N.28 - Psicoanalisi e Cinema: “Come in uno specchio"

Cinema, psicologia, psicoanalisi e sofferenza mentale: Bibliografia generale

Nella bibliografia generale sono presenti lavori che rientrano a diverso titolo nel vasto campo di studi dedicato al rapporto tra cinema, psicoanalisi e sofferenza mentale. Tale raccolta non ha la pretesa di essere esaustiva, anche se contiene un numero considerevole dei lavori sul tema, e non si pone assolutamente un carattere criterio-valutativo. I lavori sono elencati in ordine alfabetico avendo voluto evitare ogni classificazione tematica lasciata alla curiosità del lettore. Si trovano anche lavori non scritti direttamente da psicoanalisti, ma anche da filosofi, critici, semiologi, letterati; in effetti dopo un iniziale periodo nel quale di questo argomento si sono occupati prevalentemente psicoanalisti su riviste specialistiche, dalla fine degli anni sessanta molte discipline si sono occupate di questa tematica e molte riviste, anche di cinema, hanno ospitato questi lavori: si pensi al numero monografico della rivista francese Communications che nel 1975 uscì con il titolo Psychanalyse et Cinéma con articoli di Barthes, Baudry Guattari, Metz e altri. Altri titoli afferiscono al campo della semiologia e della filmologia, le quali utilizzano nelle loro analisi costrutti psicoanalitici: si pensi all’uso delle teorie lacaniane da parte di uno dei più conosciuti semiologi che si sono occupati di film, Christian Metz; oppure a Ikon ‒ rivista che ospita al suo interno contributi di psicologia, sociologia, semiologia e scienze sociali in genere ‒ pubblicata dall’Istituto di ricerca sulla comunicazione fondato da A. Gemelli e C. Musatti, che nel 1962 ha rilevato la Revue Internationale de Filmologie, a conferma della connessione tra le discipline. L’ultima sezione di questa bibliografia raccoglie i numeri speciali di riviste, con relativo indice, interamente dedicati al rapporto tra psicoanalisi e cinema

Abruzzese, A. (1974) L’immagine filmica. Roma: Bulzoni.

Agnel, A. (1995) vedi Cahiers jungiens de psychanalyse, 83.

Albano, L. (1986) Il visibile e il non visibile. Filmcritica, pp. 365-366.

Albano, L. (1992) La caverna dei giganti: Scritti sull’evoluzione del dispositivo cinematografico. Parma: Pratiche.

Albano, L. (2003) Cinema e Surrealismo: Tra oggetto-sogno e spazio-sogno. In G. Orlandi Cerenza (a cura di) Traiettorie della modernità: Il Surrealismo all’alba del Terzo Millennio. Torino: Lindau.

Albano, L. (2004) Lo schermo dei sogni: Chiavi psicoanalitiche del cinema. Venezia: Marsilio.

Albano, L. (2005a) L’amore impossibile e l’oggetto perduto. In E. Dagrada (a cura di) Il Melodramma. Roma: Bulzoni.

Albano, L. (2005b) vedi La Valle dell’Eden, n. 15.

Albano, L., Pravadelli, V. (a cura di) (2008) Cinema e psicoanalisi: Tra cinema classico e nuove tecnologie. Macerata: Quodlibet.

Albertini, L., Caruso, A.P. (1949) Percezione e interpretazione di immagini cinematographiche nei ragazzi. Bianco e Nero, X, pp. 9-27.

Alexander ,M., Hall, M.N., Pettice, Y.J. (1994) Cinemeducation: An Innovative Approach to Teaching Psychosocial Medical Care. Fam. Med., 26, pp. 430-433.

Allen, R. (1993a) Cinema, Psychoanalysis, and the Film Spectator. Persistence of Vision, 10, pp. 5-33.

Allen, R. (1993b) Representation, Illusion, and the Cinema. Cinema Journal, 32, 2, pp. 21-48.

Allen, R. (1995) Projecting Illusion: Film Spectatorship and the Impression of Reality. New York: Cambridge University Press.

Allen, R. (1997) Looking at Motion Pictures. In R. Allen, M. Smith (a cura) Film Theory and Philosophy. Oxford: Clarendon Press.

Allen, R. (1999) Psychoanalytic Film Theory. In R. Stam, T. Miller (a cura di) A Companion to Film Theory. Oxford: Blackwell.

Allen, R.C. (1990) From Exhibition to Reception: Reflections on the Audience in Film History. Screen, 31, n. 4, pp. 347-357 (tr. it. Dalle forme dello spettacolo cinematografico alla ricezione: Riflessioni sul pubblico nella storia del cinema, in M. Fanchi (a cura di) Spettatore, Il Castoro, Milano, 2005).

Allendy, R. (1926) La valeur psychologique de l’image. L’Art Cinématographique, I, pp. 75-103.

Alloway, L. (1971) Violent America: The Movies, 1946-1964. New York: Museum of Modern Art.

Almansi, R.J. (1992) Alfred Hitchcock’s Disappearing Women: Scopophilia, Object Loss. Int. Rev. Psychoanal., 19, pp. 81-90.

Altman, C.F. (1977) Psychoanalysis and the Cinema: The Imaginary Discourse. Quarterly Review of Film Studies, 2, n. 3, pp. 257-272.

Ancona, L. (1963) Il film come elemento nella dinamica dell’aggressività. Ikon, 16(46), pp. 27-32.

Ancona, L., Bertini, M. (1963) Aggressivity Discharge Effect Through Films Causing Strong Emotional Stress. Ikon, 19(57), pp. 7-27.

Ancona, L., Carli, R. (1970) La dinamica della partecipazione cinematografica. Contributi dell’Istituto di Psicologia, U.C.S.C., 30, pp. 21-45.

Ancona, L., Croce, M.A. (1967) Dinamica psichica e dinamismo cinematografico. Arch. Psicol. Neurol. Psich., 28, pp. 85-106.

