Israeli women in the conflict. Ever Shot Anyone? (60-min, 1995), explores Israeli male culture from a woman’s point of view. Jenny & Jenny (1997, 60-min), a film on two teenage working-class Israeli girls. Ramleh (2001, 60-min), a film on the lives of three women who represent marginalized communities essential to the understanding of Israel today. Aviad’s films have participated in many international festivals, received awards and were aired on television stations around the world. Aviad teaches film at Tel Aviv University David Bell is a member of the British Psychoanalytic Society and a Consultant in the Adult Department in the Tavistock Clinic. He teaches Freud at the British Psychoanalytical Society and also lectures on the M.Sc. Psychoanalytic Studies programme at University College London. He has long been interested in the relations between psychoanalysis and other disciplines such as literature, social theory, politics and philosophy and has written widely on these themes. He has made a particular study of the work of Dennis Potter and has edited two books Reason and Passion and Culture and Psychoanalysis: a Kleinian Perspective. Emanuel Berman is a training analyst at the Israel Psychoanalytic Institute, and a professor of psychology at the University of Haifa and at New York University. He edited Essential Papers on Literature and Psychoanalysis (1993). His papers on film include “The film viewer: From dreamer to dream interpreter” (Psychoanalytic Inquiry, 1998), and discussions in the International Journal of Psycho-Analysis of “Vertigo” (1997), “Night moves” (1998) and “Exotica” (2000, with R. Matalon). Bernardo Bertolucci,the leading Italian film director and the Honorary President of EPFF was born in Parma, Italy, in March 1941. His films include: La Commare Secca (The Grim Reaper), Prima della rivoluzione (Before the Revolution), Sosia (Partner), Strategia del ragno (The Spider's Strategem), Il conformista (The Conformist), L'ultimo tango a Parigi (Last Tango in Paris), 1900, La Luna, Tragedia di un uomo ridicolo (Tragedy of a Ridiculous Man), L'ultimo imperatore (The Last Emperor), The Sheltering Sky, Little Buddha, Ballo da sola (Stealing Beauty)and Besieged. Katalin Bogyay was educated in Budapest and London. She graduated in Economics and holds an MA in Communications, a postgraduate diploma in Journalism, and a certificate in Counselling Skills. Well-known in Hungary as a television personality, she started her career at Hungarian Television (MTV) as a presenter and senior editor of Music and Arts and later became a film-make and producer. Currently, she is the Director of the Hungarian Cultural Centre in London and a founder of the Ferenc Liszt Academy Network. Stefano Bolognini ,Training and Supervising Analyst of the Società Psicoanalitica Italiana, has been National Scientific Secretary from 1997 to 2001. Among other things he organized the first meeting between BPS and SPI. He is member of the Theoretical Working Party of EPF. He published papers on the main Italian and International Reviews, mainly on Empathy and the Analyst's inner world. He published Like Wind, Like Wave (Bollati Boringhieri) a collection of tales with a psychoanalytic taste, that won the Gradiva Prize 2000, and he edited the book The dream 100 years after (2000). José Luis
Borau Michael Brearley is a Member of the British Psychoanalytical Society, and full-time practitioner in private practice. Previously he was a professional cricketer, and lecturer in philosophy. Michael writes, teaches and lectures on psychoanalytical matters, and occasionally on cricket, sport, and the links with leadership and team building. He is a member of organizing committee of the ‘1st European Psychoanalytic Film Festival’. Vinko Bresan won a diploma on the International festival of short films in Oberhausen in 1987 with the student film Our Stock Exchange. His film How the War started On my Island won the first prize at the young East European movies in Cottbus. The film Marshal Tito's Spirit had the Croatian premiere in December 1999. The ruling Government of that period banned the broadcasting of TV commercial for the film on Croatian TV for political reasons. Hugh Brody is both an anthropologist and a film-maker. As well as Nineteen Nineteen, his