By Skip Dine Young
Psychology on the Movies explores the insights to be won by means of utilizing quite a few mental lenses to renowned movies together with cinematic depictions of human habit, the psychology of filmmakers, and the effect of viewing videos.
- Uses the widest diversity of mental techniques to discover video clips, the folk who lead them to, and the folks who watch them
- Written in an available variety with bright examples from a various staff of well known motion pictures, comparable to The Silence of the Lambs, The Wizard of oz., superstar Wars, Taxi motive force, solid Will Hunting, and A attractive Mind
- Brings jointly psychology, movie experiences, mass verbal exchange, and cultural reports to supply an interdisciplinary perspective
- Features an intensive bibliography for additional exploration of varied study fields
Chapter 1 Introduction—The Many facets of Psychology and the numerous Faces of the films (pages 1–16):
Chapter 2 the hunt for Meaning—Psychological Interpretations within the video clips (pages 17–39):
Chapter three Psychopathology, Psychotherapy and Psycho—Psychologists and Their sufferers within the videos (pages 41–60):
Chapter four loopy Genius—The Psychology of Filmmakers (pages 61–78):
Chapter five Picturing the Audience—Psychological Profiles of Moviegoers (pages 79–92):
Chapter 6 The Cinematic Moment—Emotions and the Comprehension of flicks (pages 93–110):
Chapter 7 Reflecting at the Screen—The Reception of films (pages 111–128):
Chapter eight the flicks Made Me Do It—The results of movie (pages 129–149):
Chapter nine videos as gear for Living—The features of movie (pages 151–170):
Chapter 10 Conclusion—Putting the items jointly (pages 171–180):
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Additional info for Psychology at the Movies
This perspective is necessarily that of the audience members as they watch the screen. Therefore, viewers must adopt the gaze which becomes a stand in for the totality of their visual experience. The importance of the gaze is highlighted in ﬁlms that use camera shots representing the point-of-view of a particular character (jiggling the camera when a character is running; cross-cuts between a close-up on an object and an exaggerated facial reaction). In this way, the audience’s identiﬁcation with those characters who control the gaze is heightened.
32 All ﬁlm narratives are grounded in conﬂict of one sort or another. 4. Much of our psychic conﬂict is unconscious. Our consciousness feels the pain of our internal war, but the intricate attacks and counter-maneuvers themselves (defense mechanisms) are largely invisible. While unconsciousness is never revealed in its pure form, we can catch glimpses and shadows through symbols. , dream interpretation) crucial to psychoanalytic therapy. The signiﬁcance of a movie which is captured in a plot summary is only the surface; symbolic probing takes us into the hidden realms.
Private eye Phillip Marlowe (Humphrey Bogart) is so regularly assaulted and threatened that he drolly remarks that everyone he meets seems to be pulling a gun on him. Since psychoanalysis assumes that all people are driven by selﬁsh, impure P1: TIX/XYZ JWST145-c02 P2: ABC JWST145-Young January 6, 2012 9:51 Printer Name: Yet to Come The Search for Meaning 27 impulses, the very idea of “innocence” is called into question. The aggression to which Marlowe is subjected is interpreted as a projection of his own aggressive impulses against the external world.
Psychology at the Movies by Skip Dine Young