ABSTRACT
Jungian film studies is a relatively young field, and many of its postulates have been borrowed from Jungian literary criticism (briefly discussed later in this chapter). It has primarily taken two main directions: narrative analysis (John Izod, John Beebe, Terrie Waddell, Helena Bassil-Morozow, Catriona Miller, Andrew McWhirter) and phenomenological criticism (Luke Hockley, Greg Singh). Christopher Hauke explores both how films are made and their effect on the audience, both their narrative and phenomenological aspects. Of course, there is considerable overlap between the two areas. With Hockley offering detailed textual readings and Izod seeking to understand the attributes of the cinematic experience, for example, it follows that the distinction offered here is one of degrees.
