Dreams in myth, medicine, and movies by Packer, Sharon

By Packer, Sharon

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Extra resources for Dreams in myth, medicine, and movies

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Jung applied the methods of classic drama criticism to decode dreams. He asked for descriptions of (1) the situation (time, location, and players), (2) the exposition (the representation of the problem), (3) the development (plot), (4) the peripatea (critical event that happens), and (5) the lysis (resolution or solution). This move away from Freud and toward theater terminology has endeared Jung to theatrical people to this day. FREUD’S FOUNDATIONS Unlike Jung, whose psychological philosophy was grounded in German romanticism, Freud was an evolution-minded biologist.

As interesting as the plot and presentation are, it is even more interesting to note that few viewers realize that Jacob’s Ladder fuses beliefs from a very foreign culture with very familiar themes. Some people, cued by the film’s title and the lead character’s name, realize that the film references the Old Testament story about the patriarch Jacob, who saw a starry ladder as he slept in a sacred place. There is a reason why audiences are so ready to believe that the plot comes straight out of Western tradition, why they are so slow to identify Rubin’s Tibetan influences.

It was obvious that the basic scientific discovery of cinema laid the groundwork, before film became a blackboard for artists and actors and auteurs and authors. Freud, too, invoked the authority of science. ” Such a chapter was essential, considering that a Jewish mystical work on Interpretation of Dreams already existed and that the occultist Interpretation of Dreams and Magic was currently in print. The fact that new “scientific” cinema was simultaneously scientific and artistic may have been fortunate for Freud, who was also attempting to fuse scientific scrutiny with literary analysis through his personal approach to dream interpretation.

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Dreams in myth, medicine, and movies by Packer, Sharon
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