By Benjamin Nagari
Through a theoretical and sensible exploration of Jungian and post-Jungian options surrounding photograph, this ebook strikes past the visible scope of images to contemplate the presence and expression of track and sound, in addition to how the psyche encounters improved photographs – archetypal, own or cultural – on either awake and subconscious degrees. by means of heavily analyzing song in movie, Nagari considers music’s complementary, improving, significant, and infrequently disruptive, contribution to expressive photos.
Chapters current a Jungian method of track in movie, highlighting how ‘music-image’ services either independently and along side the visible snapshot, and suggesting additional instructions in parts of study together with song treatment and autism. Divided into 3 cumulative components, half I explores the Jungian mental account of the music-image; half II combines conception with perform in analysing how the auditory photo works with the visible to create the ‘film as an entire’ event; and half III implements a particular realizing of 3 person movie situations of alternative genres, eras and kinds as psychologically scrutinised ‘case histories’.
Music as Image might be of curiosity to teachers and scholars within the fields of utilized psychoanalysis and Jungian psychology, song, movie and cultural stories. With implications for track treatment and different art-based cures, it's going to even be proper for training psychotherapists.
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Additional resources for Music as Image: Analytical psychology and music in film
Presenting itself as neither a straight yes or no answer, in consequence the third will not be immediately acceptable to either of the opposing points of view. . Therefore, it is the ambiguous and paradoxical Symbol which is capable of attracting attention and eventually reconciling the two. The conflict situation which offers no rational solution to the dilemma is the situation in which the opposition of the “two” produces an irrational “third”, the symbol. The volume and amount of negativity, positivity or otherness determines the dynamism of the conflict and can be expressed through both internal and external images.
48). 6 When synaesthesia occurs, the following conditions may apply: 1 Synaesthesia is involuntary and cannot be suppressed. 2 The sensations are real. They are actually experienced by the sense that is stimulated. 3 The synaesthetic reactions are consistent and discrete. 4 They are memorable. 8 Yet most research done into this phenomenon (or rather phenomena, due to its diversity and plural varieties) since the 19th century (Baron-Cohen & Harrison, 1997) has pursued the neurological causes and examined the psychological outcome less.
3 Following Jung’s ideas, the images are the building blocks of the psyche; and, in fact, image is psyche. As such, it is originally not a mere representative of anything else but the very ‘image of itself ’. g. visual and not auditory). This allows the other ‘formats’ to live alongside each other – mental image with concrete representation, mind’s-eye with dream fantasy – as realities of a psychological processes. The existence of psychic realities ‘in addition’ to the linear reality contributes to the symbol-sign relationship as they play along the opposites’ irrationality and irreconcilability.