Word: jungians
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Dates: during 1970-1979
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Robert Jay Lifton is not a Jungian. Often, in fact, his psychological work tends to border on descriptive sociology. (His works on the psychological effects of nuclear holocaust on the survivors of Hiroshima and Nagasaki have become classics in the field.) In his latest book, Dr. Lifton has also raised some challenging questions about attempt a general philosophical statement about the boundaries which define life in an age of revolution. The very boldness of the idea-a Yale psychology professor is attempting to define the nature of man's existence-is enough to make the book noteworthy...
...Jungian Psychiatrist Dr. Joseph Henderson decided there was gold in his files in the form of 83 drawings and doodles made 30 years ago by one of his patients, the late painter Jackson Pollock...
Part of the time he was writing his survey, Booker shared quarters with another ex-Neophiliac-and Christianity's prickliest recent convert-Malcolm Muggeridge. The spirit may have been catching. For Booker ends up, rather to his own surprise, preaching a sort of Jungian Christianity. Sitting amid the double rubble-first of the Establishment and now of the anti-Establishment -he looks at all the broken pieces and vainly yearns for some master myth to help put everything together again...
...Fellini Satyricon has been called "the first great Jungian film" (in Time magazine), and this would be true if we were to take graffitti as the quintessential representation of the collective unconscious. Otherwise, Fellini Satyricon is a loosely constructed. opulently produced cartoon, in which no one image seems essential to the thematic sense of the film and some make little sense...
There have been hundreds of Freudian films: Fellini Satyricon is probably the first-and certainly the most important-Jungian one. In the course of two hours and seven minutes, images, totems, and archetypes rise and burst like hydrogen sulfide bubbles from the marsh of the collective unconscious. The unsynchronized sound track has the timbre of racial memory, echoing some eternal dream time. The film's devices are, in fact, so frenzied and eruptive that they tend to obscure an artlessness of thought or substance. Perhaps it is just as well; the Fellini Satyricon is manifestly made...