ABSTRACT
The cinema proffer its audiences transitional phenomena in abundance. Both filmmaking and film viewing are creative processes that engage with transitional space. The viewer's interpretations create an analytic relationship with the body of the film that may further his or her emotional development, now more than when suffering the agonies of grief. Jung speaks to the necessarily resolute, yet playful creative process that shared in eight years of forging in lively debate through constant exchange of drafts a book that neither could have written without the other. Jung's insight into the sacred nature of beauty characterises our sense of the creativity exultant in not only those films have discussed but the many others that light flames in one mind. Jung's 'aesthetic mood' might equally well be called 'devoutness'. Without definitely expressing anything of that kind, and without explicitly characterizing his central problem as a religious one, Schiller's intuition none the less arrived at the religious problem.
