On wild psychoanalysis;
on the uses of dream interpretation in psychoanalysis;
on the dynamics of transference;
advice to doctors on psychoanalytic treatment;
on initiating treatment;
observations on love in transference;
resistance to psychoanalysis;
the question of lay analysis;
postscript to the question of lay analysis;
analysis terminable and interminable;
constructions in analysis.

Aviva Briefel. "Monster Pains: Masochism, Menstruation, and Identification in the Horror Film. " Film Quarterly  58.3 (2005): 16-27. Alumni - Research Library. ProQuest.  1 Dec. 2008 <http://www.proquest.com/>

In Monster Pains: Masochism, Menstruation, and Identification in the Horror Film, Briefel discusses the role of masochism and menstruation in the audience’s identification with the film’s monster in classic horror films, such as Dracula (1931) and Frankenstein (1931).  He analyzes the way different monsters appeal to the audience.  He proposes a theory of the gendering of the pain felt by the monster and how it can elicit the audience’s identification with it or sympathy for it.  He posits that the symbolically menstrual elements of Dracula would have drawn audiences to the film.

Rickels, Laurence A. The Vampire Lectures. Minneapolis: University of Minnesota Press, 1999.

In Chapter 11 of The Vampire Lectures, Rickels offers a psychoanalytic interpretation of Browning’s Dracula (1931).  He analyzes Lugosi’s on-screen presence and association with the theater and details what Rickels asserts is the representation of psychoanalysis in the film by Van Helsing.  For example, in reference to Van Helsing’s staying behind at the end while John and Mina ascend the staircase in the final scene, Rickels compares Van Helsing to “the underworld of psychoanalysis” which must be left behind for Mina to be cured.

Rickels focuses on the repressed desire of women for the exotic outsider.  In the film this is represented by Mina’s relationship with the Lugosi’s Count Dracula of Transylvania, with his unique foreign accent, suave manner, and commanding gaze.  Rickels asserts that the essence of the film is about whatever it takes for a woman to prefer “someone more normal, like John,” as Mina tells Lucy she does in the film.  This aspect of the film appealed to the repressed desires of female audiences.

1 Dream psychology and the evolution of the psychoanalytic situation / M. Masud R. Khan 29
2 Dreams in clinical psychoanalytic practice / Charles Brenner 49
3 The exceptional position of the dream in psychoanalytic practice / Ralph R. Greenson 64
4 The use and abuse of dream in psychic experience / M. Masud R. Khan 91
5 The function of dreams / Hanna Segal 100
6 Dream as an object / J.-B. Pontalis 108
7 The experiencing of the dream and the transference / Harold Stewart 122
8 Some reflections on analytic listening and the dream screen / James Gammill 127
9 The film of the dream / Didier Anzieu 137
10 The manifest dream content and its significance for the interpretation of dreams / Jacob Spanjaard 153
11 A psychoanalytic-dream continuum: the source and function of dreams / R. Greenberg, C. Pearlman 181
12 Dreaming and the organizing function of the ego / Cecily de Monchaux 195
13 Psychoanalytic phenomenology of the dream / Robert D. Stolorow, George E. Atwood 213

The Riddle of Castration Anxiety 9
From Impossibility to Inability 17
Teaching and Psychoanalysis 35
Trauma and Psychopathology in Freud and Lacan 49
Subject and Body 65
Mind your Body 99
Dreams between Drive and Desire 133
Obsessional Neurosis 147

digital version of Abstracts of the Standard Edition of the Psychological Works of Sigmund Freud

"Confusion of Tongues Between Adults and the Child: The Language of Tenderness and Passions"

* Introduction: 1-22
* "The System and the speaking subject": 24-33
* "Word, dialogue and novel": 34-61
* "From symbol to sign": 62-73
* "Semiotics: a critical science and/or a critique of science": 73-87
* "Revolution in poetic language": 89"-1"36
* "About Chinese women": 138-159
* "Stabat Mater": 160-86
* "Women's time": 187-213
* "The True-real": 214-37
* "Freud and love: treatment and its discontents": 238-71
* "Why the United States": 272-91
* "A New type of intellectual: the dissident": 292-300
* "Psychoanalysis and the polis": 301-20.

