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Video and Filmmaking as
Psychotherapy

While film and video have long been used within psychological practice,
researchers and practitioners have only just begun to explore the benefits of
film and video production as therapy. This volume describes a burgeoning
area of psychotherapy that employs the art of filmmaking and digital sto-
rytelling as a means of healing victims of trauma and abuse. It explores the
ethical considerations behind this process, as well as its cultural and devel-
opmental implications within clinical psychology. Grounded in clinical the-
ory and methodology, this multidisciplinary volume draws on perspectives
from anthropology, psychiatry, psychology, and art therapy, which support
the use and integration of film/video-based therapy in practice.

Joshua L. Cohen has worked in film/video production for over 30 years,

received a PhD in clinical psychology from Pacifica Graduate Institute, a
master’s in general psychology from Walden University, and a bachelor’s
degree in film and anthropology from Colorado College. He lives and works
in Southern California, USA.

J. Lauren Johnson is a licensed psychologist and a filmmaker. She is also the

founder of the Therapeutic Filmmaking Institute in Alberta, CA.

Penelope P. Orr is a board certified, registered art therapist in Edinboro, PA,

USA. She is currently the director of the Edinboro University Masters in Art
Therapy/Counseling Program.
Advances in Mental Health Research series

Books in this series:

The Clinical Effectiveness of Narratives of Art Practice and

Neurolinguistic Programming Mental Wellbeing
A Critical Appraisal Reparation and connection
Edited by Lisa Wake, Richard M. Olivia Sagan
Gray and Frank S. Bourke
Video and Filmmaking as
Group Therapy for Adults with Psychotherapy
Severe Mental Illness Research and Practice
Adapting the Tavistock Method Edited by Joshua L. Cohen and
Diana Semmelhack, Larry Ende J. Lauren Johnson with Penelope
and Clive Hazell P. Orr
Video and Filmmaking as
Psychotherapy
Research and Practice

Edited by Joshua L. Cohen and

J. Lauren Johnson with
Penelope P. Orr
First published 2015
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group,
an informa business
© 2015 Taylor & Francis
The right of the editors to be identified as the authors of the editorial
material, and of the authors for their individual chapters, has been asserted
in accordance with sections 77 and 78 of the Copyright, Designs and Patents
Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilized in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from
the publishers.
Trademark Notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Video and filmmaking as psychotherapy : research and practice /
edited by Joshua L. Cohen and J. Lauren Johnson.
p. ; cm. — (Advances in mental health research series)
Includes bibliographical references and index.
I. Cohen, Joshua L., editor. II. Johnson, J. Lauren, editor.
III. Series: Advances in mental health research series.
[DNLM: 1. Psychotherapy—methods. 2. Sensory Art Therapies.
3. Motion Pictures as Topic. 4. Video Recording. WM 450.5.V5]
RC489.P56
616.89'165—dc23
2014036172
ISBN: 978-1-138-78142-9 (hbk)
ISBN: 978-1-315-76985-1 (ebk)

Typeset in Sabon
by Apex CoVantage, LLC
Contents

List of Figures ix
List of Tables xi
Foreword by Cathy Malchiodi xiii
Acknowledgments xvii

PART I
Introduction

1 Introduction: Film and Video as a Therapeutic Tool 3

JOSHUA L. COHEN AND J. LAUREN JOHNSON

2 A Challenge to Readers: Ethical Considerations in Film-

and Video-Based Therapies 13
J. LAUREN JOHNSON AND JOSHUA L. COHEN

PART II
A Human Approach to Technology

3 Film/Video-Based Therapy and Editing as Process From

a Depth Psychological Perspective 29
JOSHUA L. COHEN AND PENELOPE P. ORR

4 Filming the Fantasy: Green Screen Technology From

Novelty to Psychotherapy 43
JON EHINGER

5 Vision, Story, Medicine: Therapeutic Filmmaking and

First Nations Communities 55
J. LAUREN JOHNSON
vi Contents
PART III
Research and Validity

6 Expansive Palettes: A Client Video Media Experience 69

NATALIE R. CARLTON

7 The Benefits of a Grief and Loss Program With a Unique

Technological Intervention 81
CAROLYN MCGURL, WINSTON SEEGOBIN, ELIZABETH HAMILTON,
AND MARK MCMINN

8 Digital Storytelling as a Trauma Narrative Intervention

for Children Exposed to Domestic Violence 95
KIM ANDERSON AND BEATRIZ WALLACE

9 Special Education Students and Documentary Production:

A Case Study 108
PENELOPE P. ORR

10 Digital Storytelling: Using Videos to Increase Social

Wellness 119
MARTY OTAÑEZ AND WANDA LAKOTA

PART IV
Tools for Practice Through Didactic Instruction

11 Video Art and Activism: Applications in Art Therapy 133

BASIA MOSINSKI

12 Digital Storytelling: Healing for the YouTube Generation

of Veterans 146
RIVKA TUVAL-MASHIACH AND BENJAMIN PATTON

13 Felt Sensing Video Art Therapy 163

YARDEN KEREM

14 Expanding the Scope of Traditional Art Therapy With

Green Screen Technology 184
JOE KAVITSKI
 Contents vii
15 Technology, Art Therapy, and Psychodynamic Theory:
Computer Animation With an Adolescent in Foster Care 195
BRIAN AUSTIN

Contributors 211
Index 215
This page intentionally left blank
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Figures

