The 3rd European Psychoanalytic Film Festival


Home
Programme
Bibliography
Organisation
Articles
Quiz
FAQs
Links
Contact

epff3film&psychoanalysis
bibliography
17 June 2006


Click on    sign next to titles of publications, which indicates that reviews are in place, and  you will be able to read them. Some of the reviews linked to these titles are ones written at or close to the date of original publication of the work reviewed, and others are more recent. Reviews will be added to this section, with the more up-to-date ones being placed first



 


AA.VV.
(1955). Psychoanalysis and Film II. American Imago, 52 (2).

AA.VV. (1975). Psychanalyse et cinéma. Communications. 23

AA.VV. (1979). Cinéma et Psychanalyse II. Ca cinéma,16.

AA.VV. (1989). Cinéma et psychanalyse. CinémAction. 50.

AA.VV. (1993). Psychoanalysis and Film. American Imago. 50 (4).

AA.VV. (2005). Schermi psicoanalitici. La Valle dell’Eden, 15.

Albano, L. (1986) Il visibile e il non visibile. Filmcritica, 365-366.

Albano, L. (1992). La caverna dei giganti. Scritti sull’evoluzione del dispositivo cinematografico. Parma: Pratiche.

Albano, L. (2003). Cinema e Surrealismo: tra oggetto-sogno e spazio-sogno. In G. Orlandi Cerenza (a cura di), Traiettorie della modernità. Il Surrealismo all’alba del Terzo Millennio. Torino: Lindau, 2003.

Albano, L. (2004). Lo schermo dei sogni. Chiavi psicoanalitiche del cinem. Venezia: Marsilio.

Albano, L. (2005). L’amore impossibile e l’oggetto perduto. In E. Dagrada (a cura di), Il Melodramma. Roma: Bulzoni.

Allen, R. (1995). Projecting Illusion: Film Spectatorship and the Impression of Reality. New York: Cambridge University Press.

Allen, R.  "Psychoanalytic Film Theory."  In A Companion to Film Theory (ed. Robert Stam and Toby Miller).  Oxford: Blackwell, 1999.

Almansi, R.J. (1992). Alfred Hitchcock's disappearing women: scopophilia, object loss.., Int. Rev. Psychoanal., 19:81-90.

Altman, C. (1976) Psychoanalysis and the cinema: The imaginary discourse. Quarterly Review of Film Studies, 2: 257-272.

Angelini, Alberto (1992). Psicologia del cinema. Napoli: Liguori.

Arlow, J. A. (1980): The revenge motive in the primal scene. J. Am. Psa. Ass., 28, 519-541.

Argentieri, S. , Sapori, A. (1988) Freud a Hollywood. Torino: Nuova Eri.

Augst, B. (1985): The lure of psychoanalysis in film theory. Camera
Obscura, 415-437.

 Baker, R. (2001): “Deconstructing Dirty Harry: Clint Eastwood’s Undoing of the Hollywood Myth of Screen Masculinity in Play Misty for Me”. in “Psychoanalysis and Film” edited by Glen O. Gabbard.(Karnac 2001).pp 153-159.

Baudry, J. - L. (1978). L’Effet cinema. Paris: Albatros.

Baudry, J. - L. (1994): Das Dispositiv: Metapsychologische Betrachtungen des Realitätseindrucks. (Platons Höhle und das Kino). Psyche, 48, 1047-1074 (orig. French  1975).

Beebe, John (1996). Jungian illumination of film, Psychoanal. Rev., 83:579-587

Bellavita, A. (2004). La tecnologia come costrutto simbolico. Per un’applicazione della psicoanalisi al dispositivo cinematografico. Comunicazioni sociali, 26 (1).

Bellavita, A. (2004). Fantôme e fantasma: l’emersione del reale al cinema. Una proposta di teoria psicoanalitica del linguaggio cinematografico. La Psicoanalisi, 36

Bellour, Raymond, Penley, Constance (Eds.) (1979). The Analysis of Film. Bloomington: Indiana University Press, 2000. (Fr. L’Analyse du film. Paris Albatros)

Benton, R.J. (1984). Film as dream: Alfred Hitchcock's Rear Window, Psychoanal. Rev., 71:483-500.

Benton, R. J. (1990). Review of Psychiatry and the Cinema, Psychoanal. Books, 1:344-348

Benton, R. J. (1992). Review of Psychoanalysis & Cinema, Psychoanal. Books, 3:134-140

Benton, R. J. (1993). Review of Echo and Narcissus: Women's Voices in Classical Hollywood Cinema, Psychoanal. Books, 4:370-373.

