The Routledge International Handbook of Jungian Film Studies  book cover
1st Edition

The Routledge International Handbook of Jungian Film Studies

Edited By

Luke Hockley

ISBN 9781138666962
Published April 9, 2018 by Routledge
490 Pages

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Book Description

Winner of the IAJS award for best edited book of 2018!

The Routledge International Handbook of Jungian Film Studies weaves together the various strands of Jungian film theory, revealing a coherent theoretical position underpinning this exciting recent area of research, while also exploring and suggesting new directions for further study.

The book maps the current state of debates within Jungian orientated film studies and sets them within a more expansive academic landscape. Taken as a whole, the collection shows how different Jungian approaches can inform and interact with a broad range of disciplines, including literature, digital media studies, clinical debates and concerns. The book also explores the life of film outside cinema - what is sometimes termed ‘post-cinema’ - offering a series of articles exploring Jungian approaches to cinema and social media, computer games, mobile screens, and on-line communities.

The Routledge International Handbook of Jungian Film Studies represents an essential resource for students and researchers interested in Jungian approaches to film. It will also appeal to those interested in film theory more widely, and in the application of Jung’s ideas to contemporary and popular culture.

Table of Contents

List of Contributors



Luke Hockley

Theoretical Approaches – Section Editor: Catriona Miller

1) A Jungian textual terroir

Catriona Miller

2) Dionysus and textuality: Hockley’s somatic cinema for a transdisciplinary film studies

Susan Rowland

3) Stick to the image? No thanks!

Eric Greene

4) Archetypal possibilities: meta-representations, a critique of von Franz interpretation of fairy tale genre focusing on Jean Cocteau’s retelling of The Beauty and the Beast

Leslie Gardner

5) Human Beans and the flight from otherness: Jungian constructions of gender in film

Phil Goss

6) It’s alive: The evolving archetypal image and Mary Shelley’s Frankenstein

Elizabeth Nelson

7) Music in film: Its functions as image

Benjamin Nagari

8) Psychological images and multimodality in Boyhood and Birdman

Shara Knight


Applied Approaches – Section Editor: Helena Bassil-Morozow

9) Feminist film criticism: Towards a Jungian approach

Helena Bassil-Morozow

10) Teaching Jung in the academy: The representation of comic book heroes on the big screen

Kevin Lu

11) Horror and the sublime: Psychology, transcendence and the role of terror

Christopher Hauke

12) Hungry children and starving fathers: auteurist notions of father hunger in American Beauty

Toby Reynolds

13) Beyond the male hero myth in Clint Eastwood films

Steve Myers

14) True detective and Jung’s four steps of transformation

Stephen Anthony Farah

15) Film futuristics: A forecasting methodology

Michael Glock

Transnational Approaches – Section Editor: Terrie Waddell

16) The Australian lost child complex in adaptation: Kurzel’s Macbeth and Stone’s The daughter

Terrie Waddell

17) Numinous images of a new ethic: A Jungian eiew of Kieslowski’s The decalogue

Judith R. Cooper and August J. Cwik

18) The han cultural complex: Embodied experiences of trauma in New Korean Cinema

Amalya Layla Ashman

19) The outsider protagonist in American film

Glen Slater

20) Spirited Away and its depiction of Japanese traditional culture

Megumi Yama

21) Cold comforts: Psychical and cultural schisms in The Bridge and Fortitude

Alec Charles

22) Cultural hegemonies of forms and representations: Russian fairy tale women and Post-Jungian thought

Nadi Fadina

Clinical Approaches – Section Editor: Luke Hockley

23) Feeling film: Time, space and the third image

Luke Hockley

24) Getting your own pain: A personal account of healing dissociation with help from the film War Horse

Donald E. Kalsched

25) Healing the holes in time: Film and the art of trauma

Angela Connolly

26) Discovering the meaning of a film

John Beebe

27) Under the skin: Images as the language of the unconscious

Joanna Dovalis and John Izod

Approaches Post-Cinema – Section Editor: Greg Singh

28) Beyond the second screen: Enantiodromia and the running-together of connected viewing

Greg Singh

29) Anima ludus: Analytical psychology, phenomenology and digital gamesSteve Conway

30) Cinema without a cinema and film without film: the psychogeography of contemporary media consumption

Aaron Balick

31) Digital media as textual theory: Audiovisual, pictorial and data analyses of Alien and Aliens

Andrew McWhirter

32) A networked imagination: Myth-making in fan fic’s story and soul

Leigh Melander

33) The unlived lives of cinema: Post-cinematic doubling, imitation and supplementarity

Kelli Fuery

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Luke Hockley is Research Professor of Media Analysis at the University of Bedfordshire, UK. He is a practising psychotherapist and is registered with the United Kingdom Council for Psychotherapy (UKCP). Luke is joint Editor in Chief of the International Journal of Jungian Studies (IJJS) and Series Editor for Jung the Essential Guides (Routledge). His recent publications include: Jungian Film Studies: the Essential Guide (Routledge, 2016; co-authored with Helena Bassil-Morozow) and Somatic Cinema: the relationship between body and screen, a Jungian perspective.


"Jungian Film Studies has been energetically pushing open the doors of the academy for years. Now, with this volume, full entry has been achieved. The book is reliable, fascinating and beautifully put together. To Lecturers in Film and Related Subjects: Abandon whatever prejudices you have left and put this one on your assigned reading lists! To Students: If your lecturers do not assign this book as essential reading, make a noise about it because you are missing out on where the action is! The Jungians are not only coming, they are here." --Professor Andrew Samuels, Department of Psychosocial and Psychoanalytic Studies, University of Essex


"Hockley and his colleagues have essentially resisted the ‘confirmation bias’ of much contemporary film theory in this innovative and insightful collection. Enjoying a rich balance between determining embodied meanings and insinuating wider cultural affect in film, the essays are as valuable for the clinician as the theorist. Repositioning cinema as a font of psychological and emotional questions beyond the imprimatur of Freudian and Lacanian readings, this international collection speaks to the theory, therapy and thought the image has always promised to offer, and in many of these analyses, is here so usefully revealed." --Professor Paul Wells, Animation Academy, Loughborough University