The Jungian Film School

Psyche & Cinema presents…

The Jungian Film School

10-week online academy

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No form of art goes beyond ordinary consciousness as film does, straight to our
emotions, deep into the twilight room of the soul.

– Ingmar Bergman

Myth is more individual and expresses life more precisely than does science. Nights
through dreams tell the myths forgotten by the day. The collective unconscious
appears to consist of mythological motifs or primordial images, for which
reason the myths of all nations are its real exponents.

– C. G. Jung, Memories, Dreams, Reflections

 

 

Films, series, and animations are agents of expression par excellence, giving form to the archetypal and collective mythologies that encode and define the spirit of our time.

The global zeitgeist is both captured and symbolised by the cinematic art form.

Jungian theory offers an illuminating framework through which to view and understand the metaphorical, allegorical, and symbolic expressions of film.

To unlock the secrets of the soul one needs to understand the language of the psyche. In this regard the Jungian lexicon is an invaluable language, providing a map and anchoring points that the intrepid film maker, critic, or aficionado may use to orient themselves within the imaginal landscape of motion picture art.

To learn the language of the psyche and its application to the genre of film join us for a rich, illuminating, and in-depth exploration of psyche & cinema.

The Programme

Module 1: The Trickster and the Shadow

Module 2: The Anima

Module 3: The Child and the Self

Module 4: The Persona

Module 5: Horror and the Role of Terror: The Antithesis of Being Glad to Be Alive

Module 6: Cultural complexes in film

Module 7: The Freak and Jung’s second personality

Module 8: Spirited Away and its depiction of Japanese traditional culture

Module 9: The archetype of the apocalypse in film

Module 10: Synthesis and conclusions

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Each module includes:

  • a live interactive webinar (recorded for later viewing for those unable to attend live).
  • a reading pack and list of essential viewing.
  • A psychoeducational application – designed to allow you to grapple with the theme of the module to stimulate you creatively and allow you to investigate your own psychological economy (unconscious) on the module topic, archetype, narrative structure.

The programme includes membership in a private and facilitated Facebook forum where you will interact with other students and facilitators on the module’s themes, films, and applications.

A certificate on completion of the programme.

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It is obvious that art cannot teach anyone anything, since in four thousand years humanity has learnt nothing at all. We should long ago have become angels had we been capable of paying attention to the experience of art, and allowing ourselves to be changed in accordance with the ideals it expresses. Art only has the capacity, through shock and catharsis, to make the human soul receptive to good. It’s ridiculous to imagine that people can be taught to be good…Art can only give food – a jolt – the occasion – for psychical experience.

― Andrei Tarkovsky

The School

The Jungian Film School is a ten-week online academy exploring the creative intersection of psyche and cinema. This is a unique opportunity to explore the genre of film through the lens of an international faculty of Jungian scholars, analysts, cultural critics, and philosophers.

Faculty:

Stephen Anthony Farah MA (programme director)

Co-founder of and senior lecturer at The Centre for Applied Jungian Studies South Africa. He is also an executive member of the International Association of Jungian Studies.  Stephen holds an honours degree in analytical philosophy from the University of the Witwatersrand and a masters degree in Jungian and Post Jungian Studies from the University of Essex. Stephen’s areas of interest include psychoanalysis, film, the philosophy of language, consciousness, individuation, and the simulation hypothesis.

 

Dr. Helena Bassil-Morozow

Cultural philosopher, media and film scholar, and academic writer whose many publications include monographs Tim Burton: The Monster and the Crowd (Routledge, 2010), The Trickster in Contemporary Film (Routledge, 2011), The Trickster and the System: Identity and Agency in Contemporary Society (Routledge, 2015), Jungian Film Studies: the Essential Guide (Routledge, 2016; co-authored with Luke Hockley) and Jungian Theory for Storytellers: A Toolkit (2018).

 

Dr. Kevin Lu

Senior Lecturer and Director of the MA Jungian and Post-Jungian Studies in the Department of Psychosocial and Psychoanalytic Studies, University of Essex. He is a former member of the Executive Committee of the International Association for Jungian Studies and a member of Adjunct Faculty at Pacifica Graduate Institute. Kevin’s publications include articles and chapters on Jung’s relationship to the discipline of history, Arnold J. Toynbee’s use of analytical psychology, critical assessments of the theory of cultural complexes, sibling relationships in the Chinese/Vietnamese Diaspora, racial hybridity, and Jungian perspectives on graphic novels and their adaptation to film.

 

Dr. John Beebe

Jungian analyst and past president of the C. G. Jung Institute of San Francisco. With Virginia Apperson, he has co-authored The Presence of the Feminine in Film (2008). John has spearheaded a Jungian approach to the analysis of film that draws on Jung’s work on archetypes and psychological type. Recent publications include “Responses to a Film about Integrity” in Jungian Perspectives on Rebirth and Renewal (2017) and “Discovering the Meaning of a Film” in The Routledge International Handbook of Jungian Film Studies (2018).

 

Dr Amalya Layla Ashman

Honorary research fellow at the Australian Research Council Centre of Excellence for the History of Emotions at the University of Western Australia. She specialises in exploring mediated representations of gender, ethnicity and emotion in their cultural and historical contexts. Her doctoral thesis analysed the application of the post-Jungian concept of the ‘cultural complex’ to western constructs of trauma theory and the culturally-bound emotion, han, in South Korean cinema. Her upcoming publication in Thomas Singer’s edited collection on cultural complexes in Asian contexts focuses on cultural complexes in digital media and is entitled, ‘The Kimchi-Bitch Cultural Complex: modern misogyny, memes and millenial men in South Korea.’

 

Christopher Hauke

Jungian analyst in private practice and Senior Lecturer emeritus at Goldsmiths, University of London interested in the applications of depth psychology to a wide range of social and cultural phenomena including film. His books include Jung and the Postmodern: The Interpretation of Realities, (2000); Human Being Human. Culture and the  Soul  (2005) Visible Mind. Movies, Modernity and the Unconscious.(2013). He has co-edited two collections of Jungian film writing: Jung and Film. Post-Jungian Takes on the Moving Image (2001) and Jung and Film II – The Return (2011).

His short films, documentaries One Colour Red and Green Ray and the psychological drama  Again premiered in London venues and at congresses in Barcelona, Zurich and Montreal. In addition to new film projects he is now researching the limits of rationality, and the place of the irrational in our lives.

 

Megumi Yama PhD

professor of clinical psychology and depth psychology at Kyoto University of Advanced Science. She is also engaged in clinical work as a psychotherapist based on Jungian principles. She was educated in clinical psychology at Kyoto University under Professor Hayao Kawai, where she received her PhD. Her interest is in images and words—what takes place in the invisible silence. She deals with this theme by exploring clinical materials, formative art, myth, literature, and Japanese culture. She has written many articles and books, including translations. Her recent articles in English are “Ego Consciousness in the Japanese Psyche: Culture, Myth and Disaster,” in the Journal of Analytical Psychology 58 (2013), and “The Artist’s Experience of Formative Work: Japanese Painter Yasuo Kazuki and his Siberian Series,” in Jung Journal: Culture & Psyche 4 (2010)

 

Box Office

Registration is now closed.

For more information email anja@appliedjung.com.