work includes documentary films for British and Canadian Television and the books Maps And Dreams, Means of Escape and The Other Side Of Eden. He has won numerous awards for his work, has been the recipient of several honorary degrees and is an Honorary Associate of the Scott Polar Research Institute at the University of Cambridge and of the School of Comparative Literature at the University of Toronto. Donald Campbell, a child, adolescent and adult psychoanalyst, works in the National Health Service and in private practice. He has written on violence, suicide, child sexual abuse and adolescence. He served as Chairman of the Portman Clinic and is currently President of the British Psycho-Analytical Society. Ian Christie is Anniversary Professor of Film and Media History in the School of History of Art, Film and Visual Media, Birkbeck College, University of London. From 1997 - 1999 he was Professor of Film Studies, University of Kent. He was the Co-founder with Michael Grant of the journal Film Studies. Vice-President of Europa Cinemas, an EU funded organisation which supports exhibitors through Europe who show European Films, he is a regular broadcaster on Film. Recent Publications: A Matter of Life and Death, BFI Film Classics Series, 2000; Between Magic and Realism: Medea on Film, in Edith Hall, Fiona Macintosh and Oliver Taplin, eds., Medea in Performance 1500-2000, Oxford: Legenda, 2000. Elizabeth Cowie teaches Film Studies at the University of Kent at Canterbury. Her book, Representing the Woman: Cinema and Psychoanalysis, was published in 1997, and her recent work on cinema and psychoanalysis has focused on documentary film, trauma and the spectator in The Spectacle of Actuality, in Collecting Visible Evidence, eds. Jane Gaines and Michael Renov, Minnesota: Un. Minnesota Press, 1999; and on Hiroshima mon amour in ‘Traumatic Memories of Remembering and Forgetting’, in Between the Psyche and the Polis: Refiguring history in literature and theory, eds. Michael Rossington and Anne Whitehead, Aldershot: Ashgate Publishing, 2000. Diana Diamond is Associate Professor in the Doctoral Program in Clinical Psychology at the City University of New York, an Adjunct Professor of Psychiatry at the New York Presbyterian Hospital-Cornell Medical Center Hospital. She has published a number of articles in the areas of attachment theory, borderline personality, mental representation, and film and psychoanalysis. She is on the editorial board of Psychoanalytic Inquiry and is the co-editor with Harriet Wrye of a volume on film and psychoanalysis, entitled Projections of Psychic Reality: A Centennial of Film and Psychoanalysis. She is a film reviewer for the International Journal of Psychoanalysis. She is a psychoanalytic candidate at the New York University Postdoctoral Program in Psychoanalysis, and is in private practice in New York. Thomas Elsaesser is Professor in the Department of Art and Culture at the University of Amsterdam and Chair of Film and Television Studies. His writings on film theory, national cinema and film history are frequently featured in collections and anthologies. His books as author and editor include New German Cinema: A History (1989), Early Cinema: Space Frame Narrative (1990), Writing for the Medium: Television in Transition (1994), A Second Life: German Cinema’s First Decades (1996), Fassbinder’s Germany: History, Identity, Subject (1996), Cinema Futures: Cain, Abel or Cable (1998), The BFI Companion to German Cinema (1999), Weimar Cinema and After (2000), and Metropolis (2000). Ildiko Enyedi, writer/director, was born in Budapest in 1955. After acquiring a degree from Budapest University of Economics, she studied at the Budapest Academy of Theatre and Film Art from 1980 to 1984. Her first feature, My 20th Century, won the prestigious Camera D'Or at the 1989 Cannes Film Festival and was subsequently released widely in Europe and in the United States. It won the Special Prize at the Edinburgh Film Festival, as well as the Critic's Special Prize at the Budapest Film Festival, and, in the U.S., finished fourth in the voting of the National Society of Film Critics for Best Film of the Year in 1990. The script for Magic Hunter, her second feature film, won the Hartly-Merrill Prize for International Screenwriting.
