Christopher Hauke’s new book – Visible Mind. Movies, Modernity and the Unconscious forthcoming from Routledge, New York and London, in 2013.
The overall themes of Visible Mind. Movies, Modernity and the Unconscious are, firstly, to show how Jungian insights and concepts can bring a fresh perspective to understanding the audience’s viewing experience and the cultural and psychological significance of movies in modernity. Second, to shed light on unconscious processes involved in the filmmakers’ themselves,. Thirdly, to examine how movies come into the work of psychotherapy as an important form of communication between therapist and client.
Visible Mind has nine new chapters written especially for the book – on topics such as, The Face and Surface; Film and Shadow; American and European Psyche; Fact and Fiction in film; Narrative and Story; Anima and Individuation; What Makes Movies Work.
In addition – uniquely conducted for Visible Mind – there are six interviews with film professionals – cinematographer, Tom Hurwitz ASC (The Queen of Versailles); actor Margaret Klenck (New York); writer/director Dudi Appleton (BBC Silent Witness); editor Jonathan Morris (Ken Loach films); production designer Gemma Jackson (Iris; Game of Thrones); director/writer Paul Morrison (Wondrous Oblivion; Little Ashes)
Each interview investigates how the unconscious is involved in the craft of filmmaking from the point of view of top professionals across film departments. As a Jungian psychoanalyst and a filmmaker himself, Christopher Hauke is in an ideal position when it comes to conversations that encompass the practical, the psychological, the academic and, sometimes, the magical elements to be found in filmmaking.
The book offers an exciting new perspective on post-Jungian takes on film from an academic and psychological standpoint which will be useful to all who study film or psychotherapy. It also offers highly qualified practical psychological insights and analyses for filmmakers themselves – and for everyone who enjoys watching movies. With many film stills and DVD time-code references to film clips mentioned in the text, Visible Mind is written so the new-comer to film studies, filmmaking or Jungian psychology will find it accessible, while the more experienced reader will be stimulated by the original material and fresh thinking throughout the book.