Since Jung and Film was first published in 2001, Jungian writing on the moving image in film and television has accelerated. Jung and Film II: The Return provides new contributions from authors across the globe willing to tackle the broader issues of film production and consumption, the audience and the place of film culture in our lives.

As well as chapters dealing with particular film makers such as Maya Derren and films such as Birth, The Piano, The Wrestler and Breaking the Wave, there is also a unique chapter co-written by documentary film-maker Tom Hurvitz and New York Jungian analyst Margaret Klenck. Other areas of discussion include:

  • the way in which psychological issues come under scrutiny in many movies
  • the various themes that concern Jungian writers on film
  • how Jungian ideas on psychological personality types can be applied in fresh ways to analyse a variety of characters.

The book also includes a glossary to help readers with Jungian words and concepts. Jung and Film II is not only a welcome companion to the first volume, it is an important stand- alone work essential for all academics and students of analytical psychology as well as film, media and cultural studies.

chapter |13 pages


ByChristopher Hauke, Luke Hockley

part I|81 pages

Image and Psychotherapy

chapter 1|18 pages

The Decisive Image

In documentary film, in Jungian analysis
ByTom Hurwitz, Margaret Klenck

chapter 2|14 pages

‘I Thought He Might be Better Now'

A Clinician's Reading of Individuation in von Trier's Breaking The Waves
ByDavid Hewison

chapter 3|17 pages

Love, Loss, Imagination and the ‘Other' in Soderbergh's

ByAndre Zanardo

chapter 4|26 pages


Eternal Grieving of the Spotless Mind
ByJohn Izod, Joanna Dovalis

chapter 5|4 pages

Soul and Space in the Coen Brothers' No Country for Old Men

ByChristopher Hauke

part II|128 pages

Image and Theory

chapter 6|10 pages

Jungian Film Studies

The Corruption of Consciousness and the Nurturing of Psychological Life
ByDon Fredericksen

chapter 7|10 pages

‘Much Begins Amusingly and Leads into the Dark'

Jung's Popular Cinema and the Other
ByChristopher Hauke

chapter 8|9 pages

Contrasting Interpretations of Film

Freudian and Jungian
ByMichael Jacobs

chapter 9|4 pages

Individual Interpretations

A Response to Michael Jacobs
ByJohn Izod

chapter 10|16 pages

The Third Image

Depth Psychology and the Cinematic Experience
ByLuke Hockley

chapter 11|15 pages

The Nature of Adaptation

Myth and The Feminine Gaze in Ang Lee's Sense and Sensibility
BySusan Rowland

chapter 12|22 pages


Or, Looking for Meaningfulness in Encounters with Cinema
ByGreg Singh

chapter 13|21 pages


Discourse Theory and Jung
ByCatriona Miller

chapter 14|19 pages

Individual and Society in the Films of Tim Burton

ByHelena Bassil-Morozow

part III|103 pages

Image, Type and Archetype

chapter 15|16 pages

The Shadow

Constriction, transformation and individuation in Campion's The Piano
ByTom Hurwitz, Mary Dougherty

chapter 16|10 pages

The Dark Feminine in Aronofsky's The Wrestler

ByLydia Lennihan

chapter 17|13 pages

The Archetype of Transformation in Maya Deren's Film Rituals

ByMichelangelo Paganopoulos

chapter 18|19 pages

Coppola's The Conversation

Typology and A Caul to the Soul
ByJames Palmer

chapter 19|17 pages

Navel Gazing

Introversion/Extraversion and Australian Cinema
ByTerrie Waddell

chapter 20|26 pages

The Wizard of Oz

A Vision of Development in the American Political Psyche
ByJohn Beebe