Peter Evans,film historian and professor of Spanish Studies at London University. His books on cinema include: Blue Skies and Silver Linings; Aspects of the Hollywood Musical (with Bruce Babington); Challenges to Authority, Film and Fiction in Contemporary Spain (with Robin Fiddian); Affairs to Remember; the Hollywood Comedy of the Sexes (with Bruce Babington); Biblical Epics, Sacred Narrative in the Hollywood Cinema (with Bruce Babington); The Films of Luis Buñuel; Subjectivity and Desire; BFI Modern Classics: Women on the Verge of a Nervous Breakdown; Terms of Endearment; Hollywood Romantic Comedy of the 1980s and 1990s (with Celestino Deleyto). Ljiljana Filipovic is the author of the books Nesvjesno u filozofiji [The Unconscious in Philosophy], Filozofija i antipsihijatrija Ronalda D. Lainga [Philosophy and Anti-Psychiatry of Ronald D. Laing], Sokol u susteraju [The Hawk in the Shoe-maker's Shop]. She teaches the psychoanalysis of drama at the Academy of Drama Arts in Zagreb and is currently working on a manuscript Theatre of the Unconscious. Paola Golinelli, full member of the Società Italiana di Psicoanalisi, since 1994 participates in the SPI project for the development of Psychoanalysis in Croazia, giving residential seminars in Zagreb. She wrote mainly on trauma, loss, mourning and nostalgia and published papers on cinema and psychoanalysis. She participated in international workshops on Cinema and Psychoanalysis in Jerusalem, Geneva and lately in Nice. Michael Grant is Senior Lecturer in Film Studies at the University of Kent at Canterbury, UK. Publications include studies of contemporary poets, essays on philosophy and on the horror film, a monograph on Dead Ringers (1998) and a collection entitled The Modern Fantastic: The Cinema of David Cronenberg (1999). He has also edited The Raymond Tallis Reader (2000). Lindy Heymann graduated from Central St Martins in 1990 with a BFA in Film & Fine Art. Since then she has had a prolific career directing music videos. She has made two documentaries, the first of which, Three Hours in High Heels is Heaven, featured four suburban transvestites. Lindy is currently co-directing Showboy, an independent low-budget feature film, shooting in Los Angeles and Las Vegas. Gregorio Kohon is a training analyst of the British Psycho-Analytical Society. In 1988 he co-founded, with Valli Shaio Kohon, the Brisbane Centre for Psychoanalytic Studies, which he directed until 1994. He is the editor of The British School of Psychoanalysis - The Independent Tradition (1986), and of The Dead Mother-The Work of Andre Green (1999). His book No Lost Certainties to be Recovered was published in 1999. He works in private practice in London. Vicki Lebeau lectures in English at the University of Sussex. She is author of Lost Angels: Psychoanalysis and Cinema (Routledge 1995) and Psychoanalysis and Cinema: the Play of Shadows (Wallflower Press 2001). Her most recent publications on psychoanalysis and culture include Psychopolitics: Frantz Fanon's Black Skin, White Masks (in Psycho‑politics and Cultural Desires, Campbell and Habord (eds.) Taylor and Francis 1998), The Child in Question, in Angelaki (April 2000) and Another Child of Violence, in New Formations: The Ruins of Childhood (Winter 2001). Annegret Mahler-Bungers studied literature, philosophy and history of arts. She is a psychoanalyst and training analyst of the IPA, a member and teacher at the Alexander - Mitscherlich-Institut in Kassel/ Germany. She has had work published on psychoanalysis and group analysis, psychoanalysis of culture and literature, literature of the Holocaust and anti-Semitism. Chris Mawson is a psychoanalyst, and a member of the Organising Committee of the EPFF.A Member of the British Psychoanalytical Society he first trained as a Clinical Psychologist and worked initially with adolescents and children, first at the Tavistock Clinic and later in the Child Psychiatry department of the Paddington Green Children's Hospital, in the days when children at that clinic were offered intensive psychoanalytic treatment. He now works in private practice. As well as the clinical practice of psychoanalysis he is interested in the study of groups and organisations from a psychoanalytic perspective, particularly that pursued by the British Group Relations orientation. Mandy Merck is Professor of Media Arts at Royal Holloway, University of London, where she directs the MA programme 'Gender and Sexuality on Screen'. Her most recent book is In Your Face: Nine Sexual Studies (NYU, 2000) and her next is a collection - co edited with Chris Townsend - on the work of Tracey Emin (Thames and Hudson, 2002). Alain de Mijolla, Psychoanalyst, training member of the Société Psychanalytique de Paris, president of the International Association for the History of Psychoanalysis, author of Les visiteurs du moi, fantasmes d’identification (Les Belles Lettres, 1996), co-director of Psychanalyse (Paris, PUF, 1996), director of the International Dictionary of Psychoanalysis (publication in March 2002), author of “Freud and the Psychoanalytic Situation on the Screen” (in: Bergstrom J.