ABSTRACT
This chapter explores an experimental leap into the unknown: the relevant potential of a Jungian theoretical lens conjoined with filmmakers in the constant discovery of their technical abilities. A camera tracking shot in Birdman that appears singular and continuous throughout the film is accomplished through precisely designed long scenes edited together with computer graphics — a good example of which is offered in the night-to-day. The modality or representational format of the extended camera shot, creatively holds information as a film image that is both a medium and text for cinematic language. Cinematographic long takes as modalities serve to elevate the genre of realism and place a particular emphasis on the ‘real world.’ better understanding of meaning-making in psychic life as well as filmmaking can be glimpsed in Jungian-informed approaches to the intricate interactions that are fundamental to both psychological and filmmaking processes.
