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Our story deals with psychoanalysis, the method by which modern science treats the emotional problems of the sane. The analyst seeks only to induce the patient to talk about his hidden problems, to open the locked doors of his mind. Once the complexes that have been disturbing the patient are uncovered and interpreted, the illness and confusion disappear … and the evils of unreason are driven from the human soul. (, p. 55, emphasis added by the authors)
So begin the opening credits for Spellbound , a film directed by Hitchcock. Yet, despite or perhaps because of its portentousness, Hitchcock described the film rather dismissively as ‘just another manhunt story wrapped up in pseudo-psychoanalysis’. Psychoanalysis and psychiatry have long fascinated filmmakers as becomes clear in the description of the many films described and analysed by Glen Gabbard and his brother, Krin, in Psychiatry and the Cinema. This is the second edition of their earlier book first published in 1987, and is a response to readers' interest in the portrayal of psychiatry in American film. The book incorporates an alphabetical list of films depicting psychiatry, and 43 black and white stills. The authors draw on their separate expertise - Glen Gabbard as an internationally known writer and teacher of psychoanalysis, and Krin Gabbbard, a teacher of film, literature and cultural studies and the author of several books on jazz.
The authors point out in their introduction that, although psychodynamic psychiatry originated in Europe, following its introduction to the United States it became firmly established within a few decades. They ask why filmmakers are so fascinated with the psychiatric profession, their discussion including all mental health professionals, while noting a prevalent confusion in understanding the differences between psychiatry, psychoanalysis, psychotherapy and psychology. They argue that both filmmakers and mental health professionals have an overwhelming interest in emotions, be