In this short but insightful book, Lebeau explores the related origins of psychoanalysis and cinema, while also offering a survey of key issues in the last 30 years of psychoanalytic film theory: “Very quickly, cinema becomes a way of talking about, of picturing, the mind for psychoanalysis - just as the mind becomes one way to consider the mechanism, and fascination, of cinema” (p 2). Lebeau gives a very good summary of the most prominent psychoanalytic insights in film studies, including the Lacanian influences in French “apparatus” theory of the 1970 s, in feminists critiques of the “male gaze,” and in recent re-evaluations of both (led by Slavoj Zizek and Joan Copjec) moving from the imaginary and symbolic to the Real. She attempts, she says, with each of her five chapters, “to make the field