Ancona, L., Fontanesi, M. (1967) Analisi delle relazioni dinamiche tra effetto catartico e effetto frustante di uno stimolo cinematografico emotivo. Contributi dell’Istituto di Psicologia, U.C.S.C., 28, pp. 30-48.

Anderson, B. (1980) Eye Movement and Cinematic Perception. Journal of the University Film Association, 32, pp. 23-26.

Anderson, J.D. (1993a) A Cognitive Approach to Continuity. Post Script, 13(1), pp. 61-66.

Anderson, J.D. (1993b) Sound and Image Together: Cross-Modal Confirmation. Wide Angle, 15(1), pp. 30-43.

Anderson, J.D. (1996) The Reality of Illusion: An Ecological Approach to Cognitive Film Theory. Carbondale: Southern Illinois University Press.

Anderson, J.D. (2002) Scene and Surface in the Cinema: Implications for Realism. Cinémas, 12(2), pp. 11-21.

Anderson, J.D., Hodgins, J.K. (2005) Perceiving Human Motion in Synthesised Images. In J.D. Anderson, B. Anderson (a cura) Moving Image Theory: Ecological Considerations. Carbondale: Southern Illinois University Press.

Anderson, L., Shimamura, A.P. (2005) Influences of Emotion on Context Memory While Viewing Film Clips. American Journal of Psychology, 118(3), pp. 323-337.

Andrade, C., Shah, N., Venkatesh, BK. (2010) The Depiction of Electroconvulsive Therapy in Hindi Cinema. Journal of ECT, 26(1), pp. 16-22.

Angelini, A. (1992) La psicologia del cinema. Napoli: Liguori.

Anzieu, D. (1977) L’image, le texte et la pensée. Nouvelle Revue de Psychanalyse, 16, pp. 119-134.

Argentieri, S., Sapori, A. (1988) Freud a Hollywood. Torino: Nuova ERI.

Argentieri, S. (1991) Il ridicolo e il sublime: Cinema umoristico e tirannia. In M. Argentieri (a cura di) Risate di regime: La commedia italiana 1930-1944. Venezia: Marsilio.

Aromi, A. (2006) vedi La Psicoanalisi, n. 40.

Arnehim, R. (1932) Film als Kunst. Berlin: Rowohlt (tr. it. Film come arte, Il Saggiatore, Milano, 1962).

Arnehim, R. (1954) Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of California Press (tr. it. Cinema e percezione visiva, Feltrinelli, Milano, 1962).

Atkinson J. M. (1997) The psychiatrist, the patient, their relationship and the movies. Psychiatric Bulletin, 21, pp. 369-370.

Atwood, G.E. (1978) The Impact of Sybil on a Patient with Multiple Personality. Am. J. Psychoanal., 38, pp. 277-279.

Audibert, L. (1978) Le noir et blanc du rêve. Cinématographe, n. 35, pp. 7-10.

Augst, B. (1985) The Lure of Psychoanalysis: Film Theory. Camera Obscura, pp. 415-437.

Aulas, J.J. (1980) La folie dans le cinéma allemand (1913-1933). Ann. Méd. Psychol.,138(2), pp. 925-938.

Aumont, J. (1971) Eisenstein avec Freud. Notes sur “Le mal voltarien”. Cahiers du cinéma, 226-227, pp. 68-74.

Aumont, J., Marie, M. (1988) L’analyse des films. Paris: Nathan (tr. it. L’analisi del film, Bulzoni, Roma, 1996).

Aumont, J., Bergala, A., Marie, M., Vernet, M. (1994) Estetique du film. Paris: Nathan (tr. it. Estetica del film, Lindau, Torino, 1999).

Bächler, O. (1989) vedi Cinémaction, 50.

Bailey, J. (1989) vedi Psychoanalytic Inquiry, 18.

Baird, R.(2000) The Startle Effect: Implications for Spectator Cognition and Media Theory. Film Quarterly, 53(3), pp. 12-24.

Bak, R. (1968) The Phallic Woman: The Ubiquitous Fantasy in Perversions. Psychoanal. Study Child, 23, pp. 15-63.

Balestieri, M., Caracciolo, S., Dalle Luche, R., Iazzetta, P., Senatore, I. (2010) Vero come la finzione: La psicopatologia al cinema, vol. 1 e 2 . Milano: Springer.

Ballhausen, T., Krenn, G., Marinelli, L. (a cura di) (2006) Psyche im Kino: Sigmund Freud und der Film. Wien: Filmarchiv Austria.

Balsam, R.H. (relatore) (1996) Panel Report: Psychic Reality And Films, Chaired by H. Kimble Wrye. Int. J. Psycho-Anal., 77, pp. 595-599.

Barbera, A., Turigliatto, R. (1978) Leggere il cinema. Milano: Mondatori.

Baroni, M.R., Cornoldi, C., De Beni, R., D’Urso, V., Palomba, D., Mainardi Peron, E., Stegnano, L. (1989) Emozioni in celluloide. Milano: Raffaello Cortina.

Barthes, R. (1960) Le Problème de la signification au cinéma. Rev. int. de filmologie, X, pp. 32-33 (tr. it. Il problema della significazione nel cinema, in Sul cinema, intr. e cura di S. Toffetti, Il Melangolo, Genova, 1994).

Barthes, R. (1971) De l’œuvre au text. Revue d’Esthétique, 3, pp. 225-232 (tr. it. in L. Cuccu, A. Sainati [a cura di] Il discorso del film, ESI, Napoli, 1987).

Barthes, R. (1960-1970) Sul cinema, intr. e cura di S. Toffetti. Genova: Il Melangolo, 1994.

Barthes, R. (1975) vedi Communications, 23.

Bartsch, A. (2008) Meta-Emotion: How Films and Music Videos Communicate Emotions About Emotions. Projections, 2(1), pp. 45-59.