                Articles on juvenile delinquency pervaded publications in the 1950s, and Lindner’s interview with Time reflects the extreme crisis of the situation the media aid in creating. Lindner predicted that the conscienceless perpetrators of juvenile crime were part of an epidemic that would become worse before it got better, if it did. While supplying colorful and dramatic descriptions of crime and history,  he offers remarkably few solutions or examples of positive progress. The piece is prime example of the hysteria and paranoia that permeated the time.

            This is a review of Robert Lindner’s psychoanalysis of a juvenile delinquent, entitled Rebel Without a Cause. Edwin Lukas highlights the revelatory and pioneering nature of the work before him, from Lindner’s method, the rarely employed technique of “hypno-analysis,” to his Freudian analysis of his subject, “Harold.” Rebel Without a Cause is especially groundbreaking, according to Lukas, because it seeks to connect the delinquent behavior of youths, like Harold, with their mental turmoil. As others focused on the manifestations of delinquency, Lindner had successfully found its causes: in the dysfunction of Harold’s family, his homosexual inclinations, and in the impoverished environment in which he came of age. Furthermore, Harold’s ability to eventually understand why he engages in criminal and violent behaviors was seen as a sign that juvenile delinquents could be reached, and perhaps saved from themselves and society. The reviewer finds optimism in Harold’s progress, although the book does not state that Harold is “cured” of his anti-social behaviors. Lukas hopes the book will serve as an example to the callous court system which does not emphasize rehabilitation, and demonstrating the new primacy of its content, Lukas concludes that “this book is a necessity for sociologists, psychiatrists, criminologists, and others concerned with criminals.” (216)

            While Robert Lindner and his most famous work offered little more than the title to the film of the same name, this review demonstrates the seriousness with which the problem of juvenile delinquency was considered. The praise and endorsement Edwin Lukas offers to Lindner on the basis of his finding a cause, rather than examining the symptoms of delinquency, are indicative of a shift in the study of problem youth as well as in attitudes towards the burgeoning field of psychology.

Freud’s disinterest did not dissuade Goldwyn from pushing forward in his resolve to find a scriptwriter for an analytically based screenplay. One of Freud’s disciples, Karl Abraham, was willing to work with Goldwyn’s studio, resulting in a silent film called The Secret History of a Soul. This was one of the first Hollywood movies made with a narrative based on the theory of psychoanalysis. Hitchcock followed in the tradition of many Hollywood directors who were also influenced by Freud’s work. Several of Hitchcock’s films including Marnie, Spellbound and Psycho reflect a well developed understand of psychologically sophisticated material.  His 1945 film Spellbound was written by his producer David O. Selznick, who was himself in psychoanalysis. Spellbound, not regarded as one of Hitchcock’s best movies, stayed true to the psychoanalytic methodology using surreal dream sequences, to help move along the narrative. The director’s interest in the subject manner of Marnie seems to be a natural progression of his continuing interest in the psychoanalytically based storyline.

Part II: Sexual
Introduction
6. Sexual Identification and Sexual Difference -- Rudolph Bernet
7. The Joys and Suffering of So-Called Interpretation or: The Soul of the Dress's Fold -- Johannes Fehr and Dieter Strauli
8. Hysteria and Melancholia in Woman -- Anne Juranville
9. Symbolic Mother--Real Father -- Regula Schindler

Part III: Clinical
Introduction
10. "But It, the World . . . It Shames My Mute Pain": Some Thoughts on Melancholia and Depression -- Christian Klaui
11. The Act of Interpretation: Its Conditions and its Consequences -- Monique David-Menard
12. Castration and Incest Prohibition in Francoise Dolto -- Elisabeth Widmer
13. Demand and Wish -- Lucien Israel
14. Psychosis and Names -- Andre Michels

Part IV: Philosophical
Introduction
15. Vertigo: The Question of Anxiety in Freud -- Samuel Weber
16. From the Protective Shield against Stimuli to the Fantasm: A Reading of Chapter 4 of Beyond the Pleasure Principle -- Hans-Dieter Gondek

17. Sacrifice and the Law -- Bernard Baas18. Freud and Democracy -- Peter Widmer
19. The Lacanian Thing -- Alain Juranville

1. Peter Gay: a life in history Robert L. Dietle and Mark S. Micale

Part I. The Enlightenment and its Heritages:

2. Thomas Hobbes's changing conception of civil science Quentin Skinner
3. Wisdom at the expense of the dead: thinking about history in the French Enlightenment Harry C. Payne
4. A provincial doctor faces the Paris establishment: Philippe Pinel, 1778-1793 Dora B. Weiner
5. 'Philosophical sex': pornography in Old Regime France Robert Darnton