4.1 Storyboard created during green screen thesis research,

2009 44
4.2 Green screen therapy studio 45
4.3 Client witnessing the effects of a green shirt sensed by
green screen computer software 46
4.4 Green screen mandala presented at 2012 Expressive
Therapies Summit 48
4.5 Selected screen shots from client green screen video
narrative 52
7.1 Average responses to questions on the Confessional
Questionnaire 89
13.1 Face 164
13.2 Hands 164
13.3 Long shot of face 167
13.4 Medium shot of face 169
13.5 Computer 174
13.6 Child 174
13.7 Fish 178
13.8 Fish with knives 178
15.1 Robert, untitled, colored pencil on paper 201
15.2 Robert, untitled, 3-D computer rendering, screen capture 202
15.3 Robert, untitled, pencil on paper 203
15.4 Robert, untitled, colored pencil on paper 203
This page intentionally left blank
Tables

7.1 Variables used in this study 87

7.2 Means and standard deviations for pre- and post-measures 88
7.3 Means and standard deviations for questions on the
Confessional Questionnaire 88
This page intentionally left blank
Foreword

In work with clients of all ages, I have witnessed a tremendous growth in

the use of films and filmmaking as a form of reparation and recovery from
emotional challenges and psychological distress. While reading Video and
Filmmaking as Psychotherapy: Research and Practice, I was reminded of the
growing demand for relevant and creative forms of therapy with military
personnel who are often challenged by multiple deployments, the impact of
active combat, and readjustment to life state-side. One way soldiers are tak-
ing charge of their psychological distress is through filmmaking as a means
of telling their stories and confronting experiences that often include post-
traumatic reactions, loss, depression, and traumatic brain injury. As one
soldier told me, “You can put your story into a film, everything that you
went through in combat and in a way that goes beyond words. It’s your
story. It’s a way for me to tell my story without having to talk about it over
and over. If people watch it, they can learn what happened to me. If other
soldiers watch it, they will see that they are not alone and that we all have
had the same experiences. Making my film helped me to move on from what
happened. It has just made life a lot easier.”
My core value as an expressive arts therapist and psychotherapist is
the use of sensory-based approaches in work with individuals of all ages
to make meaning of life’s experiences; provide emotional relief; enhance
resilience, self-efficacy, and self-regulation; and make desired behavioral
changes. I have always found that engaging the senses in psychotherapy
goes beyond what typical verbal transactions can stimulate; in other words,
by appealing to clients’ visual, auditory, and other senses, therapists can
provide their clients with opportunities for self-discovery that are not
found through words alone. As an expressive arts therapist I regularly use
art-based approaches as key interventions with clients of all ages. In brief,
individuals are encouraged to engage or experience some form of visual
media as self-expression; traditionally, this involves constructing, arranging,
mixing, molding, drawing, and painting (Malchiodi, 2012). Now, with the
rapid increase in digital technology, like many other expressive arts thera-
pists, I now have integrated newer forms of visual expression that depend
on keyboards or a mouse, desktop computers, tablets, smartphones, and
xiv Foreword
numerous “apps” [applications] that can be used as ways to draw, paint,
and even sculpt in virtual space, as well as to make films and animations
(Malchiodi & Johnson, 2013).
Why is the use of film and video particularly relevant to psychotherapy
in general? In brief, they are forms of communication familiar to most indi-
viduals and are ubiquitous in contemporary culture. For example, as of this
writing, more than a billion users visit the video-sharing platform known
as YouTube each month and hundreds of hours of video are uploaded every
minute. Almost everyone who owns a cell or smartphone now has the abil-
ity to create films at any time and edit and share them via social media
within minutes. For the average person, smartphones have replaced tradi-
tional cameras because of their ease of use and high-quality lenses and image
resolution. Webcams, camcorders, and other portable film cameras have
also generated possibilities unimaginable only a decade earlier. Online apps
make it easy for those with little to no filmmaking experience to integrate
photo-images, sound, music, and text into professional footage through
user-friendly commands and directions. Finally, almost everyone is influ-
enced by and/or involved on a daily basis with digital media, including films,
via social networking. In brief, digital technology is not only omnipresent
and easy to use, clients generally already know how to access and use it.
In contrast, while film and video are ubiquitous forms of self-expression,
relatively little has been written about the application of this type of media
in psychotherapy, despite more than four decades of use. Historically, the
term videotherapy has been used to describe the use of film in art therapy
and psychotherapy and is sometimes used interchangeably with the term
cinematherapy. Cinematherapy is generally defined as an intervention used
by a variety of helping professionals that directs clients to watch specific
movies for psychotherapeutic reasons and/or to report their impressions
to their therapist for further discussion. It is similar to bibliotherapy (the
use of books and stories to enhance understanding of emotional challenges
and psychological difficulties) in that films can be used in similar and pos-
sibly even more potent, far-reaching ways. For example, when compared
to books, movies not only contain the universal storylines found in books,
they also are multisensorial. Along with their common themes, the sensory
nature of movies can help clients achieve insights if the movies are strategi-
cally selected for relevance to the client’s interests and needs in treatment.
Films also evoke powerful projections—in other words, mental and sensory
associations to one’s life that may trigger a recall of emotion, memories, and
experiences.
Film and video as forms of therapy also encompass the actual experience
of client-created movies as part of treatment. Because of the accessibility
of digital filmmaking, therapists can now capitalize on the idea that clients
can become their own directors of films that express their life stories. For
example, it is now possible for clients to film or record digital narratives,
more commonly known as digital storytelling. These short, first-person
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