The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors, including leading cinema historians and theorists, psychoanalysts with a specific expertise in the interpretation of films, as well as the filmmakers themselves. This composite approach offers a fascinating insight into the world of cinema.
The Couch and the Silver Screen is illustrated with stills throughout and Andrea Sabbadini's introduction provides a theoretical and historical context for the current state of psychoanalytic studies of films. The book is organised into four clear sections - Set and Stage, Working Through Trauma, Horror Perspectives and Documenting Internal Worlds - which form the basis for engaging chapters including:
The cultural richness of the material presented, combined with the originality of multidisciplinary dialogues on European cinema, makes this book appealing not only to film buffs, but also to professionals, academics and students interested in the application of psychoanalytic ideas to the arts.
'In these days, when psychoanalysis is looking for ways to integrate itself back into the world - into cultural, political, intellectual, and emotional life - a book like this is to be cherished … It is a gold mine for anyone interested in movies, in psychoanalysis, or in the reciprocity between them' - Anita Weinreb Katz, Journal of the American Psychoanalytic Association, 53(2): 673-679; 2005.
"This is a book which will fascinate all cinema lovers and take its place among the many valuable writings on applied psychoanalysis in Europe" - Serge Firsch, The International Journal of Psychoanalysis
Mulvey, Foreword. Sabbadini, Introduction. Part I: Set and Stage. Bertolucci, Shaw, Mawson, The Inner and Outer Worlds of the Filmmaker's Temporary Social Structure. Christie, Stevenson, Taylor Robinson, One in the Eye From Sam - Samuel Beckett's Film (1964) and his Contribution to our Vision in Theatre, Cinema and Psychoanalysis. Part II: Working Through Trauma. Moretti, Golinelli, Bolognini, Sabbadini, Sons and Fathers: A Room of their Own - Nanni Moretti's The Son's Room (2001). Sekoff, Witness and Persecution in two Short Films: Miguel Sapochnik's The Dreamer (2001) and Lindy Heymann's Kissing Buba (2001). Annegret Mahler-Bungers, A Post-postmodern Walkyrie - Psychoanalytic Considerations on Tom Tykwer's Run, Lola, Run (1999). Pedrón de Martín, Thomas Vinterberg's Festen (1998) - An Attempt to Avoid Madness Through Denunciation. Diamond, Itsván Szabo's Sunshine (1999) - The Cinematic Representation of Historical and Familial Trauma. Part III: Horror Perspectives. Schneider, Notes on the Relevance of Psychoanalytic Theory to Euro-horror Cinema. Campbell, Dario Argento's Phenomena (1985) - A Psychoanalytic Perspective on the 'Horror Film' Genre and Adolescent Development. Aubry, Freedom Through Re-introjection: A Kleinian Perspective on Dominik Moll's Harry: He's Here to Help (2000). Grant, Cinema, Horror and the Abominations of Hell - Carl-Theodor Dreyer's Vampyr (1931) and Lucio Fulci's The Beyond (1981). Part IV: Documenting Internal Worlds. Apted, Taylor Robinson, Narratives and Documentaries - An Encounter with Michael Apted and his Films. Cowie, The Cinematic Dream-work of Ingmar Bergman's Wild Strawberries (1957). Filipovic, Film as an Abreaction of Totalitarianism - Vinko Bre an's Marshal Tito's Spirit (2000). Berman, Rosenheimer, Aviad, Documentary Directors and their Protagonists: A Transferential / Countertransferential Relationship? Timna Rosenheimer's Fortuna (2000) and Michal Aviad's Ever Shot Anyone? (1995). Brody, Brearley, Filming Psychoanalysis: Feature or Documentary? Two Contributions.
The New Library of Psychoanalysis is published by Routledge Mental Health in association with the Institute of Psychoanalysis, London.
Its purpose is to facilitate a greater and more widespread appreciation of psychoanalysis and to provide a forum for increasing mutual understanding between psychoanalysts and those in other disciplines. The series also aims to make some of the work of continental and other non-English speaking analysts more readily available to English-speaking readers, and to increase the interchange of ideas between British and American analysts.
The New Library of Psychoanalysis published its first book in 1987 under the editorship of David Tuckett, later followed by Elizabeth Bott Spillius, Susan Budd and Dana Birksted-Breen. A considerable number of Associate Editors and readers have assisted the editors.
Under the guidance of Foreign Rights Editors, a considerable number of the New Library books have been published abroad, particularly in Brazil, Germany, France, Italy, Peru, Spain and Japan.
The aim of the New Library of Psychoanalysis is to maintain the high level of scholarship of the previous series, to provide a forum for increasing understanding between psychoanalysis and other disciplines and to increase the interest of the general book-reading public in psychoanalysis.
The New Library of Psychoanalysis also aims to help the various schools of psychoanalysis to better understand each other. It has published books representing all three schools of thought in British psychoanalysis, including a particularly important work edited by Pearl King and Riccardo Steiner, expounding the intellectual and organisational controversies that developed in the British psychoanalytical Society between Kleinian, Viennese and 'middle group' analysts during the Second World War.
The New Library of Psychoanalysis has also translated and published several books by Continental psychoanalysts, and it plans in the future to continue the policy of publishing books that express as clearly as possible a variety of psychoanalytic points of view.