Cinema—invented just before psychoanalysis formally developed—primed the public and scholars to rethink ideas about dreams. The author describes how surrealist artists purposely applied Freudian dream theories to their art to make the public aware of modern ideas about dreams. Most of our current cultural consciousness about the psychological value of dreams is traced to classical and contemporary cinema. This work examines how residuals of past approaches to dreams make conceptions of dreams in psychoanalysis and science more complex than ever today. Scholars and students in the fields of psychology, psychiatry, cinema, medicine, and religion may find this volume useful. The book also examines academic psychiatry's increased emphasis in dream study on neuropsychiatry and psychopharmocology, as well as managed care's decreased compensation for dream therapy.

As the gap between science fiction and science fact has narrowed, films that were intended as pure fantasy at the time of their premier have taken on deeper meaning. This volume explores neuroscience in science fiction films, focusing on neuroscience and psychiatry as running themes in SF and finding correlations between turning points in "neuroscience fiction" and advances in the scientific field. The films covered include The Strange Case of Dr. Jekyll and Mr. Hyde, The Island of Dr. Moreau, Robocop, The Stepford Wives, The Mind Snatchers and iconic franchises like Terminator, Ironman and Planet of the Apes. Examining the parallel histories of psychiatry, neuroscience and cinema, this book shows how science fiction films offer insightful commentary on the scientific and philosophical developments of their times.

By looking at the interactions between cinema and psychology, Packer offers readers clear and basic insights into some of the most fundamental reasons why film is such an important influence upon our lives today. Movies and the Modern Psyche first describes the basic concepts of psychoanalysis, experimental psychology, behavioral conditioning, and hypnosis, which have all played major roles in the histories of both film and psychiatry. It then goes on to discuss the recent rise in film therapy, drug treatments, treatment for drug abuse, and the closing of asylums, to show how shifts in treatment techniques, theories, and settings are foreshadowed and fossilized by film. Psychology and cinema are kindred cousins, born at the same time and developing together, so that each influences the other. From the mind-controlling villains that occupy early horror films and Cold War thrillers (like Caligari, Mabuse, and The Ipcress File), to the asylums that house numberless political allegories and personal dramas (in Shock Corridor, Spellbound, One Flew over the Cuckoo's Nest, and Girl Interrupted), to the drugs, phobias, and disorders that pervade so many of our favorite films (including, as a small sample, Vertigo, Night of the Hunter, Psycho, Rainman, Fight Club, Requiem for a Dream, and Batman Begins), there is no escaping either psychology in the movies, or the movies in psychology. By looking at the interactions between cinema and psychology, this book offers readers clear and basic insights into some of the most fundamental reasons why film is such an important influence upon our lives today. Movies and the Modern Psyche first describes the basic concepts of psychoanalysis, experimental psychology, behavioral conditioning, and hypnosis, which have all played major roles in the histories of both film and psychiatry. It then goes on to discuss the recent rise in film therapy, drug treatments, treatment for drug abuse, and the closing of asylums, to show how shifts in treatment techniques, theories, and settings are foreshadowed and fossilized by film.

Annotation Shows how dreams have been revered as therapeutic tools, religious revelations, creativity catalysts, sexual symbols, medical miracles, instrospective insights, and meaningful memories, or just dismissed as biological blips and even feared as signs of demonic damnation.

Film history is merged with psychiatric history seamlessly, to show how and why bad depictions of mind doctors (especially hypnotists) occur in early film, long before Hannibal Lecter burst upon the scene. The German Expressionist Dr. Caligari is not cinema's first psychotic charlatan, but he launches the stereotype of screen psychiatrists who are sicker than their patients. Many film psychiatrists function as political metaphors, while many more reflect real life clinical controversies. This book discusses films with diabolical drugging, unethical experimentation, involuntary incarceration, sexual exploitation, lobotomies, "shock schlock," conspiracy theories and military medicine, to show how fact informs fantasy, and when fantasy trumps reality. Traditional asylum thrillers changed after hospital stays shortened and laws protected people against involuntary commitment. Except for six short "golden years" from 1957 to 1963, portrayals of bad psychiatrists far outnumber good ones and this book tells how and why that was.

In the late nineteenth century, dreams became the subject of scientific study for the first time, after thousands of years of being considered a primarily spiritual phenomenon. Before Freud and the rise of psychoanalytic interpretation as the dominant mode of studying dreams, an international group of physicians, physiologists, and psychiatrists pioneered scientific models of dreaming. Collecting data from interviews, structured observation, surveys, and their own dream diaries, these scholars produced a large body of early research on the sleeping brain in the late nineteenth and early twentieth centuries. This book uncovers an array of case studies from this overlooked period of dream scholarship. With contributors working across the disciplines of psychology, history, literature, and cultural studies, it highlights continuities and ruptures in the history of scientific inquiry into dreams.

The search for a shared practice of storytelling around which a popular study of cognitive narratology might form need look no further than our nightly experience of dreams. Dreams and memories are inseparable, complicating and building upon one another, reminding us that knowledge of ourselves based on our memories relies upon fictionalized narratives we create for ourselves. Psychologists refer to confabulation, the creation of false or distorted memories about oneself and the world we inhabit, albeit without any conscious intention to deceive. This process and narrative, inherent in the dreamlife of all people, is at odds with the daily menu of cultural myths and politicized fictions fed to the Western world through print and social media, and for which there is constant divisiveness and disagreement. Cognitive Narratology and the Shared Identity of Myth uses insights gained from the scientific study of dreaming to explain how the shared experience of dreamlife can work in service to the common good. Primary texts and literary works, chosen for their influence on contemporary thinking, provide a rationale and historical background: From Artemidorus (a professional diviner) and Aristotle; to the Church fathers Tertullian, St. Augustine, Gregory of Nyssa, Sinesius of Cyrene; to The Wanderer (Old English poem) and Chaucers Book of the Duchess; to Coleridges writings and R. L. Stevensons A Chapter on Dreams; and to twentieth-century dream theory, and dream use in film. The purpose is to enable readers through subjective self-analysis to recognize what they share with their fellow dreamers; shared identity in formation of a shared act of dreaming creation is a universal across centuries and throughout Western culture, albeit currently misrepresented and rarely acted upon.