Freud's Studies on Hysteria and the first motion pictures appeared on the scene contemporaneously in 1895 and since then, psychoanalysis and cinema have existed together in a highly ambiguous but intense love-hate relationship. Not by chance, Freud always insisted on maintaining a critical distance from the world of the cinematic images, distrusting their powerful popular appeal and discounting their significance for analytical theory and practice, a position largely echoed by Jung who, as Aimé Agnel and Michéle Petit lament in their editorial to a 1995 edition of the Cahiers Jungiens de Psychoanalyse dedicated to the Jungian approach to cinema, ‘spoke so little about the cinema, and so negatively’. Nevertheless, as Harris and Sklar (1998) note, ‘perhaps no