Benton, R. J. (1993). Review of Femmes Fatales: Feminism, Film Theory, Psychoanalysis, Psychoanal. Books, 4:370-373.

Benton, R. J. (1993). Review of The Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory, Psychoanal. Books, 4:370-373.

Benton, R. J. (1995). Review of Screen Memories: Hollywood Cinema on the Psychoanalytic Couch, Psychoanal. Books, 6:301-305.

Benton, R., Tylim, I. (1997). Film and violence:introduction., Psychoanal. Rev., 84:657-666.

Benvenuto, S. (2001) 'The Son's Room' or 'Analysis is Over'. Journal of European Psychoanalysis, 12-13.

Bergstrom, Janet (Ed.) (1999) Endless Night: Cinema and Psychoanalysis. Parallel Histories. Berkeley and Los Angeles: University of California Press.

Berman, E. (1997) Hitchcock's Vertigo: the collapse of a rescue fantasy. In International Journal of psychoanalysis, 78: 975-996.  

Berman, E. (1998). Arthur Penn's "Night moves":a film that interprets us., Int. J. Psychoanal., 79:175-178.

Berman, E. (1998). The film viewer:from dreamer to dream interpreter., Psychoanal. Inquiry, 18:193-206.

Bernardi, S. (1986) Teoremi della circolarità. L’infinito nel cinema. Filmcritica, 365-366.

Bernardi, S. (1999). Kubrick, Freud e la ‘coazione a ripetere’. Bianco e Nero, 5.

Bertetto, P. (2001). L’enigma del desiderio. Buñuel, Un Chien andalou e L’Âge d’or. Roma:  Edizioni Bianco e Nero.

Bertetto, P. (2001). Bella di giorno. L’immaginario, l’enigma. In L’occhio anarchico del cinema. Luis Buñuel. Milano: Il Castoro, pp. 160-179.

Bick, I. (1992). Review of Psychiatry and the Cinema, Psychoanal. Q., 61:304-308

Blothner, D. (1999): Erlebniswelt Kino. Über die unbewußte Wirkung des Films. Bergisch Gladbach: Lübbe.

Boccara, P.,  Riefolo, G., Gaddini,  A. (2000) Cinema e sogno nello spazio psicoanalitico. In Bolognini S. (a cura di): Il sogno cento anni dopo. Torino: Boringhieri-Bollati.

Boccara, P.,  Riefolo, G. (2002) Psicoanalisti al cinema. Alcune considerazioni di metodo su 'cinema e psicoanalisi'. Rivista di Psicoanalisi, 48: 691-705.

Bodin, G. & Poulson, I. (1998) Blue Velvet by David Lynch: A Fairy Tale About the Developmental Conflicts of Growing from Boyhood to Manhood. Psychoanal. Inq., 18:238-250.

Bordwell, D. (1989) Making Meaning: Inference and Rhetoric in the
Interpretation of Cinema. Cambridge, Mass.: Harvard Univ. Press.

Brandell, J. R. (Ed.) (2004). Celluloid Couches, Cinematic Clients. Psychoanalysis and Psychotherapy in the Movies. New York: State University of New York Press. 

Brearley, M. (2000). On making a documentary film on psychoanalysis. Psychoanalytical Psychotherapy: the journal of the Association for Psychoanalytical Psychotherapy. March 2000

Browne, N. & McPherson, B. (1980): Dream and photography in a
psychoanalytic film: Dreams of a soul. Dreamworks, 1, 35-45.

Brüel, O. (1938): A moving picture as a psychopathogenic factor: A paper on primary psychotraumatic neurosis. Character and Personality, 7, 68-76.

Brunetta, Giampiero (1990). Buio in sala. Venezia: Marsilio.

Carotenuto, A. (2002) Fellini and Jungism. Encounter with Federico Fellini. Journal of European Psychoanalysis, 14.

Carroll, "Nightmare and the Horror Film: The Symbolic Biology of
Fantastic Beings."  In The Anxious Subject: Nightmares and Daydreams in Literature and Film (ed. Lazar Moshe).  Malibu: Udena, 1983.

Casetti, F. (1993). Teorie del cinema. 1945-1990. Milano: Bompiani (Cap. 10, ‘La psicoanalisi del cinema’).