Bartsch, A., Appel, M., Storch, D. (2010) Predicting Emotions and Meta-Emotions at the Movies: The Role of the Need for Affect in Audiences Experience of Horror and Drama. Communication Research, 37,(2), pp. 167-190.

Bartucci, G. (a cura di) (2000) Psicanálise, Cinema e Estéticas de Subjetivação. Rio de Janeiro: Imago.

Basinger, J. (1993) A Woman’s View: How Hollywood Spoke to Women, 1930-1960. New York: Knopf.

Battistini, A. (2007) vedi Psychoanalytic Inquiry, vol. 27, n. 4.

Baudry, J.L. (1975) vedi Communications, 23.

Baver, S.F., Balter, L., Hunt, W. (1978) The Detective Film as Myth: “The Maltese Falcon” and “Sam Spade”. Am. Imago, 35, pp. 275-296.

Bazin, A. (1952) Qu’ est-ce que le cinema? Paris: Ed. du Cerf (tr. it. Che cos’è il cinema? Garzanti, Milano, 1973).

Bazin, A. (1975) Le cinéma de la cruauté. Paris: Flammarion (tr. it. Il cinema della crudeltà, Il Formichiere, Milano, 1977).

Becker de, R. (1957) Pour une psychanalyse du cinema. Table Ronde, 109, pp. 79-89.

Beebe, J. (1990) vedi Journal of Popular Film and Television, vol. 18, n. 9.

Beebe, J. (1995) vedi Cahiers jungiens de psychanalyse, 83.

Beebe, J. (1996) Jungian Illumination of Film. Psychoanal. Rev., 83, pp. 579-587.

Bellavita, A. (2004a) La tecnologia come costrutto simbolico: Per un’applicazione della psicoanalisi al dispositivo cinematografico. Comunicazioni Sociali, 26(1), pp. 109-115.

Bellavita, A. (2004b) Fantôme e fantasma: L’emersione del reale al cinema. Una proposta di teoria psicoanalitica del linguaggio cinematografico. La Psicoanalisi, 36, pp. 161-176.

Bellavita, A. (2005a) Schermi perturbanti. Milano: Vita e Pensiero.

Bellavita, A. (2005b) vedi La Valle dell’Eden, n. 15.

Bellavita, A. (2008) Inland Empire. In P. Bertetto (a cura di) David Lynch. Venezia: Marsilio.

Bellin, J.D. (2005) Framing Monsters: Fantasy Film and Social Alienation. Carbondale: Southern Illinois University Press.

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Bellour, R. (1975a) vedi Communications, 23.

Bellour, R. (1975b) Le Texte introuvable. Ça cinéma, 7-8, pp. 77-84 (tr. it. Il testo introvabile, in P. Madron [a cura di] L’analisi del film, Pratiche, Parma, 1984).

Bellour, R. (1979a) L’analyse du film. Paris: Albatros (tr. it. L’analisi del film, Kaplan, Torino, 2005).

Bellour, R. (1979b) Psychosis, Neurosis, Perversion. Camera Obscura, 3-4, pp. 104-132.

Beluffi, M. (1969) Cinema d’arte: Alienazione, psicoterapia. Bologna: Il Mulino.

Benevelli, E. (1979) Analisi di una messa in scena: Freud e Lacan nel “Casanova” di Fellini. Bari: Dedalo.

Benjamin, W. (1955) Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Frankfurt am Main: Suhrkamp (tr. it. L’opera d’arte nell’epoca della sua riproducibilità tecnica, Einaudi, Torino, 1966).

Benton, R.J. (1984) Film as Dream: Alfred Hitchcock’s Rear Window. Psychoanal. Rev., 71, pp. 483-500.

Benton, R.J. (1990) A Review of “Psychiatry and the Cinema”, by G.O. Gabbard, K. Gabbard. Psychoanal. Books, 1, pp. 344-348.

Benton, R.J. (1992a) A Review of “Psychoanalysis & Cinema”, by E.A. Kaplan. Psychoanal. Books, 3, pp. 134-140.

Benton, R.J. (1992b) The Silence of the Lambs: Clarice Starling’s Analysis? Psychoanal. Rev., 79, pp 457-461.

Benton, R.J. (1993) Review of “Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema”, by A. Lawrence. Psychoanal. Books, 4, pp. 370-373.

Benton, R.J. (1995) A Review of “Screen Memories: Hollywood Cinema on the Psychoanalytic Couch”, by H.R. Greenberg. Psychoanal. Books, 6, pp. 301-305.

Benton, R., Tylim, I. (1997) Film and Violence: Introduction. Psychoanal. Rev., 84, pp. 657-666.

Benvenuto, S. (2001) “The Son’s Room” or Analysis Is Over. Journal of European Psychoanalysis, 12-13, pp. 163-172.

Berg-Cross, L., Jennings, P., Baruch, R. (1990) Cinematherapy: Theory and Application. Psychotherapy in Private Practice, 8, pp. 135-156.

Bergala, A. (1989) vedi Cinémaction, 50.

Bergstrom, J. (1979) Alternation, Segmentation, Hypnosis: Interview with Raymond Bellour. Camera Obscura, 3-4, pp. 71-103.

Bergstrom, J. (a cura di) (1999) Endless Night, Cinema and Psychoanalysis: Parallel Histories. Berkeley-Los Angeles: University of California Press.

Berman, E. (1989) vedi Psychoanalytic Inquiry, 18.

Berman, E. (1997) Hitchcock’s Vertigo: The Collapse of a Rescue Fantasy. Int. J. Psycho-Anal., 78, pp. 975-996.

Berman, E. (1998) Arthur Penn’s Night Movies: A Film that Interprets Us. Int. J. Psycho-Anal., 79, pp. 175-178.

