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In this edited collection of papers and essays about film Hauke and Alister have assembled a kind of map of contemporary Jungian takes on the moving image. The contributors are a mix of academics and clinicians each bringing a different sensibility to the understanding of film. Similarly, there is a wide range of subject matter that includes individual films, genres, directors and themes. As such the book does not speak with one voice - and this is, no doubt, the intention behind the ‘post-Jungian’ subtitle as Hauke and Alister's previously edited book Contemporary Jungian Analysis: Post-Jungian Perspectives from the Society of Analytical Psychology , and Hauke's recent Jung and the Postmodern: The Interpretation of Realities would suggest. A plurality of voices is felt to be the most appropriate way to depict the contemporary Jungian endeavour; this means that the book suffers from a lack of a sustained argument with which a reader can engage, but at the same time stimulates a range of different reactions, and every reader will have their own favourite chapters. The editors have attempted to deal with the rich mix of papers and with the fact that their intended audiences are themselves mixed - Jungian and other depth psychological clinicians on the one hand and media and film studies students and practitioners on the other - by a clear introduction to the task of the book, and the individual papers, and by the inclusion of a glossary of the main Jungian terms. I, for one, would have welcomed also a glossary of the main academic terms as a reference point whilst reading through particular chapters. This would have been useful because, in a sense, the job of this book is not only to mark the growing Jungian presence within film criticism and appreciation - a field hitherto taken up by linguistic/semiotic, Freudian/Lacanian, and Marxist perspectives - but also to introduce to Jungian clinicians the fascinating arena of cinema as a rich and meaningful source of inform