The psychoanalytic film festival is becoming popular. In an informal survey, I discovered that at least eleven psychoanalytic societies, institutes or extension divisions have recently sponsored an event utilizing the film. Most of the societies that responded stated that the purpose of their festival was to introduce the general community to the notion that psychoanalysis is alive and well. Just as it is difficult to quantify the results of psychoanalysis itself, the results of these film festivals are difficult to estimate.
For the most part, the societies have used their own mailing lists and those of other mental health professionals — groups already aware of the existence of psychoanalysis. Perhaps in those instances where advertising and mailing lists reached other groups, such as university departments, medical schools, film societies, and museums, a genuine rise in psychoanalytic consciousness was achieved. Our usual horror of numbers has probably prevented a survey of the audiences and an accurate assessment of what was accomplished. Profit was not mentioned as a goal by any group. Despite this, it is probably worth noting that some of the festivals made money. Others have lost money, however.
Many of the more ambitious and successful programs are cosponsored by local cultural institutions or invite the participation of experts from other disciplines. Also, the programs are often organized around themes. For example, the Baltimore-DC Institute Extension Divisions have been involved in film festivals for many years. This year was their second venture with the Baltimore Film Forum at the Baltimore Museum of Art. The theme was Obsession and the following films were discussed: Blowup, Three Women, The Story of Adele H., Pretty Baby, and The Conversation. Admission to the series was $30.00, and Category 1 credit was given.
In Washington, D.C. the Extension Division of the Baltimore-DC Institute has worked in conjunction with the American Film Institute at the Kennedy Center for the Performing Arts. They have presented series with the following themes: Troubled Lives, Dreams and Fantasies, Time and Memory, Obsession: Psychoanalysis and Film. Each film is introduced by a staff member of AFI and then discussed by a psychoanalyst. The series were planned for mental health professionals and film enthusiasts. Admission was $30.00, and CME credit was given. A book of film criticism by psychoanalysts is one of the fruits of this venture. This year the format was changed. A weekend of films entitled Ingmar Bergman's Views of Women and Their Interaction, was arranged. The films were The Silence, Persona, Cries and Whispers, and Autumn Sonata. The psychoanalytic discussions were coordinated with each other with a focus on female development. This is one of the few ventures of this kind.
The Extension Division of the Southern California Psychoanalytic Institute has also sponsored many successful film series. Their audiences range in size from one hundred to four hundred persons.
Their goal (as with many of the other series) is “… (to) inform … our community about psychoanalytic principles and their potential application to a variety of aspects of the human condition.” Most recently they have shown and discussed Sophie's Choice, My Dinner with Andre, On Golden Pond, Table for Five, and The Great Santini. The charge for the series is $25.00.
The Extension Division of the Denver Psychoanalytic Society has, since 1982, has a fall and a spring film series co-sponsored by the medical school. Forty to eighty people attend. The charge is $35 for the series. Most recently they have shown and discussed The Wild Child, Shoot the Piano Player, Strangers on a Train, and Only Angels Have Wings. More recently, in conjunction with the Denver Center Cinema, which is a branch of the Denver Center for the Performing Arts, they have had a showing once a month. Each film is discussed by a psychoanalyst and a film critic. Films in this series include The Heart is a Lonely Hunter, The Loneliness of the Long Distance Runner, The Great Santini, and The Red Shoes.
In San Francisco, the society has sponsored interdisciplinary colloquia open to mental health professionals and the general academic community. The Films of Ingmar Bergman was their first series. Each film was discussed by a psychoanalyst and a professor of English. There were twenty to thirty participants. Later topics were The Primal Scene in Film, where The Shining, Blowup, Dressed to Kill, and The Conversation were discussed. Most recently there has been a short series on The Problem of Fassbinder.
The Western New England Society's Extension Division sponsored their first festival this year. Each film, Wild Strawberries, Shane, The Blue Angel, The Cabinet of Dr. Caligari, and Grand Illusion, was discussed by a psychoanalyst. Their audiences ranged from seventy to one hundred twenty persons and they charged $25.00 for the series. In 1984-85, the Extension Division of the Topeka Institute and the Menninger Foundation Psychocultural Series will show Zelig, Face to Face, Alien, and Death in Venice.
The North Carolina Psychoanalytic Society's Extension Division in conjunction with the Duke Continuing Education Division has shown and discussed four films in their first program: The Grapes of Wrath, Citizen Kane, Persona, and The Wizard of Oz. “We feel the film series is a very good way to increase understanding of psychoanalysis in the community at large and demonstrate the applicability of psychoanalytic concepts to other disciplines.” There were twenty-five registrants. The fee was $27.00, and CME credit was given.
The Institute for Psychoanalysis of Chicago is working with the Film Center of the Art Institute of Chicago. Under the title, Autobiography in Film: Charlie Chaplin, four of Chaplin's films are being shown and discussed by a psychoanalyst at the Art Institute. These showings are open to the general public. In parallel with this film series is a course given at the Institute for Psychoanalysis,
Autobiography Through Film. It is taught jointly by a psychoanalyst and by the Director of the Film Center. The course is open to all qualified participants, but students from the Art Institute receive credit toward their degrees.
Other societies have somewhat less ambitious film projects. In Pittsburgh this year two films have been shown and discussed: Wild Strawberries and Dirty Skin. At Western New England, films are occasionally shown without discussion at the business meetings. Secrets of a Soul and M have been screened this past year. The Topeka Institute is having its first festival. Edward Munch was shown. The Friends of the Michigan Psychoanalytic Society have sponsored films with discussions by analysts and humanists. Lady in the Dark and The Cabinet of Dr. Caligari are two they have seen. Several societies are planning festivals.
In general, the people who have organized these festivals are enthusiastic about them. Once again, it is far from clear that the stated goal—to introduce the general public as well as mental health professionals to the psychoanalytic presence in their communities — has been achieved. The audiences have, however, been lively and enthusiastic.
Please note, however, that these are not inexpensive undertakings. The costs of renting the films, of mailings, and of hiring an auditorium and a projectionist were often not covered by the admission fees. Cosponsorship has been the solution in most places. The cosponsoring organization often can provide, at little or no cost, the films, the auditorium, and a mailing list of their own. Granting CME credit may also be helpful in attracting an audience. The San Francisco Society attempted to deal with the financial problem by discussing films that were being shown commercially in the vicinity. The discussions were held separately from the viewings. Of course, this approach makes the festival dependent upon what is available. If the size of the audience is limited, video cassettes provide an inexpensive way of showing films.
Film festivals have, I believe, two worthwhile functions which their organizers do not state. First, film seems to have a peculiar affinity for psychoanalytic exegesis, perhaps having to do with the dreamlike nature of films. While the prospect of writing a psychoanalytic discussion of a work of literature might intimidate the average analyst, a similar discussion of a film (or better yet, a movie) arouses less anxiety. Thus the festival provides an arena for creative endeavor. Another unstated function of the film festival may be to provide a specifically psychoanalytic social event, a pleasant way of coming together with colleagues. Insofar as there is a discussion and other attributes which make it a “meeting,” the film festival may provide a rationalization for going out on what might otherwise be a “school night.” Films, projectionists, halls, mailing lists, colleagues all are available. All you need is a film buff …