Bernardi, S. (1986) Teoremi della circolarità: L’infinito nel cinema. Filmcritica, pp. 365-366.

Bernardi, S. (1999) Kubrick, Freud e la coazione a ripetere. Bianco e Nero, 5, pp. 43-60.

Bernstein, M., Studlar, G. (a cura di) (1997) Visions of the East. New Brunswick, NJ: Rutgers University Press.

Bertetto, P. (2001a) L’enigma del desiderio. Venezia: Marsilio.

Bertetto, P. (2001b) Bella di giorno: L’immaginario, l’enigma. In V. Cordelli, L. De Giusti (a cura di) L’occhio anarchico del cinema. Luis Buñuel. Milano: Il Castoro.

Bertetto, P., Monti, C. (2007) Robert Wiene: Il gabinetto del dottor Caligari. Torino: Lindau.

Berton, M. (2004) Freud et l’«intuition cinégraphique»: Psychanalyse, cinéma et épistémologie. Cinémas: revue d’études cinématographiques/ Cinémas: Journal of Film Studies, 14, n. 2-3, pp. 53-73.

Bettetini, G. (1968) Cinema: Lingua e scrittura. Milano: Bompiani.

Bettetini, G. (1984) La conversazione audiovisiva. Milano: Bompiani.

Bhugra, D. (2003a) Teaching Psychiatry Through Cinema. Psychiatr. Bull., 27, pp. 429-430.

Bhugra, D. (2003b) Using Films and Literature for Cultural Competence Training. Psychiatr. Bull., 27, pp. 427-428.

Bhugra, D. (2006) Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. London: Psychology Press.

Bhugra, D., De Silva, P. (2007) The Silver Screen, Printed Page and Cultural Competence. The Psychologist, 20, pp. 538-540.

Bick, I. (1992) Review of “Psychiatry and the Cinema”, by G.O. Gabbard, K. Gabbard. Psychoanal. Q., 61, pp. 304-308.

Bierman J., Krieger, A. R., Leifer, M. (2003) Group Cinema therapy as a treatment Modality for Adolescent. The Haworth press on linecatalog. 21, pp. 1-15.

Biesen, S.C. (2005) Blackout: World War II and the Origins of Film Noir. Baltimore: Johns Hopkins University Press.

Billström, J. (1936) Mental Hygiene and Film Control. Svemka Lakartidningen, 33, pp. 950-955.

Bingham, D. (1994) Acting Male: Masculinities in the Films of James Steward, Jack Nicholson and Clint Eastwood. New Brunswisk, NJ: Rutgers University Press.

Bleandonu, G. (1986) Le vidéo en thérapie. Paris: Editions ESF.

Blothner, D. (1999) Erlebniswelt Kino. Über die unbewußte Wirkung des Films. Bergisch Gladbach: Lübbe.

Blumer, H. (1933) Movies and Conduct. New York: Macmillan.

Blumstein, D.T., Davitan, R., Kaye, P.D. (2010) Do Film Soundtracks Contain Nonlinear Analogues to Influence Emotion? Biology Letters, 6(6), pp. 751-754.

Boccara, P., Riefolo, G., Gaddini, A. (2000) Cinema e sogno nello spazio psicoanalitico. In S. Bolognini (a cura di) Il sogno cento anni dopo. Torino: Bollati Boringhieri.

Boccara, P., Riefolo, G. (2002) Psicoanalisti al cinema: Alcune considerazioni di metodo su cinema e psicoanalisi. Riv. Psicoanalisi, 48, 3, pp. 691-705.

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Bodin, G., Poulsen, I. (1994) Psychic Conflicts in Contemporary Language: An Analysis of the Film “Blue Velvet” by David Lynch. Scandinavian Psychoanalytic Review, 17(2), pp. 159-177.

Bolivar, V., Cohen, A.J., Fentress, J.C. (1994) Effects of Semantic and Formal Congruency of Film and Music on Film Interpretation. Psychomusicology, 13(1), pp. 28-59.

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Bordwell, D. (1989) Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge: Harvard University Press.

Bordwell, D., Thompson, K. (1979) Film Art: An Introduction. New York: McGraw-Hill. (tr. it. Cinema come arte: Teoria e prassi del film, Il Castoro, Milano, 2003).

Bouman, J.C., Heuyer, G., Lebovici, S. (1953) Une expérience d’étude des groupes. Le processus de l’identification et l’importance de la suggestibilité dans la situation cinématographique. Rev. int. de filmologie, XIII(4), pp. 111-141.

Bourlez, F. (2005) vedi La Valle dell’Eden, n. 15.

Braga, P. (2003) Dal personaggio allo spettatore: Il coinvolgimento nel cinema e nella serialità televisiva americana. Milano: Franco Angeli.

Brandell, J.R. (2004a) Eighty Years of Dream Sequences: a Cinematic Journey Down Freud’s Royal Road. Am. Imago, 61(1), pp. 59-76.

Brandell, J.R. (a cura di) (2004b) Celluloid Couches, Cinematic Clients: Psychoanalysis and Psychotherapy in the Movies. New York: State University of New York Press.

Braudy, L. (1977) Hitchcock, Truffaut, and the Irresponsible Audience. Film Quarterly, 21, pp. 21-27.

Branigan, E. (1978) Subjectivity Under Siege from Fellini’s 8 ½ to Oshima’s The Story of a Man Who Left His Will on Film. Screen, 19(1), pp. 7-40.

Brearley, M. (2000) On Making a Documentary Film on Psychoanalysis. Psychoanalytical Psychotherapy, 14, pp. 163-174.

Brearley, M., Sabbadini, A. (2008) The Truman Show: How’s It Going to End?. Int. J. Psycho-Anal., 89, pp. 433-440.

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Brinkmann, D. (1953) Zur Psychologie des Jugendfilms. Der Psychologe Schwarzenburg, 5, pp. 89-93.