Communications No 23 (1979): Psychanalyse et Cinema. Paris: Seuil

Corel, A. (1998) Language and Time in Citizen Kane. Psychoanal. Inq., 18:154-160.

Caruth, E., Eber, M. (1996). Blurred boundaries in therapeutic encounter: cinematic metaphors.., Annual Psychoanal., 24:175-186.

Chaikin, Robert (1979). Film review: "King Kong", Psychoanal. Rev., 67:271-276

Charney, L. (1995). Review of Couching Resistance: Women, Film, and Psychoanalytic Psychiatry, Psychoanal. Books, 6:298-300.

Chasseguet-Smirgel, J. (!969): "Letztes Jahr in Marienbad". Zur
Methodologie der psychoanalytischen Erschließung eines Kunstwerks. Psyche, 24, 801-826 (orig. French 1969).

Cody, G.A., Swift, W.J. (1997). Feminism, feminist cinema, and "Thelma and Louise".., Psychoanal. Rev., 84:43-54.

Corel, A. (1998). Language and time in Citizen Kane., Psychoanal. Inquiry, 18:154-160.

Cowie, E. (1997). Representing the woman:cinema and psychoanalysis., London:Macmillan

Creed, B.  The Monstrous Feminine: Film, Feminism,
Psychoanalysis.  New York: Routledge, 1993.

de Lauretis, T. (1984) Alice Doesn’t: Feminism, Semiotics, Cinema. London: Macmillan.

De Mari, Massimo, Pavan, Luigi, Marchiori, Elisabetta (a cura di) (1995). Psiche & Immagine. Incontri culturali sul rapporto tra cinema e psichiatria. Padova: Lavia-Kendall.

De Mari, M. - Marchiori, E. - Pavan, L. (a cura di) (2006). La mente altrove. Cinema e sofferenza mentale. Milano: Franco Angeli.

Denzer, J.L. (1983): An odyssee of loss. Psa. Rev., 70, 269-275.
 
Dervin, D. (1975). Primal scene and technology of perception in theatre and film.., Psychoanal. Rev., 62:269-304.

Dervin, D.A. (1977): Creativity and collaboration in three American
movies. Am. Imago, 34, 179-204.
 
Dervin, D.A. (1983): Ingmar Bergman's film: The spider-god and the primal scene. Am. Imago, 40, 207-232.

Dervin, D. (1985). Through a Freudian Lens Deeply: A Psychoanalysis of Cinema., Hillsdale, NJ: The Analytic Press.

Dettmering, P. (1984): Film, Literatur, Psychoanalyse. Stuttgart: frommann-holzboog.
 
Dettmering, P. (1989): Kreatives Wagnis und Regression. Die Filme Andrej Tarkowskis. Psyche, 43, 444-457.

Deutsch, L. (1987). Review of Through a Freudian Lens Deeply: A Psychoanalysis of Cinema., Psychoanal. Q., 56:726-729.

Diamond, D., Wrye, H.K. (1998). Epilogue:projections of psychic reality: film & psychoanalysis.., Psychoanal. Inquiry, 18:311-334.

Diamond, D., Wrye, H.K. (1998). Prologue:projections of psychic reality:film in psychoanalysis.., Psychoanal. Inquiry, 18:139-146. 
(
contents)

Doane, M. A. (1987) The Desire to Desire. The Woman's Film of the 1940s. London: MacMillan, 1988.

Doane, M. A. (1991). Femmes Fatales: Feminism, Film Theory, Psychoanalysis, New York: Routledge

Donald, J (ed.).  Fantasy and Cinema.  London: BFI (1989).

Edelheit, H. (1972): Mythopoesis and primal scene. Psychoanalytic Study
of Society, 5, 212-233 (N. Y., Int. Univ. Pr.).

Ehrenburg, I. (1931) Die Traumfabriki Chronik des Films.  Berlin: Malik.

Elsaesser, T. (1995). Review of A Triumph of the Eye over the Gaze? Everything You Always Wanted to Know about Lacan but were Afraid to Ask Hitchcock, Int. J. Psychoanal., 76:632-636.
 
Enckell, M. (1982): Film and psychoanalysis. Scand. Psa. Rev., 5,
149-163.
 
Enckell, M. (1985): "Citizen Kane" and "Psychoanalysis". Film and
 psychoanalysis (III). Scand. Psa. Rev., 8, 17-34.
 
Eppenheimer, B., Fallend, K. & Reichmayr, J. (1987): Die Psychoanalyse im Film, 1925/26  (Berlin/Wien). Psyche, 41, 129-139.
 