Part II. Mind and Culture in the Victorian Middle Classes:

6. Miracles in English Unitarian thought R. K. Webb
7. The cardinal's brother: Francis Newman, Victorian Bourgeois W. F. Bynum
8. The Bourgeois experience as political culture: the Chamberlains of Birmingham David Cannadine

Part III. European Cultural Modernism:

9. Building historical and cultural identities in a modernist frame: Karl Friedrich Schinkel's Bauakademie on content John E. Toews
10. The European modernist as Anglican moralist: the later social criticism of T. S. Eliot Stefan Collini
11. Ce;line and the cultivation of hatred Jay Winter
12. Modern and post-modern paganism: Peter Gay and Jean-François Lyotard Martin Jay

Part IV. Culture, Politics and Society in Twentieth-Century Germany:

13. Paradoxes of censorship in Modern Germany Peter Jelavich
14. The creation of Wilhelm Busch as a German cultural hero, 1902-1908 Thomas A. Kohut
15. When the ordinary became extraordinary: German Jews reacting to Nazi persecution 1933-1939 Marion A. Kaplan

Part V. Freud and the History of Psychoanalysis:

16. Opposite the Pantheon: fantasy about a picture postcard sent by Sigmund Freud Ilse Grubrich-Simitis
17. Retrogression: Helen Deutsch's account of the 'dark continent' Judith M. Hughes
18. A stoic death: Sigmund Freud, Max Schur and assisted dying in contemporary America Peter Loewenberg 

Chapter 4. Displaying Connoisseurship, Recognizing Craftmanship.

In this chapter Hills explores how the pleasures of horror are constructed and narrated through fan discourses. He analyzes horror fan discourses on a few different horror internet forums and concludes that connoisseurship is the master trope in fan struggles against "inauthentic" horror consumers (non-fans) and taste-making authorities who marginalize horror. Horror fans position themselves as "authentic" through knowledge of the genre and by privileging this intellectual engagement with horror over any affective, emotional engagement. That is, "nonfans" react to horror emotionally (they express fear), while "fans" are interact in a conscious, "knowing" (and at times "superior") way. Ironically, the ostensive purpose of horror films (to instill "horror") is marginalized in these fan communities to "non-fans"). However, it is also recuperated through personal narratives of first/childhood experiences with horror. These narratives admit the affective aspect of horror as experienced in childhood and this serves as a "discourse of affect." This discourse allows the horror fan to positions themselves as rational and literate ("serious") to gain cultural credibility pushing emotion to the past and turning affect into knowledge.

Hills considers online communities--following Pierre Levy and Henry Jenkins--as a 'cosmopedia.' In horror fan forums, fans establish their subcultural identities through appropriate performances within this collective, interactive, and contested "knowledge space." Horror fans also express connoisseurship through their recognition and celebration of horror "special effects" (SFX). Hills rightfully points out that while horror directors are celebrated as auteurs (George Romero, Dario Argento, etc.), SFX creates a network of author functions. The reading of horror films by "fans" often involves a "double attention" to both the experience of the horrific content and the content as special effect. While some fans may use the attention to SFX as a "masculine" reading strategy to deflect affective (i.e. "feminine) responses, Hills points out that a aignificant portion of the audience does so to generate and sustain a reading of "horror-as-art." These fan discourses, Hills argues, work contra to many theories of horror which privilege cognitive,literary, or psychoanalytic textual aspects as generating the (dis)pleasures of horror. Fans' constructed pleasures of horror revolve more around imagined version of their "generic community" or subculture and its particular distinctions from other cultures.

Richar Lichtman "The Illusion of Maturation in an Age of decline"

Sklarew, Bruce.  “Freud and Film: Encounters in the Weltgeist”  Journal of the American Psychoanalytic Association.  47.4: 1238-47.

Greenberg, Harvey Roy. “Reel Significations: An Anatomy of Psychoanalytic Film Criticism.” Screen Memories : Hollywood Cinema on the Psychoanalytic Couch. New York: Columbia UP 1993. 13-37.

Call #: Van Pelt AS30.M48

Konigsberg, Ira . “Cinema, Psychoanalysis, and Hermeneutics: G.W. Pabst's "Secrets of a Soul.” Michigan Quarterly Review. 34.4 (1995): 518-547.