Browne, N. (1975) vedi Communications, 23.

Browne, N., McPherson, B. (1980) Dream and Photography in a Psychoanalytic Film: Dreams of a Soul. Dreamworks, 1, pp. 35-45.

Brudny, W. (1955) Der Sensationskulturfilm-eine Warnung [The danger of film sensation]. Film-Bild-Ton, 5(9), pp. 18-19, pp. 39-40.

Brüel, O. (1938) A Moving Picture as a Psychopathogenic Factor: A Paper on Primary Psychotraumatic Neurosis. Character and Personality, 7, pp. 68-76.

Brüel, O. (1953) Psychic Trauma Through the Cinema: An Illustrative Case. International Journal of Sexology, 7(2), pp. 61-63.

Bruner, J.S., Fowler, G. (1941) The Strategy of Terror: Audience Response to “Blitzkrieg im Westen”. Journal Abnormal and Social Psychology, 36.

Brunetta, G.P. (1997) Buio in sala: Cent’anni di passioni dello spettatore cinematografico. Venezia: Marsilio.

Brunius, J.B. (1951) Le rêve, l’incoscient, le merveilleux. L’âge du cinéma, n. 4-5, pp.10-14.

Bruno, E. (1980) Il ruolo dell’immaginario. In R. Guiducci et al. Mostri al microscopio: Critica del cinema catastrofico. Venezia: Marsilio.

Bruno, G., Nadotti, M. (1991) Immagini allo schermo: La spettatrice e il cinema. Torino: Rosenberg & Sellier.

Brunot, H. (1947) Faut-il pleurer au spectacle? Psyché: Revue internationale des sciences de l’homme et de psychanalyse, 11, pp. 935-939.

Brütsch, M., Hediger, V., von Keitz, U., Schneider, A., Tröhler, M. (a cura di) (2005) Kinogefühle: Emotionalität und Film. Marburg: Schüren.

Buccheri, V., Colombo, S., Scaglioni, M. (1999) Suspense cinematografica e creazione dell’attenzione: Analisi comparata di due sequenze hitchcockiane. Ikon, n. 39, pp. 119-151.

Buckle, G.F. (1970) The Mind and the Film. New York: Arno Press.

Budd, M. (a cura di) (1990) The Cabinet of Dr. Caligari. New Brunswick, NJ: Rutgers University Press.

Buhle, M. (1998) Feminism and Its Dicontents. Cambridge, MA: Harvard University Press.

Buhr, W. (1956) Der Gegenwartsfilm als psychologisch-pädagogisch Phänomen. Film-Bild-Ton, VI(2), pp. 19-22 e 44-47.

Bukatman, S. (1997) Blade Runner. London: British Film Institute.

Buren van, J. (1989) vedi Psychoanalytic Inquiry, 18.

Burnham, J. (1982) American Medicine’s Golden Age: What Happened to It? Science, 215, pp. 1474-1479.

Byrne, P. (2009) Why Psychiatrists Should Watch Films? Adv. Psychiatr. Treat., 15, pp. 286-96.

Campagner, L. (2006) L’avventura di essere donna: Appunti di cinema e psicoanalisi. Milano: Odòn.

Campos, F.C. (2003) Cinema: Sonho e lucidez. Rio de Janeiro: Azougue.

Canestrari, R. (1953). La psicologia differenziale ed il cinema. Infanzia anormale, 24, pp. 284-293.

Canestrelli, L. (1956) Psicologia e film: Problemi psicologici, etico-psicologici, psico-pedagogici. La difesa del ragazzo, 25(5), pp. 219-238.

Cappabianca, A., Mancini, M., Silva, S. (1974) La costruzione del labirinto: La scena, la maschera, il gesto, la cerimonia. Milano: Mazzotta.

Carasco, R. (1976) Feuilles de montage pour une Gradiva cinématographique. Critique, 32, pp. 324-332.

Carcassone, P. (1978) Le rêve de la tour. Cinématographe, n. 34, pp. 3-7.

Carey, J. (1974) Temporal and Spatial Transitions in American Fiction Films. Studies in the Anthropology of Visual Communication, 1, pp. 45-50.

Carli, R., Esposito, P. (1971) Contributo sperimentale allo studio della dinamica di gruppo e delle relazioni con l’autorità nella partecipazione cinematografica. Arch. Psicol., Neurol., Psich., 32, pp. 231-285.

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Walker, J. (1984) Psychoanalysis and Feminist Film Theory: The Problem of Sexual Difference and Identity. Wide Angle, 6(3), pp. 16-23.

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Walker, J. (2001) Trauma Cinema: False Memories and True Experience. Screen, 42, n. 2, pp. 211-216.

Walker, J. (2004) The Vicissitudes of Traumatic Memory and the Postmodern History Film. In E.A. Kaplan, B. Wang (a cura di) Trauma, Cinema and Modernity: Histories in Trans-Cultural Media. Hong Kong: Hong Kong University Press.

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Williams, L. (1989a) Fetishism and the Visual Pleasure of Hard Core: Marx, Freud, and the “Money Shot”. Quarterly Review of Film and Video, 11(2), pp. 23-42.

Williams, L. (1989b) Hard Core: Power, Pleasure and the “Frenzy of the Visible”. Berkeley: University of California Press.

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Zamparo, S. (2004) Cinema e follia: La psicopatologia nel cinema italiano. Quaderni del Fano International film festival.

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Zeul, M. (1989) John Hustons “Freud”-Film. Psyche, 43, pp. 952-966.

Zeul, M. (1994) Bilder des Unbewußten: Zur Geschichte der psychoanalytischen Filmtheorie. Psyche, 48, pp. 975-1003.

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Zizek, S. (1991) Grimaces of the Real, Or When the Phallus Appears. October, 58, pp. 44-68.

