ABSTRACT
Synchronicity, or a meaningful coincidence in time, is a theme rarely tackled by post-Jungian film critics. The special place in Jung's psychology, in particular of the classical school, accorded to meaningfulness may be justified through a number of key ideas and writings throughout his career. It is perhaps one of his more controversial ideas-that of synchronicity, that the author wishes to focus on here. As F. David Peat identifies in his book Synchronicity: The Bridge Between Matter and Mind, 'Synchronicity involves strong parallels between interior and exterior events that are emphatically endowed with meaning'. The world of subjects and objects, and subjects-as-objects, is central to the idea of synchronicity and its links with causality, and has its basis in Jung's fascination with mechanical physics, that every action has its equal and opposite reaction in physical energy. By combining the subjective and objective elements together, synchronicity has something to say to both the artist and the scientist.
