Therapy and Emotions in Film and Television explores, from an interdisciplinary perspective, the shifts in our emotional preferences, styles, and 'emotional regimes' in western societies from the 1920s to today, as viewed through the lens of film and television.
While film and video has long been used within psychological practice, researchers and practitioners have only just begun to explore the benefits of film and video production as therapy. This volume describes a burgeoning area of psychotherapy which employs the art of filmmaking and digital storytelling as a means of healing victims of trauma and abuse. It explores the ethical considerations behind this process, as well as its cultural and developmental implications within clinical psychology. Grounded in clinical theory and methodology, this multidisciplinary volume draws on perspectives from anthropology, psychiatry, psychology, and art therapy which support the use and integration of film/video-based therapy in practice.
This book uses film/video-based therapy to help build resilience in facing personal, communal, national, and global trauma triggers. Offering a rich and diverse range of perspectives on trauma, this volume advocates positive social change using therapeutic techniques in filmmaking as well as film/video-based therapy, in conjunction with expressive art therapies such as drama, dance, music, painting, drawing, and more. Chapter authors address issues in one’s home, community, country, and the world using integrative medicine and advocacy using film/video-based therapy and digital storytelling. The book highlights psychological trauma and how one can cope with the overwhelming triggers in today’s world. It represents an articulate and comprehensive analysis of the ways in which traumatic human experience impacts, and is modified by, film and video media. Representing a rich and diverse range of perspectives on trauma through the lens of a camera, the authors document important examples of moments in which artistic expression becomes human resilience. Demonstrating how the language of film can facilitate watching, processing, and discussing images of trauma in therapy, in the home, in the community, and in the world, this volume will be of interest to educators and mental health practitioners with an interest in advancing psychotherapy and counseling techniques.
Turn to Film: Film in the Business School offers creative and powerful uses of film in the business school classroom and surveys the pedagogical and performative value of watching films with students. This volume examines not only how film offers opportunities for learning and investigation, but also how they can be sources of ideological poison, self-delusion and mis-representation. Throughout the text, renowned contributors embrace film’s power to embark on new adventures of thought by inventing images and signs, and by bringing novel concepts and fresh perspectives to the classroom. If film often reveals organizational dysfunctionality and absurdity, it also teaches us to understand the other, to see difference, and to accept experimentation. A wide spectra of films are examined for their pedagogical value in terms of what can be learned, explored and discussed by teaching with film and how film can be used as a tool of research and investigation. The book sees film in the classroom as an educational challenge wherein rich learning and personal development are encouraged.
This edited collection offers a wide range of essays showcasing current research on emotions in TV series. The chapters develop from a variety of research traditions in film, television and media studies and explores American, British, Nordic and Spanish TV series.
Is there a right way to study how the brain works? Following the empiricist's tradition, the most common approach involves the study of neural reactions to stimuli presented by an experimenter. This 'outside-in' method fueled a generation of brain research and now must confront hidden assumptions about causation and concepts that may not hold neatly for systems that act and react. György Buzsáki's The Brain from Inside Out examines why the outside-in framework for understanding brain function has become stagnant and points to new directions for understanding neural function. Building upon the success of 2011's Rhythms of the Brain, Professor Buzsáki presents the brain as a foretelling device that interacts with its environment through action and the examination of action's consequence. Consider that our brains are initially filled with nonsense patterns, all of which are gibberish until grounded by action-based interactions. By matching these nonsense "words" to the outcomes of action, they acquire meaning. Once its circuits are "calibrated" by action and experience, the brain can disengage from its sensors and actuators, and examine "what happens if" scenarios by peeking into its own computation, a process that we refer to as cognition. The Brain from Inside Out explains why our brain is not an information-absorbing coding device, as it is often portrayed, but a venture-seeking explorer constantly controlling the body to test hypotheses. Our brain does not process information: it creates it.
Film music is as old as cinema itself. Years before synchronized sound became the norm, projected moving images were shown to musical accompaniment, whether performed by a lone piano player or a hundred-piece orchestra. Today film music has become its own industry, indispensable to the marketability of movies around the world. Film Music: A Very Short Introduction is a compact, lucid, and thoroughly engaging overview written by one of the leading authorities on the subject. After opening with a fascinating analysis of the music from a key sequence in Quentin Tarantino's Reservoir Dogs, Kathryn Kalinak introduces readers not only to important composers and musical styles but also to modern theoretical concepts about how and why film music works. Throughout the book she embraces a global perspective, examining film music in Asia and the Middle East as well as in Europe and the United States. Key collaborations between directors and composers--Alfred Hitchcock and Bernard Herrmann, Akira Kurosawa and Fumio Hayasaka, Federico Fellini and Nino Rota, to name only a few--come under scrutiny, as do the oft-neglected practices of the silent film era. She also explores differences between original film scores and compilation soundtracks that cull music from pre-existing sources. As Kalinak points out, film music can do many things, from establishing mood and setting to clarifying plot points and creating emotions that are only dimly realized in the images. This book illuminates the many ways it accomplishes those tasks and will have its readers thinking a bit more deeply and critically the next time they sit in a darkened movie theater and music suddenly swells as the action unfolds onscreen. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.
For educators, practitioners, researchers, and everyone striving for personal growth and a fulfilling life! This completely revised edition of a classic in the field provides a unique way to learn about positive psychology and what is right and best about human beings. Positive Psychology at the Movies now reviews nearly 1,500 movies, includes dozens of evocative film images, and is replete with practical aids to learning. Positive psychology is one of the most important modern developments in psychology. Films brilliantly illustrate character strengths and other positive psychology concepts and inspire new ways of thinking about human potential. Positive Psychology at the Movies uses movies to introduce the latest research, practices, and concepts in this field of psychology. This book systematically discusses each of the 24 character strengths, balancing film discussion, related psychological research, and practical applications. Practical resources include a syllabus for a positive psychology course using movies, films suitable for children, adolescents, and families, and questions likely to inspire classroom and therapy discussions. Positive Psychology at the Movies was written for educators, students, practitioners, and researchers, but anyone who loves movies and wants to change his or her life will find it inspiring and relevant. Watching the movies recommended in this book will help the reader practice the skill of strengths-spotting in themselves and others and support personal growth and self-improvement. Read this book to learn more about positive psychology – and watch these films to become a better person!