Zizek, S. (1992) Enjoy Your Symptom! Jacques Lacan in Hollywood and Out. London-New York: Routledge.

Zizek, S. (a cura di) (1992) A Triumph of the Eye over the Gaze? Everything You Always Wanted to Know About Lacan but were Afraid to Ask Hitchcock. London: Verso Books (tr. it. L’universo di Hitchcock, intr. e cura di D. Cantone, Mimesis Edizioni, Milano, 2008).

Zizek, S. (1993) “The Thing that Thinks”: The Kantian Background of the Noir Subjet. In J. Copjec (a cura di) Shades of Noir. New York: Verso.

Zizek, S. (1998) Picknick der Aliens: Andrej Tarkowskij und das Dig aus dem inneren Raum. Lettre International, 43(4), pp. 84-92 (tr. it. Tarkovskij: La cosa dallo spazio profondo, Mimesis Edizioni, Milano-Udine, 2011).

Zizek, S. (1999) Traumafabrik. Vom Urvater zum Holocaust – und zurück. Lettre International, 46(3), pp. 16-19.

Zizek, S. (2001) The Fright of Real Tears: Kryzystof Kieslowski Between Theory and Post-Theory. London: British Film Institute.

Zusman, W. (1989) vedi Psychoanalytic Inquiry, 18.

Zusman, W. (1994) Os filmes que eu vi com Freud. Rio de Janeiro: Imago.

Zweig, C., Abrams, J. (1991) Meeting the Shadow: The Hidden Power of the Dark Side of Human Nature. Los Angeles: Jeremy P. Tarcher.

 

Lista dei numeri speciali di riviste dedicati al rapporto cinema e psicoanalisi in ordine di apparizione cronologica.

 

Nederlands tijdschrift voor de psychologie en haar grensgebieden [Rivista olandese di psicologia e suoi territori limitrofi]

Psychologische Bijdragen tot de Filmproblematiek [Contributi psicologici per lo studio del cinema] vol. VIII, n. 2, 1953

A. Querido De dadels van Hassan [Le date di Hassan].

R. Micha De cinématografische waarheid [La verità cinematografica].

P.Th. Hugenholtz Het moderne cultuurproduct [I prodotti culturali moderni].

J.M.L. Peters Psychologische processen bij het zien van een film [Processi psicologici nella vision di un film].

S.J. Popma In de ban van de bioscoop [Sotto l’incantamento del cinema].

W.A. Hart Een igeiden onderzoek tot het probleem film en jeugd [Introduzione allostudio dei problem del cinema e della giovinezza].

 

 

Communications
Psychanalyse et Cinéma
n. 23, 1975

C. Metz, T. Kuntzel, R. Bellour Avant propos, pp. 1-2.

C. Metz Le signifiant imaginaire, pp. 3-55.

J.L. Baudry Le dispositif: Approches méta psychologiques de l’impression de réalité, pp. 56-72.

J. Kisteva Eclipse sur la frayeur et la seduction spéculaire, pp. 73-78.

G. Rosolato Souvenir-écran, pp. 79-87.

J. Farges L’image d’un corps, pp. 88-95.

F. Guattari Le divan du pauvre, 96-103.

R. Barthes En sortant du cinéma, pp. 104-107.

C. Metz Le film de fiction et son spectator, pp. 108-135.

T. Kuntzel Le travail du film 2, pp. 136-189.

D. Percheron Rire au cinéma, pp. 190-201.

N. Browne Rhétorique du texte, pp. 202-211.

C.B. Clement Les Charlatans et les hystériques, pp. 212-222.

M. Vernet Freud: Effets spéciaux mise en scène: U.S.A., pp. 223-234.

R. Bellour Le blocage symbolique, pp. 235-350

 

Cinema & Cinema
n. 13, 4, 1977

Il numero ospita, tra gli altri, interventi di:

F. La Polla Il terrore e lo sguardo

G. Grignaffini È arrivata la psiconanalisi

E. Magrelli Psicoanalisi, finzione, sogno

F. Casetti Il terzo escluso: Film, psicoanalisi, morte del cinema.

 

L’Ane: le magazine freudien
A cura di P. Bonitzer, M. Silvestre, n. 7, 1982

Numero speciale dedicato alla possibilità del cinema di rappresentare il reale. Ospita interventi di:

C. Akerman
J.P. Beauviala
P. Bonitzer
M. Chion
S. Daney
F. D’Artois
J.L. Godard
B. Jacquot
C. Léger
M. Silvestre
S. Zizek

 

Cinémaction
Cinéma et psychanalyse
A cura di A. Dhote, n. 50, 1989

C.B. ClementUn long flirt, une longue acoquinade, pp. 8-12.

A. Dhote Quelle rencontre?, pp. 13-19.

A. Bergala Réalisation et spectacle, du scénario au montage: Le “travail de deuil”, pp. 22-25.

P. Sorlin Tournage et montage: Les fantasmes de la réalisation, pp. 26-32.

F. Guattari Les agents de l’aliénation et du désir: La tension énonciative, pp. 33-37.

O. Bächler Images de films, images de rêves: Le véhicule de la vision, pp. 40-46.

F. Evrard Pulsion scopique et répétition: Les lunettes du cinéphile, pp. 47-52.

M. Ferreri Au-delà du plaisir du film: Le spectateur-enfant, pp. 53-57.

A. Gillain Fantasme originaire: Le plaisir narratif, pp. 60-67.

M. Serceau Projection et surface de l’écran entre le miroir et le divan, pp. 68-73.

D. SerceauIdentifications et aliénations: Le désir médiatisé, pp. 74-81.

D. Oppenheim L’image du fou: Folie que vouloir représenter la folie!, pp. 82-87.

M. Oms La vie quotidienne au cinéma: Image de la folie, folie des images, pp. 88-93.

M. Smihi Le plateau comme autre scène: Psychanalyse de la réalisation, pp. 104-107.

H.J. Laurencin Portraits: Pasolini-Freud, ou les chevilles qui enflent, pp. 108-113.

