Connecting the dots between fantasy and reality: The social psychology of our engagement with fictional narrative and its functional value

This essay provides an overview of research and theory on narrative and its important, functional role in human experience, including the ways people use media to interrogate their own beliefs and feelings, and derive social meaning. Thought‐provoking film, television, and books can help us make meaning of our lives and grow in ways that are important for our successful social functioning. Research reviewed here demonstrates that exposure to fiction can increase empathy and social skills and reduce prejudice. Our connection to characters and stories has been studied in various ways as extensions of the self into another, while at the same time bringing the other into the self. Bringing together disparate perspectives, we propose that connecting to story worlds involves a process of “dual empathy”—simultaneously engaging in intense personal processing while also “feeling through” characters, both of which produce benefits. Because the value of entertainment narratives may not always be well understood, we explain how those experiences can be personal, social, and can serve important adaptive functions.     

Movies on the couch: The MOVIE model of film therapy

Film therapy, the therapeutic use of movies in psychological therapies, is a growing area of interest to therapists and researchers. This paper discusses the benefits of film therapy and presents a method, the MOVIE model of film therapy, a widely applicable, trauma-informed framework for individual or group therapy, counsellor education and self-help. Film or cinema therapy is a highly accessible and relatable method for many diverse groups. The benefits identified include emotional processing, greater ease of dialogue, increased empathy, interpersonal learning, new perspectives and learning skills. Following the model's reflective steps, clients mindfully observe and voice their emotional and psychological responses to movie-watching; identify how the imagery, characters, themes and story symbolise personal experience; and consider any new possibilities that emerged for their own lives. The model is informed by a practice-focussed review of literature and draws on methods from mindfulness and experiential and narrative therapies. The steps are widely applicable in a range of settings and can be adapted across counselling modalities. Further research to consider the outcomes of using the model, alongside qualitative research on clients' experiences of working this way with film, is recommended.     

Film clips and narrative text as subjective emotion elicitation techniques

Film clips and narrative text are useful techniques in eliciting emotion in a laboratory setting but have not been examined side-by-side using the same methodology. This study examined the self-identification of emotions elicited by film clip and narrative text stimuli to confirm that selected stimuli appropriately target the intended emotions. Seventy participants viewed 30 film clips, and 40 additional participants read 30 narrative texts. Participants identified the emotion experienced (happy, sad, angry, fearful, neutral—six stimuli each). Eighty-five percent of participants self-identified the target emotion for at least two stimuli for all emotion categories of film clips, except angry (only one) and for all categories of narrative text, except fearful (only one). The most effective angry text was correctly identified 74% of the time. Film clips were more effective in eliciting all target emotions in participants for eliciting the correct emotion (angry), intensity rating (happy, sad), or both (fearful).     

Cultural narratives and the succession scenario: Slumdog Millionaire and other popular films and fictions

An approach to the analysis of cultural narratives is proposed drawing inspiration from Lévi-Strauss's analysis of myths as fantasied resolutions of conflicts and contradictions in culture and of typical dilemmas of human life. An example of such an analysis revolves around contradictions in the Western cultural construction of the succession of generations. The logic of the structural analysis of cultural representations is explicated, the schema of the succession scenario is laid out, and the conflicts that generate it are identified. The movie Slumdog Millionaire is examined in some detail as an illustration of the succession scenario at work, and a comparative analysis shows how the same underlying schema accounts for otherwise obscure aspects of comparable contemporary popular narratives including Harry Potter, The Lion King and Star Wars.     

高兴和悲伤电影片段诱发情绪的有效性和时间进程

选取269名大学生为被试,探讨情绪电影片段诱发被试高兴和悲伤情绪的有效性和时间进程.待被试稳定情绪后观看情绪电影片段,分别采用主观报告和心率、指温、皮电、指脉率、血氧饱和度、心率等心理生理反应的指标,获取被试观看高兴和悲伤电影片段时的前测和后测成绩并进行了分析比较.结果发现: (1)高兴影片能诱发被试高兴情绪,高兴情绪唤醒后,3分钟内处于一般偏上的状态且显著高于基线水平. (2)悲伤影片能诱发被试悲伤情绪,悲伤情绪唤醒后.5分钟内处于一般偏上的状态且显著高于基线水平.     

The Piano, the Animus, and the Colonial Experience

Focused principally on an analysis of Ada, the mute heroine of Jane Campion's The Piano , this article shows how post–Jungian animus theory illuminates that character's mysterious personality. In particular, Ann Ulanov's thoughts about animus development are connected with Demaris Wehr's observations concerning the internalization of social oppression in an argument that shows how, notwithstanding she is a woman, Ada is a product of colonial oppression. Her mythological antecedents are also considered, and are particularly marked in that she resembles the handless maiden in Marie–Louise von Franz's analysis of that fairy tale. In this context Ada's ultimate renunciation of her husband is symbolically reinforced by the developing personality of her daughter Flora. The changes in both characters can be seen as implying not only the rebirth of Ada's psyche but also the emergence of a new psychological readiness to throw off the colonial mantle.     

A Field Guide to Cinetherapy: On Celluloid Psychoanalysis and Its Practitioners

This paper addresses the strange bedfellowship between psychoanalysis and cinema since the century's turn. Its specific focus is the idiosyncratic psychoanalysis/psychotherapy practised in mainstream cinema and television. Cinetherapists have consistently fallen into one of three categories: Dr. Dippy, a focus of derision, weirder than his patients; Dr. Evil, Hollywood's psychiatric version of the mad, bad scientist; and the unfailingly benevolent, self-sacrificing Dr. Wonderful. The prevalence of these stereotypes has waxed and waned according to shifting cultural circumstances. The study concludes with reflections on the possible impact, deleterious or otherwise, of distorted filmic images of the impossible profession.     

Finding our way in the dark

Accepting the common lay definition of nightmare as any form of upsetting, dreamlike cognition occurring in the midst of sleep, the author argues for a classification of nightmares that would be based, not on physiological findings, but on what the upsetting nocturnal occurrence turns out to mean to the dreamer. Three types of nightmare identified on this basis are illustrated through dream sequences from classic Hollywood movies and amplified by clinical examples: (1) the dream that symbolizes the next stage of life as unusually daunting, (2) the dream that exposes the shadow of another person in a shocking way, and (3) the 'empathy dream', in which the dreamer experiences directly the anxieties of another subject. It is suggested that the accurate interpretation of a particular upsetting dream depends upon which type of nightmare the dream turns out to be.     

Degrees of entrapment: living and dying in the claustrum

This paper explores Donald Meltzer’s concept of the claustrum, an unconscious phantasy of a space inside the body of the internal mother that has been forcibly entered and occupied. The author proposes that claustrophobic phenomena might be viewed on a continuum from the relatively ordinary to the severely pathological. Following a brief review of the characteristics of Meltzer’s claustral ‘compartments’, this continuum is explored through and illustrated by a psychoanalytic understanding of two films, Coraline, directed by Henry Selick and based on the novella by Neil Gaiman, and The Talented Mr. Ripley, based on the novel by Patricia Highsmith and directed by Anthony Minghella. The degree of entrapment in a claustrophobic world and the possibility of emerging from it into a world of authentic intimate relationships is shown to be influenced by the internal relationship to a parental couple.