Robert T. Eberwein uses a hypothesis from psychoanalytic theory to explore the frequently noticed similarity between dreaming and watching a film. His comprehensive study of the relationship between films and dreams explains the film screen as a psychic structure. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.

How is watching a movie similar to dreaming? What goes on in our minds when we become absorbed in a movie? How does looking “into” a movie screen allow us to experience the thoughts and feelings of a movie’s characters? These and related questions are at the heart of The Power of Movies, a thoughtful, invigorating, and remarkably accessible book about a phenomenon seemingly beyond reach of our understanding. Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.

Lebeau examines the long and uneven history of developments in modern art, science, and technology that brought pychoanalysis and the cinema together towards the end of the nineteenth century. She explores the subsequent encounters between the two: the seductions of psychoanalysis and cinema as converging, though distinct, ways of talking about dream and desire, image and illusion, shock, and sexuality. Beginning with Freud's encounter with the spectacle of hysteria on display in fin-de-siecle Paris, this study offers a detailed reading of the texts and concepts which generated the field of psychoanalytic film theory.

Dreaming in the Classroom provides teachers from virtually all fields with a uniquely informative guidebook for introducing their students to the universal human phenomenon of dreaming. Although dreaming may not be held in high esteem in mainstream Western society, students at all education levels consistently enjoy learning about dreams and rank classes on dreaming among their favorite, most significant educational experiences. Covering a wide variety of academic disciplines such as psychology, anthropology, humanities, film studies, philosophy, religious studies, the book explains in clear and practical language the most effective methods for teaching accurate, useful information about dreams to students in colleges and university, graduate programs, psychotherapy institutes, seminaries, primary and secondary schools, and non-academic settings. Included are detailed discussions of how to create an appropriate syllabus, integrate material form multiple disciplines, nurture skills in writing and critical reasoning, propose courses to skeptical administrators, and facilitate a responsible process for sharing dreams in a classroom setting. The book draws on interviews with dozens of accomplished teachers, along with the authors' many years of pedagogical practice, to present proven strategies for using this perennially fascinating topic to promote successful student learning.