J. Rouch La caméra comme lien social: Cinéma direct et ciné-transe, pp. 114-119.

R. Dadoun Les inconscients parallèles, pp. 122-124.

D.C. Maugendre Concordances conceptuelles, pp. 125-129.

H.J.LaurencinDeux préhistoires, pp. 130-137.

C.N. Pickmann Un jour la psychanalyse a rencontré la sémiologie, pp. 138-147.

M. Vernet Autour du suspense: Réflexions sur le fétichisme, pp. 150-158.

R. Predal Le film fantastique, psychanalyse du pauvre? Sigmund, King-Kong, Tarzan et les autres, pp. 159-167.

C. Metz Cinéma, photo, fétiche, pp. 168-175.

A. Tardits La voix: Quand l’écran cède…, pp. 178-182.

F. Vanoye Esquisse d’une réflexion sur l’émotion, pp. 183-191.

 

Psychonalalytic Inquiry
Projections of Psychic Reality: A Centennial of Film and Psychoanalysis
A cura di D. Diamond, H. Kimble Wrye, vol. 18, n. 2, 1989

D. Diamond, H., Kimble Wrye Prologue, pp. 139-146.

A. Mason Melanie Klein’s Notes on “Citizen Kane” with Commentary, pp. 147-153.

A. Corel Language and Time in “Citizen Kane”, pp. 154-160.

G.O. Gabbard Vertigo: Female Objectification, Male Desire, and Object Loss, pp. 161-167.

H. Kimble Wrye Tuning a Clinical Ear to the Ambiguous Chords of Jane Campion’s The Piano, pp. 168-182.

B.E. Stevenson Silenced Women, Personal Art, and Motherhood, pp. 183-192.

E. Berman The Film Viewer: From Dreamer to Dream Interpreter, pp. 193-206.

J.K. Welles Rituals: Cinematic and Analytic, pp. 207-221.

A. Harris, R. Sklar Wild Film Theory, Wild Film Analysis, pp. 222-237.

G. Bodin, I. Poulsen “Blue Velvet” by David Lynch: A Fairy Tale About the Developmental Conflicts of Growing from Boyhood to Manhood, pp. 238-250.

W. Zusman The Conversation: Psychic Reality, Neutrality, and Reaction Formation, pp. 251-256.

L. Weinstein Looking at Reality: Perversion, Illusion, and the Primal Scene in Peter Greenaway’s The Draughtman’s Contract, pp. 257-268.

A.K. Richards Woman as Medusa in Basic Instinct, pp. 269-280.

I. Tylim The Vampire Game, pp. 281-290.

J. van Buren Food for Thought in the Film Fried Green Tomatoes, pp. 291-300.

J. Bailey The Battle Within: A Filmmaker’s Psychic Odyssey, pp. 301-310.

D. Diamond, H. Kimble Wrye Epilogue, pp. 311-332.

 

Journal of Popular Film and Television
Psychoanalysis and Cinema
A cura di H.R Greenberg , vol. 18, n. 9, 1990

H.R. Greenberg Celluloid and Psyche, pp. 3-5.

K. Gabbard, O.G. Gabbard Play It Again, Sigmund: Psychoanalysis and the Classical Hollywood Text, pp. 6-17.

J.ConlonMaking Love, Not War: The Soldier Male in Top Gun and Coming Home, pp 18-27.

J. Beebe The Notorious Post War Psyche, pp. 28-35.

I. Schneider Deus ex Animo, or Why a Doc? pp. 36-39.

 

American Imago
Psychoanalysis and Cinema
A cura di E.A. Kaplan, vol. 50, 1993

E.A. Kaplan Introduction, pp. 393-400.

M. Haskell To Have and Have Not: The Paradox of the Female Star, pp. 401-420.

K. Gabbard, G.O. Gabbard Phallic Women in the Contemporary Cinema, pp. 421-440.

S. Flitterman-Lewis Surrealist Cinema: Politics, History, and the Language of Dreams, pp. 441-456.

L.J. Kaplan Fits and Misfits: The Body of a Woman, pp. 457-480.

E.A. Kaplan The Couch Affair: Gender and Race in Hollywood Transference, pp. 481-514.

I. Livingston The Traffic in Leeches: David Cronenberg’s Rabid and the Semiotics of Parasitism, pp. 515-533.

 

Post Script
Psychoanalysis and film
A cura di K. Gabbard, 14, 1, 1994 and 14, 2, 1995

 

American Imago
Psychoanalysis and Cinema
A cura di E.A. Kaplan, vol. 52, 1995

E.A. Kaplan Introduction, pp. 127-131.

J. Reeder The Uncastrated Man: The Irrationality of Masculinity Portrayed in Cinema, pp. 131-155.

J.S. Lee Spike Lee’s Malcolm X as Transformational Object, pp. 155-169.

M. Walsh Reality, the Real, and the Margaret-Thatcher-Signifier in Two British Films of the 1980s, pp. 169-191.

R. Humphries Lacan and the Ostrich: Desire and Narration in Bunuel’s Le Fantôme de la Liberté, pp. 191-205.

R. Lang Innerspace: A Spectacular Voyage to the Heart of Identity, pp. 205-237.

 

Cahiers jungiens de psychanalyse
Cinéma: Une approche jungienne
n. 83, 1995

A. Agnel Éditorial: Cinéma, une approche jungienne.

N. Ward Jouve Rue Everlor.

J. Beebe L’anima dans les films.

G. Guy-Gillet L’image au cinema.

D.M. Lagarde Le nouveau cinéma juste en bas de la rue.