Konigsberg frames his article on Secrets of a Soul with a note on Freud's legacy and influence on film, in particular the subgenre of the psychoanlytic salvational film, of which Secrets is the first. He opens with a discussion of problematic therapist characters in film which have evolved into Frankenstein-like figures who overstep their bounds in trying to control their patients' bodies and minds (e.g. Body Heat and The Silence of the Lambs), and he notes the irony that the first film psychoanalyst and the first film analysand was played by the same actor (Pavel Pavlov). Konigsberg offers a deep analysis of Secrets of a Soul, which considers the violent sexuality and homosexual strain hidden beneath the surface of the main narrative. His main purpose in the end is to show that psychoanalysis in and of film provides a 20th-century hermeneutic--that of searching for multiple and often non-contradictory meanings in texts that are never originary, and he concludes that Freud's shift from taking photography to taking the "mystic writing pad" as a model for the psyche is appropriate.

Friedman, Susan Stanford.  Analyzing Freud: Letters of H.D., Bryher, and Their Circle.  New York: New Directions, 2002. 

This is a collection of letters circulated by H.D., Bryher and their circle in the 1930s when H.D. was in analysis with Freud. The letters are from the period AFTER H.D. and Bryher worked on the film journal, Close Up but there are references to film in general and to G.W. Pabst in particular. Although there are no letters to or from Pabst, H.D. and Bryher both write to others about him with great enthusiasm.

Friedberg introduces her article with a look at the twin birth of psychoanalysis and cinema and argues that "Freud's theory of the unconscious. . .was, from the start, a theory in search of an apparatus. Yet the cinema, an apparatus which could reproduce and project specular images, from its beginnings, an apparatus in search of a theory" (41). Drawing on Chodorkoff and Baxter, Friedberg offers a reading of the history of the making of Secrets of the Soul, including Freud's rejection of the project. She calls the film the first 'that directly tried to represent psychoanalytic descriptions of the etiology of a phobia and the method of psychoanalytic treatment" (45). Friedberg points to the various ironic name puns having to do with Freud's lack of involvment in the film: that Pabst, the director of Joyless Street--Die FREUDlose Gasse (my emphasis) was asked to direct a film "mit Freud," when Freud refused to be involved; and that the actor who plays the pshychoanalyst in Secrets, Pavel Pavlov, shares his name with "Freud's mightiest theoretical opponent, the physiologist Ivan Pavlov" (46). Friedman goes on to describe and analyze the film, which she notes is separated into five parts: Pre-Dream; The Dream; Post-Dream; Analysis; and Cure. She notes that the happy ending of the film works as a kind of advertisement for psychoanalysis, arguing that Abraham and Sachs in consulting on the film, intented to "extol its curative virtues" (51).

Donald, James, Anne Friedberg, and Laura Marcus, eds.  Close Up 1927-1933: Cinema and Modernism.  Princeton, Princeton UP, 1998.

Offers a very generous selection of articles printed in Close Up from 1927 to 1933. The anthology is organized into eight parts:

Part 1, "Enthusiasms and Execrations" on the potentials of various national and independent cinemas (introduced by James Donald);

Part 2, "From Silence to Sound" on the controversy of the coming of sound, which the editors of Close Up generally opposed (also introduced by James Donald);

Part 3, "The Contribution of HD" which reprints many of HD's theoretical essays and reviews of films (introduced by Laura Marcus);

Part 4, "Continuous Performance: Dorothy Richardson" which reprints many pieces from Richardson's "Coninuous Performance" column (introduced by Laura Marcus);

Part 5, "Borderline and the POOL films" which includes HD's pamphlet on Borderline, the 1931 film in which she starred with Paul and Eslanda Robeson (introduced by Anne Friedberg);

Part 6. "Cinema and Psychoanalysis" which includes a variety of film critics and psychoanalysts on the relationship between film and psychology/psychoanalysis (introduced by Laura Marcus).

Part 7, "Cinema Culture" on the political and educational potential of film (introduced by James Donald and Anne Friedberg);

Part 8, "Fade" marks Close Ups ending and the coming of World War II.

Appendices include the full table of contents of all issues of Close Up; contributors notes; Publishng history including POOL books; and Anne Friedberg's Chronology of Close Up in Context (reprinted from her dissertation (NYU 1983)).