List of Contributors; Acknowledgements; Introduction, Luke Hockley; 1) A Jungian textual terroir, Catriona Miller; 2) Dionysus and textuality: Hockley’s somatic cinema for a transdisciplinary film studies, Susan Rowland; 3) Stick to the image? No thanks! Eric Greene; 4) Archetypal possibilities: meta-representations, a critique of von Franz interpretation of fairy tale genre focusing on Jean Cocteau’s retelling of The Beauty and the Beast, Leslie Gardner; 5) Human Beans and the flight from otherness: Jungian constructions of gender in film, Phil Goss; 6) It’s alive: The evolving archetypal image and Mary Shelley’s Frankenstein, Elizabeth Nelson; 7) Music in film: Its functions as image, Benjamin Nagari; 8) Psychological images and multimodality in Boyhood and Birdman, Shara Knight; 9) Feminist film criticism: Towards a Jungian approach', Helena Bassil-Morozow; 10) Teaching Jung in the academy: The representation of comic book heroes on the big screen, Kevin Lu; 11) Horror and the sublime: Psychology, transcendence and the role of terror, Christopher Hauke; 12) Hungry children and starving fathers: auteurist notions of father hunger in American Beauty, Toby Reynolds; 13) Beyond the male hero myth in Clint Eastwood films, Steve Myers; 14) True detective and Jung’s four steps of transformation, Stephen Anthony Farah; 15) Film futuristics: A forecasting methodology, Michael Glock; 16) The Australian lost child complex in adaptation: Kurzel’s Macbeth and Stone’s The daughter, Terrie Waddell; 17) Numinous images of a new ethic: A Jungian eiew of Kieslowski’s The decalogue, Judith R. Cooper and August J. Cwik; 18) The han cultural complex: Embodied experiences of trauma in New Korean Cinema, Amalya Layla Ashman; 19) The outsider protagonist in American film, Glen Slater; 20) Spirited Away and its depiction of Japanese traditional culture, Megumi Yama; 21) Cold comforts: Psychical and cultural schisms in The Bridge and Fortitude, Alec Charles; 22) Cultural hegemonies of forms and representations: Russian fairy tale women and Post-Jungian thought, Nadi Fadina; 23) Feeling film: Time, space and the third image, Luke Hockley; 24) Getting your own pain: A personal account of healing dissociation with help from the film War Horse, Donald E. Kalsched; 25) Healing the holes in time: Film and the art of trauma, Angela Connolly; 26) Discovering the meaning of a film, John Beebe ; 27) Under the skin: Images as the language of the unconscious, Joanna Dovalis and John Izod; 28) Beyond the second screen: Enantiodromia and the running-together of connected viewing, Greg Singh; 29) Anima ludus: Analytical psychology, phenomenology and digital games, Steve Conway; 30) Cinema without a cinema and film without film: the psychogeography of contemporary media consumption, Aaron Balick; 31) Digital media as textual theory: Audiovisual, pictorial and data analyses of Alien and Aliens, Andrew McWhirter; 32) A networked imagination: Myth-making in fan fic’s story and soul, Leigh Melander; 33) The unlived lives of cinema: Post-cinematic doubling, imitation and supplementarity, Kelli Fuery