A. Agnel Les métamorphoses du héros fordien.

C. Veschambre De quel oubli nous tirent ces images.

C. Winkler-Besone Le retour des anges. “Les ailes du désir” et “Si loin, si proche” de Wim Wenders.

J. Dourvault Ce qui nous est montré.

L. Franquet-Soissons Quentin Tarantino «Juste du sang dans les yeux».

D. Isoppo «Fatalitas ?».

M. Bellocchio Le triangle renversé.

M. Serenellini Le silence de l’innocent.

F. Rondeleux Père-fils, une rencontre nouvelle.

La Valle dell’Eden
Dossier Schermi psicoanalitici
A cura di R. Salvatore, Anno VII, n. 15, 2005

R. Salvatore Introduzione.

L. Albano Lo scudo di Perseo e lo schermo cinematografico.

B. Le Maître Economia plastica del desiderio.

A. Bellavita Il fantasma cinematografico: un quadro sulla finestra del reale.

V. Pravadelli Psicoanalisi e feminist film theory: da Mulvey agli anni Novanta.

P. Fuery Lo sguardo abrasivo e le vellications del sublime.

S. Rollet Lo scudo di Perseo: le figure del doppio in Viaggio a Cytera di Anghelopulos.

R. Salvatore In the mood for love: tempi e desideri.

S. Trinchero Une sale histoire: cronaca di un voyeurismo.

F. Bourlez Edipo Re o la “macchina da presa accecata”di Pasolini.

F. Polato D’altro canto…

 

La Psicoanalisi
Cinema
n. 40, 2006

J. Lacan L’Assassin musicien di Benoit Jacquot (1976).

J.A. Miller Dall’immagine allo sguardo.

B. Roberti “Nello specchio” di De Oliveira.

R. Salvatore Il corpo della donna nel cinema di François Truffaut.

A. Aromi La connessione tra cinema e psicoanalisi. Ciò che “Million dollar baby” può insegnare.

Y. Depelsenaire Il cinema e il mito.

Altri contributi di: R. Salvatore, L. Albano, Y. Depelsenaire, F. Fonteneau, F. Bourlez, A. Bellavita, B. Roberti, M. Bassols, A. Aromi, A. Monselesan, F. Sisto, M. Egge.

 

 

Psychoanalytic Inquiry
Psychoanalytic Visions of Cinema/Cinematic Visions of Psychoanalysis
Vol. 27, n. 4, 2007

D. Diamond, H. Kimble-Wrye, A. Sabbadini Prologue, pp. 367-380.

A. Sabbadini, B. Bertolucci Psychoanalysis: The 11th Muse (conversazione), pp. 381-394.

M.V. Costantini, P. Golinelli The Birth of Psychoanalysis: From Incestuous Couples to Transference Love, pp. 395-408.

H.B. Sklarew Musical Blending and Altruistic Surrender in Bertolucci’s Besieged (1999), pp. 409-418.

A. Sabbadini On the Merging of Temporalities in Bernardo Bertolucci’s Histoire d’Eaux (2002), pp. 419-424.

D. Diamond Passion for Survival in Polanski’s: The Pianist, pp. 425-439.

A. Stein Music and Trauma in Polanski’s: The Pianist (2002), pp. pp. 440-454.

H. Kimble-Wrye Perversion Annihilates Creativity and Love: A Passion for Destruction in Hanekes The Piano Teacher, pp. 455-466.

M.V. Costantini, P. Golinelli Aestheticism and Creativity in 1900: The Legend of the Pianist on the Ocean by Giuseppe Tornatore (Italy, 1998), pp. 467-473.

D. Diamond Attachment Disorganization and Creativity in Fanny and Alexander, pp. 474-480.

A. Sabbadini Three Sisters: Sibling Knots in Ingmar Bergmans Cries and Whispers (2006), pp. 481-486.

E. Marchiori, R.Goisis, M. De mariFrom Father to Son: Adolescence and the Relationship Between Fathers and Sons Seen Through Two Generations of Italian Film Directors, pp. 487-503.

A. Battistini Uneasy Love: Sentimental Diseases and Crisis of the Couple in Antonionis Movies, pp. 504-509.

H. Taylor Robinson The Ego, the Eye, and the Camera Lens A Psychoanalytic Reading of Traumatic Loss and Mourning in Krzysztof Kieslowskis Three Colours Blue (1993), pp. 510-524.

C. Ortuges Central European Twins: Psychoanalysis and Cinema in Ildiko Enyedis My Twentieth Century, pp. 525-539.

D. Diamond, H. Kimble-Wrye, A. Sabbadini Epilogue, pp. 540-543.

 

La Psicoanalisi
Jacques Lacan regarde le cinéma il cinema guarda Jacques Lacan
n. 43-44, 2008

J. Lacan Psicoanalisi ed “evento” (1969).

J. A. Miller L’inconscio reale.

A. Di Ciaccia, B. Jacquot, J. Miller Tavola rotonda su

Lacan e il cinema.

L. Dardenne Il cinema del reale.

M. Egge “Calcutta” di Louis Malle.

C. Menghi Lacan con Fellini.

Altri contributi di: C. Menghi, A. VICENS, F. Bourlez, M. Egge, R. Salvatore, L. Albano, A. Bellavita, R. Cavasola, F. Biagi-chai, B. Roberti, A. Monselesan.

SERGIO STAGNITTA
Psicologo clinico, psicoterapeuta. Socio fondatore e presidente Associazione Argo
(Associazione di Ricerca sul Gruppo Omogeneo).
Fondatore e curatore del sito cinema e psicologia:
http://www.cinemaepsicologia.it
e-mail: sergiostagnitta@yahoo.it

MARCO TRAMONTE
Psicologo clinico, psicoterapeuta. Responsabile del progetto “Servizi Diurni per
disagiati psichici” Distretto RM/H1.
Fondatore e curatore del sito cinema e psicologia:
http://www.cinemaepsicologia.it
e-mail: marco.tramonte@libero.it

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