Erikson, E.H. (1976): Reflections on Dr Borg's life cycle. Daedalus, 105, 1-31.

Evans, P. (1995) The Films of Luis Buñuel. Subjectivity and Desire. Oxford: Clarendon Press.
-------- (2000) The Wicked Lady (directed by Leslie Arliss, 1945) and gender difference. British Journal of Psychotherapy, 16(4): 511-515.

Evans, W.  "Monster Movies: A Sexual Theory." Journal of Popular
Film,
2 (1973).

Evans, W.  "Monster Movies and Rites of Initiation."  *Journal of
Popular Film* 4 (1975).

Everwein, R. E. (1984) Film and the Dream Screen. Princeton: Princeton Univ. Press.

Fernandez, D. (1975). Eisenstein. Paris: Grasset.

Freud, A. (1953). Film review: James Robertson's "Two-Year-Old Goes to Hospital"., Writings, 4:280-292.

Freud, A. (1969). Film review: John, seventeen months: nine days in a residence.., Psychoanal. Study Child, 24:138-143.

Gagnebin, M.(1999): Du Divan à l'Ecran. Montages cinématographiques, montages interprétatifs. Paris: PUF.

Gabbard, G.O. & Gabbard, K. (1984): Vicissitudes of narcissism in the cinematic autobiography. Psa. Rev., 71, 319-382.
 
Gabbard, G.O. & Gabbard, K. (1985): Countertransference in the movies. Psa. Rev., 72, 171-184.

Gabbard, K. & Gabbard, G. O. (1987). Psychiatry and the Cinema, Chicago: University of Chicago Press

Gabbard, G.O., Gabbard, K. (1989). The female psychoanalyst in the movies., J. Amer. Psychoanal. Assn., 37:1031-1048

Gabbard, G. (1989). Review of Images in Our Souls. Cavell, Psychoanalysis and Cinema., Psychoanal. Q., 58:498-501.

Gabbard, G.O. (1997). The psychoanalyst at the movies., Int. J. Psychoanal., 78:429-434.

Gabbard, G. O. (1997) Guest Editorial: The psychoanalyst at the movies. Int. J. Psychoanal. 78(3): 429-434.

Gabbard, G. O.  (1998) Vertigo: Female Objectification, Male Desire, and Object Loss. Psychoanal. Inq., 18:161-167

Gabbard, G. O. (Ed.) (2001): Psychoanalysis and Film. London-New York: Karnac.
 

Geiser-Elze, A., Guck-Nigrelli, A., Laszig, P. & Loetz, S. (2005). Leolo - "Weil ich träume, bin ich nicht..." ,Tagebuch- und Traumtexte eines pubertierenden Jungen. Psychoanalyse im Widerspruch, 17 (33), 125-131.

Giuliani, G. (1980). Le strisce interiori. Cinema italiano e psicoanalisi. Roma: Bulzoni.

Golinelli, Paola (2004). Per una lettura psicoanalitica dei film. Rivista di Psicoanalisi, 50(2): 449-460.

Gordon, N. (1983): Family structure and dynamics in de Palma's horror films. Psa. Rev., 70, 435-442.
 
Gordon, N. & Gordon A. (1982): De Palma's "Dressed to Kill": Erotic imagery and primitive aggression. Am. Imago, 69, 566-599.

Grant, M.  "Psychoanalysis and the Horror Film."  *Free
Associations* 5.4 (No. 36), 1995.


Greenberg, H. (1975). The Movies On Your Mind., New York: Saturday Review Press.

Greenberg, H.R. (1983). Fractures of desire: alien and contemporary "cruel" horror film.., Psychoanal. Rev., 70:241-267.

Greenberg, H.R. (1985): "The Dresser": Played to death. Psa. Rev.,
213-222.
 
Greenberg, H. and Gabbard, K. (1990). Reel significations: An anatomy of psychoanalytic film criticism, Psychoanal. Rev., 77:89-110

Greenberg, H.R. (1993). Screen Memories: Hollywood Cinema on the Psychoanalytic Couch, New York: Columbia University Press.

Grinstein, A. (1953): "Miracle of  Milan": Some psychoanalytic notes on a movie. Am. Imago, 10, 229-245.

Grossini, Giancarlo (1984). Cinema e follia. Stati di psicopatologia sullo schermo (1948-1982). Bari: Dedalo.