(ed.), Endless Night ; Cinema and Psychoanalysis, Parallel Histories, L.A., London, University of California Press, 1999). Marilyn Milgrom ,producer, grew up in the London suburbs within a Jewish family whose roots lie in Eastern Europe. She has worked as an actor, casting director, television director and producer and is now focusing exclusively on her passion for story-telling in her work as a script development consultant. Dominik Moll was born in 1962 in Bühl (West-Germany). He studied film in the City College of New York and the National French Film School (IDHEC). He has worked as assistant director and editor and directed his first feature film, Intimité, in 1992. Harry, he’s here to help is his second feature. He lives and works in France. Nanni
Moretti Film director, actor, producer and
distributor, was born on 19 August
1953. He has directed the following films: Whedbee Mullen is a writer with a particular interest in children's literature. Until recently, she was a lecturer in the Department of Art History and Theory, and Co-director of Film Studies at the University of Essex, specialising in psychoanalysis, experimental cinema and fantastic film. Laura Mulvey is Professor of Film and Media Studies at Birkbeck, and Director of the AHRB Centre of British Film and Television Studies. Her essays have been published in Visual and Other Pleasures (Macmillan 1989) and Fetishism and Curiosity (British Film Institute 1996). She also wrote Citizen Kane (BFI Film Classic). She has co-directed six films with Peter Wollen as well as Disgraced Monuments with Mark Lewis (Channel Four 1994). Eva Parrondo Coppel currently is working as a free‑lance film theorist in Spain. Forthcoming publications are: a book on Gilda, an article for a book on film and psychoanalysis and an article for a book on the Spanish film director Cecilia Bartolomé. Michael Parsons is a psychoanalyst, a training analyst of the British Psychoanalytical Society and a member of the IPA. Before studying medicine and psychiatry, and then training in psychoanalysis, his original studies were in classics and philosophy. He is the author of The Dove that Returns, The Dove that Vanishes: Paradox and Creativity in Psychoanalysis (Routledge). Liliana Pedrón de Martín, an Argentinian psychologist and Member of the International Psychoanalytical Association, she is the Culture Commission Coordinator (Argentine Psychoanalitycal Association), a Member of the "Family and Couple Psychoanalysis Department" (1998-2000) and Co Professor of the Seminar "Freud’s Social Writings Today ". She has published Articles on "Virginia Woolf´s Personal Diary" (Rev. De Psicoanálisis A.P.A. Liv. 4, 1997 ), "Marguerite Yourcenar: A Psychoanalytic Vision" (Rev. De Psicoanálisis A.P.A. LVII (2), 2000). She has also organized the ‘1st Congress of Film & Psychoanalysis’ for the Argentine Psychoanalytic Association (1996) and the ‘Congress of Image& Sound’ (1998). Catherine Portuges is Director of the Interdepartmental Program in Film Studies and Professor of Comparative Literature at the University of Massachusetts, Amherst. She has been working on Hungarian cinema for 15 years. She is the author of Screen Memories: the Hungarian Cinema of Marta Meszaros (1993), and of the forthcoming Cinema in Transition: Post-communist East-Central Europe. In various articles, she has examined issues of Jewish identity in contemporary cinema. She has also recently published in Cineaste an essay on Szabo's Sunshine. Ivor Powell has a long trajectory in film-making. He started his career as Stanley Kubrick assistant in 2001. He went on to become Ridley Scott's producer on The Duelists; Blade Runner; and Alien. Helen Taylor Robinson is a Member of the British Psychoanalytical Society, Honorary Senior Lecturer in Inter-Disciplinary Studies (Literature and Psychoanalysis) at University College London, MSc. In Theoretical Psychoanalytic Studies. Her public lectures include: 'As it would seem'; approaches to the unconscious through the work of Samuel Beckett and Sigmund Freud; Beckett and Bion /The Emergence of Meaning; and The Bespoke Universe; Shakespeare, Freud and Beckett, Tailors and Outfitters, also published in British Journal of Psychotherapy Vol. 17, no 2 , 2000. David N. Rodowick is Professor of Film Studies at King's College London. His books include Reading the Figural, or, Philosophy after the New Media, Gilles Deleuze's Time Machine, The Difficulty of Difference: Psychoanalysis, Sexual Difference, and Film Theory, and The Crisis of Political Modernism: Criticism, Ideology, and Contemporary Film Theory. Timna Rosenheimer,(31) is a documentary film director, writer and artistic editor of Helicon, an anthological series of contemporary poetry. Her film Fortuna, a 53 minute documentary, (a