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How do we choose what movies to go see? How do we process the sounds and images of those films? How do they influence our behaviors, attitudes and beliefs after we leave the theater? Using psychology theory, this book answers these questions while considering the effects of relatively permanent personality variables, our changeable moods and the people we are with in such scenarios. It also points out areas of the study in which further work is necessary and where new concepts, such as awe and aesthetic pleasure, may further understanding.
How do we choose what movies to go see? How do we process the sounds and images of those films? How do they influence our behaviors, attitudes and beliefs after we leave the theater? Using psychology theory, this book answers these questions while considering the effects of relatively permanent personality variables, our changeable moods and the people we are with in such scenarios. It also points out areas of the study in which further work is necessary and where new concepts, such as awe and aesthetic pleasure, may further understanding.
Psychology at the Movies explores the insights to be gained by applying various psychological lenses to popular films including cinematic depictions of human behavior, the psychology of filmmakers, and the impact of viewing movies. Uses the widest range of psychological approaches to explore movies, the people who make them, and the people who watch them Written in an accessible style with vivid examples from a diverse group of popular films, such as The Silence of the Lambs, The Wizard of Oz, Star Wars, Taxi Driver, Good Will Hunting, and A Beautiful Mind Brings together psychology, film studies, mass communication, and cultural studies to provide an interdisciplinary perspective Features an extensive bibliography for further exploration of various research fields
​This book demonstrates how social distress or anxiety is reflected, modified, and evolves through the medium of the motion picture. Tracing cinema from its earliest forms, the authors show how film is a perfect medium for generating and projecting dreams, fantasies, and nightmares, on the individual as well as the societal level. Arising at the same time as Freud’s influential ideas, cinema has been intertwined with the wishes and fears of the greater culture and has served as a means of experiencing those feelings in a communal and taming environment. From Munsterberg’s original pronouncements in the early 20th century about the psychology of cinema, through the pioneering films of Melies, the works of the German expressionists, to James Bond and today’s superheroes this book weaves a narrative highlighting the importance of the social dream. It develops the idea that no art form goes beyond the ordinary process of consciousness in the same way as film, reflecting, as it does, the cognitive, emotional, and volitional aspects of human nature.​
Unlike any book on the market, Film Therapy introduces a new paradigm in exploring the subtexts of movies and their potential therapeutic dimensions. The book illuminates how feature films can entail psychological components that can facilitate the therapeutic process. By elaborating the key concepts of each film and their psychological and psychotherapeutic discussions, this book provides a demonstration of the films’ practical applications in a therapeutic setting, opening a new world for understanding and exploring the dynamics of films in human interaction. The book powerfully delineates the rarely discussed role of films in psychological realms and argues how films can be educationally inspiring for therapists, psychologists, and educators.
The popular, critically acclaimed text on psychopathology in movies – now including the latest movies and more Explores films according to the diagnostic criteria of DSM-5 and ICD-11 Provides psychological ratings of nearly 1,500 films Includes downloadable teaching materials Films can be a powerful aid to learning about mental illness and psychopathology – for practitioners and students in fields as diverse as psychology, psychiatry, social work, medicine, nursing, counseling, literature, or media studies, and for anyone interested in mental health. Watching films relevant to mental health can actually help you become a more productive therapist and a more astute diagnostician. Movies and Mental Illness, written by an eminent clinical psychologist (who is also a movie aficionado), has established a reputation as a uniquely enjoyable and highly memorable text for learning about psychopathology. This new edition has been completely revised to explore current issues, such as children's screentime and celebrities with mental illness, and to include the numerous films that have been released since the last edition. The core clinical chapters raise provocative questions about differential diagnosis (according to the DSM-5 and ICD-11) for the primary characters portrayed in the films. Included are also a full index of films; sample course syllabus; ratings of close to 1,500 films; fascinating appendices, such as "Top 50 Heroes and Villains," psychotherapists in movies, and misconceptions about mental illness in movies. Accompanying the new edition are downloadable resources for teachers that include critical questions and topics for discussion, as well as fabricated case histories based on movie characters with Mini-Mental State Examinations that help explain, teach, and encourage discussion about important mental health disorders. In addition, the author plans a regular series of online "Spotlights" articles that will critically examine the psychological content of new movies as they are released.