Harris, A. & Sklar, R. (1998) Wild Film Theory, Wild Film Analysis. Psychoanal. Inq., 18:222-237.

Hauke, C.  & Alister, I. (Eds.) (2001): Jung and Film. Post-Jungian Takes on the Moving Image. Hove: Brunner-Routledge.

Hagenauer, F. & Hamilton, J.W. (1973): "Straw Dogs": Aggression and violence. Am. Imago, 30, 221-249.

Hamilton, J.W. (1978). Cinematic neurosis: a brief case report, J. Amer. Acad. Psychoanal., 6:569-572
 
Harnik, J. (1926): Psychoanalytischer Film. Int. Zschr. f. Psychoan., 2, 580-581.

Harris, A., Sklar, R. (1998). Wild film theory, wild film analysis., Psychoanal. Inquiry, 18:222-237.

Heath, S. (1981) Questions of Cinema. London: Macmillan.
 
Herman, D. (1969): Federico Fellini. Am. Imago, 26, 251-268.

Huss, Roy (1979). Film review: "Each Other", Psychoanal. Rev., 67:143-158

Kaplan, E. A. (ed.) (1990). Psychoanalysis & Cinema, London: Routledge

Kernberg, O.F. (1994). The erotic in film and in mass psychology., Bull. Menninger Clin., 58:88-108.

Kimble Wrye, H. (1996) Panel: Psychic reality and film (reported by R. H. Balsam). Int. J. Psychoanal., 77, 595.

Kimble Wrye, H. (1998) Tuning a Clinical Ear to the Ambiguous Chords of Jane Campion's The Piano. Psychoanal. Inq., 18:168-182

Kirley, J. (1995). Blow Up: The ‘I’ of the camera . Psychoanal. Rev., 82:443-453.

Kline, T.J. (1976). Orpheus transcending: Bertolucci's 'Last Tango in Paris.', Int. Rev. Psychoanal., 3:85-96.

Kline, T. (1987). Bertolucci's Dream Loom: A Psychoanalytic Study of Cinema, Amherst, MA: Univ. of Mass. Press

Konigsberg, I. (1996). Transitional phenomena, transitional space: creativity in film.., Psychoanal. Rev., 83:865-890.

Kracauer, S. (1947). From Calgari to Hitler. A Psychological View of German Film., Princeton: Princeton University Press

Kuntzel, T. (1972). Le Travail du film. Communications, 19.

Lawrence, A. (1991). Echo and Narcissus: Women's Voices in Classical Hollywood Cinema, Berkeley: Univ. of California Press

Lebeau, V. (2001) Psychoanalysis and Cinema. The Play of Shadows. London-New York: Wallflowers.

Lebovici, S. (1950). Psychanalyse et cinéma. Revue internationale de filmologie, 5.

Leites, M. & N. (1947). Review of From Calgari to Hitler. A Psychological View of German Film., Psychoanal. Q., 16:570-572.

Lippert, R. (1994): "Ist der Blick männlich?" Texte zur feministischen Filmtheorie. Psyche, 48, 1088-1099.

Mangiarotti, C. (2002). Figure di donna nel cinema di Jane Campion: una lettura psicoanalitica. Milano: Franco Angeli, 2002.

Marill, I.H. (1991). 'The Tin Drum': a cinematic portrayal of an oedipal tyrant., Int. Rev. Psychoanal., 18:541-554.

Marcus, L. (2001) Dreaming and cinematographic consciousness.
'Psychoanalysis and History' 3(1): 51-68.

Mason, A. (1998). Melanie Klein's notes on Citizen Kane with commentary., Psychoanal. Inquiry, 18:147-153.

Matte-Blanco, I. (1986). Riflessioni sulla creazione artistica. Filmcritica, 365-366.

McGinley, E. - Sabbadini, A. (2006). Play Misty for me (1971): The perversion of love. The International Journal of Psychoanalysis, 87(2): 589-597.

McGowan T., Kunkle S. (eds.) (2004). Lacan and Contemporary Film. New York: Other Press.

Metz, C.  (1977) Langage et Cinéma. Paris: Albatros.

Metz, C. (1982). The Imaginary Signifier. Psychoanalysis and the Cinema., Bloomington: Indiana Univ. Press.

Metz, Ch. (1994): Der fiktionale Film und sein Zuschauer. Eine
metapsycholöogische Untersuchung. Psyche, 48, 1004-1046.

