ABSTRACT
Jungian film studies really took root at the start of the twenty-first century. Since 2001, the intervening years have seen the publication of numerous monographs that collectively have come to form the corpus of Jungian film theory. While hardly extensive, these volumes now exceed over thirty sole authored books and explore themes as diverse as directors, auteur theory, national identity, tricksters, phenomenology, production, textual analysis and reception theories. Indeed, we might say that Jungian film theory has dipped its toe into most of the areas that have been the concern of traditional film theory. The issue of diversity, coherence and the establishment of a definable body of knowledge with allied methodological approaches is one that will be returned to later in this introduction and repeatedly throughout the book. At this point it suffices to note that, as an expanding field, the volume of work in Jungian film studies is increasing, and the number of PhD theses concerned with Jung and cinema also continues to grow. As a subject, we are in a state of rude health.