Like no other medium before it, the popular movie presents the potential of a new power for illuminating the depth of human experience. E-Motion Picture Magic employs that power as a tool to increase consciousness. Cinema therapy offers more perspective on life, prompting the viewer to step back from his or her problems in order to feel less insecure, worried, or discontented. Using films for self-improvement allows a shift in perspective when viewed with conscious awareness. The use of movies for personal growth and healing carries forward a long-standing connection between storytelling and self-reflection that may date back to the beginnings of spoken language. The movie experience used in very specific ways can have significant benefits for those who are willing to apply themselves using E-Motion Picture Magic that can be both beneficial as well as enjoyable.
Best Psychology in Film explores psychological dynamics found within Academy Award(R) films and provides character analyses applying psychological findings within literature examining an array of human emotions. Best Psychology in Films is an ideal teaching tool for psychological and film courses and equally inviting to those who muse upon films.
Cinema both reflects life and contours life—that is its psychological power. And for decades, clinicians and educators have recognized the value of this power, using it to respectively heal in therapy and educate in the classroom. The Cinematic Mirror for Psychology and Life Coaching mines the illustrative value of cinema, offering therapists and life coaches access to ideas that can motivate and enlighten clients. Although many movie guides exist, this volume complements the available literature by adding positive psychology, mental health, and wellness perspectives to the clinical/educational/coaching mix. The serious intent to cull from cinema its underlying psychological value has motivated noted clinicians, life coaches, and cultural critics to offer science-based analysis and intervention strategies. Readers may add their own movie insights and professional expertise to this rich foundation. The volume covers international as well as domestic cinema in a variety of genres, providing a range of film choices relevant to clients’ lives. Beyond this, it expands on universal concepts of strengths, capabilities, and coping methods. Chapters in The Cinematic Mirror: analyze how movies can create and relieve trauma, challenge Hollywood’s portrayal of the American family, overview the use of movies to examine relationships in therapy, explore the acclaimed Up television cinema verite series as studies in personal growth and social change, reinterprets images of disability in terms of positive psychology, examines models, or the lack thereof, for the American adolescent rite of passage, traces the history of mental illness stereotypes in film. The collective wisdom found in The Cinematic Mirror for Psychology and Life Coaching will bring professionals involved in healing, coaching, counseling, education, and mentoring not only new applications but new appreciation for the transformative power of film. That power already exists. Readers just have to "SEE" it.
A unique perspective on half a century of American cinema—from the audience's point of view. Tom Stempel goes beyond the comments of professional reviewers, concentrating on the opinions of ordinary people. He traces shifting trends in genre and taste, examining and questioning the power films have in American society. Stempel blends audience response with his own observations and analyzes box office results that identify the movies people actually went to see, not just those praised by the critics. Avoiding statistical summary, he presents the results of a survey on movies and moviegoing in the respondents' own words—words that surprise, amuse, and irritate. The moviegoers respond: "Big bad plane, big bad motorcycle, and big bad Kelly McGillis."—On Top Gun "All I can recall were the slave girls and the Golden Calf sequence and how it got me excited. My parents must have been very pleased with my enthusiasm for the Bible."—On why a seven-year-old boy stayed up to watch The Ten Commandments "I learned the fine art of seduction by watching Faye Dunaway smolder."—A woman's reaction to seeing Bonnie and Clyde "At age fifteen Jesus said he would be back, he just didn't say what he would look like."—On E.T. "Quasimodo is every seventh grader."—On why The Hunchback of Notre Dame should play well with middle-schoolers "A moronic, very 'Hollywoody' script, and a bunch of dancing teddy bears."—On Return of the Jedi "I couldn't help but think how Mad magazine would lampoon this." —On The Exorcist