Mijolla Alain de (1994b), Freud et la situation psychanalytique à l'
cran, Topique, 53, 1994, p. 213-229
Freud and the Psychoanalytic Situation on the Screen, in :
Bergstrom Janet (dir), Endless Night ; Cinema and Psychoanalysis, Parallel Histories, L.A., London, University of California Press, 1999, p. 188-199.

Moellenhoff, F. (1940) Remarks on the popularity of Mickey Mouse. American Imago 1.

Muller, J. (1983). Review of The Imaginary Signifier. Psychoanalysis and the Cinema., Psychoanal. Q., 52:641-647.

Mulvey, L. (1975) Visual pleasure and narrative cinema. Screen, 16(3): 6-18.

Mulvey, L. (1989)Visual and Other Pleasures. Bloomington: Indiana University Press.

Mulvey, L. (2006). Death 24x a Second. Stillness and the Moving Image. London: Reaktion Books.

Münsterberg, H. (1916). The Photoplay: A Psychological Study (trad. it. Film. Il cinema muto nel 1916. Parma: Pratiche, 1980).

Münstenberg, H. (1970) The Film: A Psychological Study. New York: Dover.

Musatti, C. (1950). Le Cinéma et la psychanalyse, Revue internationale de filmologie, 6.

Musatti, Cesare (2000). Scritti sul cinema, a cura di Dario F. Romano. Torino: Testo & Immagine.

Newman, K. (1976). Review of The Movies On Your Mind., J. Amer. Psychoanal. Assn., 24:730-732.

Newman, K. (1978). Movies in the seventies: some heroic types., Annual Psychoanal., 6:429-442.

Newman, K.M. (1996). Winnicott goes to the movies: the false self in "Ordinary people", Psychoanal. Q., 65:787-810.

Pederson-Krag, G. (1951). Review of Movies: A Psychological Study., Psychoanal. Q., 20:636-637.

Pinedo, I.  "The Wet Death and the Uncanny."  *Paradoxa: Studies in
World Literary Genres* 3.3/4, 1997.

Pollock, G.H. (1986). Charlie Chaplin: autobiography through film., Annual Psychoanal., 14:35-58.

Poulain-Colombier, Jacquelyne (2004). La nouvelle responsabilité des psychanalystes a l'égard du septieme art. Le Mouvement Psychanalytique, 9:121-129.

Quinodoz, D. (1998). "Hitchcock's vertigo:collapse of a rescue fantasy" by E. Berman.., Int. J. Psychoanal., 79:391-392.

Renzel, A. (2000): "Lost Highway" - eine Reise in den Wahnsinn.
 Psychoanalyse im Widerspruch, 23, 80-91.

Richards, A. (1994). Review of Psychiatry and the the Cinema, J. Amer. Psychoanal. Assn., 42:261-263.

Ries, P. (1995). Popularise and/or be damned: psychoas., film at crossroads 1925.., Int. J. Psychoanal., 76:759-792.

Ripa di Meana, G. (1998) La morale dell'altro. Scritti sull'inconscio dal Decalogo di Kieslowski. Firenze: Liberal Libri.

Rodowick, D. N. (1991). The Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory, New York: Routledge

Rubin, T.  "The Horror Reaction and its Importance."  American
Journal of Psychoanalysis
,  53.1 (1993).

Ruthmann, R. (1999): "Der letzte Tango in Paris" - eine psychoanalytische Interpretation. Psychoanalyse im Widerspruch, 21, 103-111.

Sabbadini, Andrea.  (1998) Letters, words and metaphors: A psychoanalytic reading of Michael Radford's Il Postino. International Journal of Psychoanalysis, 79(3): 609-611.

------ (1998) Review of: Representing the Woman: Cinema and Psychoanalysis by Elizabeth Cowie, 1997. International Journal of Psychoanalysis, 79(4): 837-840.

------ (2000) The attraction of fear: Some psychoanalytic observations on Alfred Hitchcock's Vertigo. British Journal of Psychotherapy, 16(4): 507-511.

------ (2000) Watching voyeurs: Michael Powell's Peeping Tom (1960). International Journal of Psychoanalysis, 81(4): 809-813.

------ (2001) Psychoanalyse und ihre (Fehl)darstellung im Film: von Pabst uber Hitchcock und Huston zu Brodys 1919Psyche, 55(4): 422-428.

------ (Ed.) (2003) The Couch and the Silver Screen. Psychoanalytic Reflections on European Cinema. Hove & New York: Brunner-Routledge; Ital. transl. Il lettino e lo schermo cinematografico. Riflessioni psicoanalitiche sul cinema europeo. Roma: Borla, 2006.