family saga about six sisters) won numerous awards, was broadcast on Israeli TV, shown in film festivals in Europe and bought by broadcasters abroad. Her book Home – spaces, objects, people was published earlier this year. Andrea Sabbadini ,Chairman of the Organising Committee of the 1st EPFF, is a former film critic. A member of the British Psychoanalytical Society, he has been in charge for several years of their programme on psychoanalysis and the arts. He is also Honorary Senior Lecturer at UCL, the Founding Editor of Psychoanalysis and History and the Book Review Editor of The International Journal of Psychoanalysis. Miguel Sapochnik studied film-making at Bournemouth College of Art. His graduation piece was screened by Film Four and shown at the Edinburgh Film Festival. He works independently as a screenwriter and has directed three short films. He co-wrote with Ivor Powell The Dreamer, a short film that is an exploration of what it is to be human through telling the story of a clone awaiting termination. Gerhard Schneider Studied maths, philosophy, and psychology. He is a member of the IPA, and a teacher at the Psychoanalytic Institute Heidelberg-Karlsruhe of the DPV. His main working topics are personal identity, internalization, psychoanalysis of the visual arts and film. He has published several papers, as well as books, on these topics. Steven Schneider is a Visiting Lecturer at Tufts University (Massachusetts), and is completing PhDs in Philosophy at Harvard University and in Cinema Studies at New York University’s Tisch School of the Arts. He has published widely on the horror genre in various journals and edited collections. Forthcoming books as author and editor include Fear Without Frontiers: Horror Cinema Across the Globe (FAB Press), Freud’s Worst Nightmares: Psychoanalysis and the Horror Film (Cambridge University Press), and Dark Thoughts: Philosophic Reflections on Cinematic Horror (Scarecrow Press).Jed Sekoff, is a psychoanalyst practicing in Berkeley, California. His writing has focused on the intersection of psychoanalysis, memory and culture (including the films, Frankenstein, Nineteen Nineteen, and Blue Velvet). Currently, he is clinical consultant to Survivors International, an organization offering psychotherapeutic evaluation and treatment to survivors of repression and torture. Judit Székács, psychoanalyst and psychotherapist, was born and educated in Budapest and now now lives and works in London. Since childhood she has been fond of fairy tales and of movies. Slogans like that of Korda's about Hollywood ("it's not enough to be Hungarian, you need talent as well") have shaped her sense of reality and nurtured a sense of humour that she considers an essential ingredient for survival. Bruce Sklarew is Co-founder and co-chair of the Forum for the Psychoanalytic Study of Film; co-editor, Bertolucci’s, The Last Emperor; Multiple Takes, Wayne State University Press and Bernardo Bertolucci: Interviews , University of Mississippi Press; ‘Freud and Film: Encounters in the Weltgeist’, JAPA, Vol. 47, pp1238-1246; former faculty, Baltimore-Washington Institute for Psychoanalysis. Juliet Stevenson Laurence Olivier Best actress award winner, star of Theatre and Film, is currently appearing in Anthony Minghella's screening for Channel Four of Samuel Beckett's Play (with Kristin Scott-Thomas and Alan Rickman) which will be shown at the Barbican Theatre in September with all the other 18 screenplays of Beckett's work. Carol Topolski is a psychoanalytic psychotherapist. For a dozen years, alongside her practice, she was a Senior Film and Video Examiner (otherwise known as Film Censor) at the British Board of Film Classification, appointed on the basis both of her profession and her work in the fields of domestic violence, rape and the penal system. She is interested in the dialogue between psychoanalysis and film, in particular in the meaning and process of the visual. Tom Tykwer was born in 1965 (Wuppertal). He worked at a cinema already during his school days, later on for several years in Berlin. His first film as a director was in 1993. In 1994 he was the co-founder of the film production firm X-Filme Creative Pool. He became well-known by his 3rd film Run, Lola, Run (1998). His last film The Princess and the Warrior (2001) was premiered in the US-start in June.
Harriet Wrye
,Past President, Training and
Supervising Psychoanalyst, Los Angeles Institute and Society for
Psychoanalytic Studies (LAISPS), authored The Narration of
Desire: Erotic Transferences and Countertransferences,
Analytic Press (1994) plus numerous articles and film reviews. She
chaired the IPA’s 1995 Los Angeles Post Congress on Film and
Psychoanalysis and guest edited with Diana Diamond Psychoanalytic
Inquiry’s special issue:
Projections
of Gender and Power on the American Film Screen. |
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Biographical Information
epff@psychoanalysis.org.uk