Active imagination and the analysis of film.
The emotions aroused by the pleasure-generating mechanisms of the cinema are usually benign because they refer to a virtual world. Experiencing affects aroused by fictions can resemble being drawn into a rehearsal for a possible, imagined future that just might (but more likely never will) occur in the individual's life in the real world. Movie-goers, no less than the readers of novels, actively engage with the symbols that film makers inscribe in the screen text. In so doing, they take a measure of control over elements of the fiction. Screened fiction has thus the potential to help the individual grow in self-awareness. Shifting its focus to the work of the film critic, the paper argues that, suitably adapted to the requirements of working with a pre-recorded film or tape, Jung's concept of the active imagination helps us to model, license, limit and endorse the subjective element in textual analysis. Because the method proposed makes it possible formally to recognize that the interpretation of fiction is inevitably integrated with the analyst's personality, interpretation is always a matter of a reader bringing a text into being rather than disinterring a pre-existing object.
Izod
J
J
Stirling Media Research Institute, University of Stirling, Scotland.
D004644:Emotions / Q000502:physiology; D006801:Humans; D007092:Imagination / Q000502:physiology*; D007602:Jungian Theory; D009040:Motion Pictures; D011573:Psychoanalytic Interpretation; D011613:Psychotherapy; D013561:Symbolism