------ (2003) ‘Not something destroyed but something that is still alive’: Amores Perros at the intersection of rescue fantasies. International Journal of Psychoanalysis, 84(3): 755-764.

------ (2004) Of boxes, peepholes and other perverse objects. A psychoanalytic look at Luis Buñuel’s Belle de Jour. In: Peter William Evans & Isabel Santaolalla, Eds.: Luis Buñuel. New Readings. London: BFI Publishing, 2004; pp. 117-127.

------ (2004) Fusione di temporalità diverse in Histoire d’eaux di Bernardo Bertolucci. Rivista di Psicoanalisi, 50(2): 461-468.

------ (2004) The couch and the screen [Marco Zee-Jotti’s interview with A. S.]. Filmwaves, 26: 26-29.

------ (2005). Parla con lei. La ‘Talking cure’ da Freud ad Almodóvar. Psicobiettivo, 25(1): 135-142.

------ (2005). Winnicott fra gioco e creatività. Eidos. Cinema psyche e arti visive, 3: 6-8.

Sabbadini, Andrea &  Stein, Alexander (2001) 'Just choose one’: Memory and time in Kore-eda’s Wandafuru Raifu (Afterlife). International Journal of Psychoanalysis, 82(3): 603-608.
 

Sachs, H. (1929) Zur Psychologie des Films. Die Psychoanalytische Bewegung, 1; Engl. Transl.: Film psychology. Close Up, 3:5

Safran, Stephen B. (1988). 'Brazil': A cinematic incest fantasy, Psychoanal. Rev., 75:473-479

Salina, F. (ed.) (1979). Immagine e fantasma. La psicoanalisi nel cinema di Weimar, (articles by E. Bruno, J. Farges, R. Mele, M. Grande, F. Menna, J. Risset, F. Salina). Roma: Edizioni Kappa.

Samuels, L. (1985). Female psychotherapists portrayed in film, fiction & nonfiction, J. Amer. Acad. Psychoanal., 13:367-378.

Sartre, J.-P. (1984) The Freud Scenario. Ed. by J.-B. Pontalis. London: Verso, 1985.

Schlüpmann, H. (1994): Die Geburt des Kinos aus dem Geist des Lachens. Psyche, 48, 1075-1087.

Schneider, S.  "Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror."  In Horror Film Reader (ed. Alain Silver and James Ursini).  New York: Limelight Editions, 2000.  Also appears online in the ejournal Other Voices 3.1, 1999: http://dept.english.upenn.edu/~ov/1.3/sschneider/monsters.html.

Schneider, S.  "Uncanny Realism and the Decline of the Modern
Horror Film."  Paradoxa: Studies in World Literary Genres 3.3/4 (1997): 41728.

Schneider, G. (1998): Alfred Hitchcock's "Vertigo" - eine
psychoanalytische Interpretation. Psychoanalyse im Widerspruch, 20, 62-71.
 
Schneider, G. (2000): Die Zerstörung von Identität - Anmerkungen zu David Lynchs Film "Lost Highway". Psychoanalyse im Widerspruch, 23, 92-95.

Senatore, I. (1996) L'analista in celluloide. Milano: Franco Angeli.

Senatore, I. (2004) Il cineforum del dotttor Freud. Centro Scientifico Editore.

Silverman, K. (1988). The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington & Indianapolis: Indiana University Press.

Silverman, K. (1988) The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Bloomington: Indiana University Press.

Sklarew, B. (1991). Review of Bertolucci's 'Dream Loom': A Psychoanalytic Study of Cinema, Psychoanal. Q., 60:691-694

Sklarew, B. (1999). Freud and film: encounters in the weltgeist., J. Amer. Psychoanal. Assn., 47:1239-1248

Smith, J. & Kerrigan, W., eds. (1987). Images in Our Souls. Cavell, Psychoanalysis and Cinema., Baltimore: Johns Hopkins U. Press.

Stam, R., Burgoyne, R & Flitterman-Lewis, S. (1992). New Vocabularies in Film Semiotics: Structuralism, Post- Structuralism and Beyond. New York & London: Routledge 1992.

Stein, A. (2000): The Cello Bow as Magic Wand.  The Psychoanalytic Review.
87(3):717‑726.
 
Stein, A. (2003): Music, Silence and Trauma in Polanski's 'The Pianist' Projections 49(16): 29-40.
 
Stein, A. (2004): Music and Trauma in Polanski's 'The Pianist' The International Journal of Psycho‑Analysis 85(3):755 –65.

Stein, H.H. (1993). Screen memory:recollections,distortions, film "Three Came Home".., Psychoanal. Q., 62:109-113.

Swaffar, Janet (2000). Identity signifiers in contemporary Russian films: a Lacanian analysis. American Imago, 57(1): 95-119.

Tarratt, M, "Monsters From the Id."  In Film Genre Reader (ed. Barry Keith Grant).  Austin: University of Texas Press, 1986.

Terr, L.C. (1987). Early trauma, creativity: Poe, Wharton, Magritte, Hitchcock, Bergman.., Psychoanal. Study Child, 42:545-574.

Turley, J.  "Use of a Horror Film in Psychotherapy." Journal of
American Academy of Child and Adolescent Psychiatry 
29.6 (1990): 94245.

Urbano, C, "Projections, Suspense, and Anxiety: The Modern Horror
Film and its Effects." Psychoanalytic Review 85.6, 1998.

Van Buren, J. (1998). Food for thought in the film 'Fried Green Tomatoes'., Psychoanal. Inquiry, 18:291-299. 

Villela, L. (1987a). Star Wars as myth: A fourth hope? Psychoanalytic Review, 74: 388-399.

Villela, L.
(1987b). Adolescent film preferences: The world of Purple Rain, a psychodynamic interpretation. In: Adolescent Psychiatry, Vol. 14. Chicago: University of Chicago Press.

Villela, L. (1999). From film as case study to film as myth. Annual Psychoanaysis, 26: 315-330

Ward, I.  "Adolescent Phantasies and the Horror Film."  *British
Journal of Psychotherapy* 13.2 (1996).

Walker, J. (1993). Couching Resistance: Women, Film, and Psychoanalytic Psychiatry, Minneapolis: University of Minnesota Pr

Welles, J. (1998). Rituals: cinematic and analytic., Psychoanal. Inquiry, 18:207-221.

Werman, D. (1998). Film reviews guest editorial., Int. J. Psychoanal., 79:387-387.

Winkler, J.K. & Bromberg, W. (1939). Mind Explorers, New York: Reynal & Hitchcock

Wolfenstein, M., & Leites, N. (1950). Movies: A Psychological Study., Glencoe, Ill.: The Free Press

Wrye, H.K. (1997). Projections of domestic violence & erotic terror on film screen.., Psychoanal. Rev., 84:681-700.

Wrye, H. K. 1998 Tuning a clinical ear to the ambiguous chords of Jane Campion's The Piano, PSYCH INQ 18:2. 168-182

Wrye, H.K.,1998 Lone Star: Signs, Borders, Thresholds, IJP 790:2,
395-398

Zeul, M. (1989). John Hustons "Freud"-Film. Psyche, 43, 952-966 (orig. 1961).
 
Zeul, M. (1994): Bilder des Unbewußten. Zur Geschichte der psychoanalytischen Filmtheorie. Psyche, 48, 975-1003.
 
Zeul, M. (1997): Carmen &Co. Weiblichkeit und Sexualität im Film.
Stuttgart: Klett-Cotta.

Zeul, M. (1999). 'The remains of the day': film review., Int. J. Psychoanal., 80:629-630.
 
Zizek, S. (1998): Picknick der Aliens. Andrej Tarkowskij und das Dig aus dem inneren Raum. Lettre International, 43 (4), 84-92.
 
Zizek, S. (1999): Traumafabrik. Vom Urvater zum Holocaust - und zurück. Lettre International, 46 (3), 16-19.

Zizek, S.  (1991). "Grimaces of the Real, Or When the Phallus Appears." October 58

Zizek, S. (ed.) (1992). A Triumph of the Eye over the Gaze? Everything You Always Wanted to Know about Lacan but were Afraid to Ask Hitchcock, London: Verso Books

Zizek, S. (1992) Enjoy Your Symptom!: Jacques Lacan in Hollywood and Out. London & New York: Routledge.

Zusman, W. (1998) The Conversation: Psychic Reality, Neutrality, and Reaction Formation. Psychoanal. Inq., 18:251-256

 


  back to top

Order now from Karnac Books

 

 

Enquiries:(+44)(0)207 563 5017
ann.glynn@iopa.org.uk

 

 

 


epff3@psychoanalysis.org.uk