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EAVESDROPPING

What can depictions of psychotherapy on screen teach us about ourselves?

In Eavesdropping, a selection of internationally recognized academics and professionals
involved in psychotherapy and film consultancy investigate the curious dynamics that
occur when cinema and television attempts to portray the psychotherapist, and the
complexities of psychotherapy, for popular audiences.
The book evaluates the potential mismatch between the onscreen psychotherapist,
whose raison d’être is to entertain and engage global audiences, and the professional,
real-life counterpart, who becomes intimately involved with the dramas of their
patients. Although several contributors conclude that actual psychotherapy, and the way
psychotherapists and their clients grapple with notions of fantasy and reality, would not
be terribly entertaining, Eavesdropping demonstrates the importance of psychotherapy
and psychotherapists on screen in assisting us to wrestle with the discomfort—and
humour—of our lives.
Offering a unique insight into perceptions of psychotherapy, Eavesdropping will be
essential and insightful reading for analytical psychologists, psychoanalysts, academics,
filmmakers, and students of depth psychology, literature, cinema and media.

Lucy Huskinson, PhD, is a senior lecturer in the School of Philosophy and Religion
at Bangor University, UK. She is coeditor in chief of the International Journal of Jungian
Studies and author and editor of numerous books and articles, including Dreaming the
Myth Onwards: New Directions in Jungian Therapy and Thought (Routledge, 2009).

Terrie Waddell, PhD, is an associate professor of Media: Screen and Sound at La Trobe
University, Australia. She researches and publishes on the relationship between cinema
media, myth, literature, gender, popular culture, and analytical psychology. Wild/lives:
Trickster, Place and Liminality on Screen (Routledge, 2010) is her most recent monograph.
This page intentionally left blank
EAVESDROPPING
The psychotherapist in film
and television

Edited by Lucy Huskinson and Terrie Waddell

First published 2015
by Routledge
27 Church Road, Hove, East Sussex, BN3 2FA
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2015 Lucy Huskinson and Terrie Waddell
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 utilised 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.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Eavesdropping : the psychotherapist in film and television / edited by Lucy Huskinson and Terrie
Waddell.
pages cm
Includes bibliographical references and index.
1. Psychoanalysis in motion pictures. 2. Psychoanalysis on television. I. Huskinson, Lucy, 1976- , editor.
II. Waddell, Terrie, editor.
PN1995.9.P783E38 2014
791.43’653–dc23
2014022914

ISBN: 978-0-415-81409-6 (hbk)

ISBN: 978-0-415-81410-2 (pbk)
ISBN: 978-1-315-73952-6 (ebk)

Typeset in Bembo
by Cenveo Publisher Services
CONTENTS

List of contributors vii

Acknowledgments x

Introduction 1
Lucy Huskinson and Terrie Waddell

PART I
Erotic transference 13

1 The (mis)representation of psychoanalysis in film 15

Andrea Sabbadini

2 Challenging Freud on the realities of erotic transference

with fictional case study: The Sopranos (1999–2007) and
In Treatment (2008–2010) 28
Lucy Huskinson

3 The real psychotherapist: an impossibility for film 51

Elisabeth Hanscombe
vi Contents

PART II
The psychoanalytic approach 65

4 Equus: ecstasy, therapy, and the animal 67

Barbara Creed

5 ‘A conversation between enlightened friends’: the mutual

reassurances of the arts and sciences in Freud (1984) 81
Mark Nicholls

6 Applying psychoanalysis to Hindi cinema 94

Dinesh Bhugra and Gurvinder Kalra

7 The bad psychoanalyst: watching the success of failure 107

Patricia Gherovici and Jamieson Webster

PART III
A contest of wills 127

8 Shrink-wrapped television: simulated therapy, disclosure,

and the lure of ‘plausible doubt’ 129
Terrie Waddell

9 Crossing the River Styx in a small boat 144

Helena Bassil-Morozow

10 Remarks on the functions of the psychiatrist in Hitchcock’s

Psycho and Bergman’s Persona 155
Donald Fredericksen

11 Romance or psychotherapy? 168

Irene Oestrich

Screen references 182

Index 185
CONTRIBUTORS

Helena Bassil-Morozow, PhD, is a cultural philosopher, film scholar, and academic

writer, whose many publications on film include the monographs, Tim Burton: The
Monster and the Crowd (Routledge, 2010), The Trickster in Contemporary Film (Routledge,
2012), and The Trickster and the System: Identity and Agency in Contemporary Society
(Routledge, 2014). Helena is currently working on another project to be published with
Routledge, Jungian Film Studies: The Essential Guide (coauthored with Luke Hockley).

Dinesh Bhugra, CBE, is Professor of Mental Health and Cultural Diversity at the
Institute of Psychiatry, King’s College London. He is also an honorary consultant at
the Maudsley Hospital. He is the editor of the International Journal of Social Psychiatry,
International Review of Psychiatry, and International Journal of Culture and Mental Health.
From 2008 to 2011, Professor Bhugra was president of the Royal College of
Psychiatrists. He is currently the chair of the Mental Health Foundation and president
of the World Psychiatric Association.

Barbara Creed, PhD, is Professor of Cinema Studies and head of the School of Culture
and Communication at the University of Melbourne, Australia. Her acclaimed mono-
graph, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Routledge, 1993), has
been republished five times. Her areas of research include feminist and psychoanalytic
theory, the cinema of human rights, and animal ethics and the media. She has recently
published Phallic Panic: Film, Horror & the Primal Uncanny (MUP, 2005) and Darwin’s
Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema (MUP, 2009). Her
articles have been translated many times; she is on a number of international editorial
boards and acts as a reader for various international publishing houses and journals.

Donald Fredericksen, PhD, is a professor of film in the Department of Performing

and Media Arts at Cornell University, a faculty fellow at Cornell’s Atkinsons Center
for a Sustainable Future, and a faculty affiliate in the religious studies and visual
viii Contributors

studies programs. He has written a monograph on Bergman’s Persona and a series of

essays on film theory and criticism grounded in the work of C. G. Jung and post-
Jungians. He practices psychotherapy part-time. He is the current chairman of the
executive committee of the International Association for Jungian Studies.

Patricia Gherovici, PhD, is a licensed supervising analyst in private practice and

director of the Philadelphia Lacan Study Group. She has contributed to numerous
journals and collections, most recently to Lacan and Addiction: An Anthology (Karnac,
2011). Her books include The Puerto Rican Syndrome (Other Press, 2003), winner of
the Gradiva Award and the Boyer Prize, and Please Select Your Gender: From the
Invention of Hysteria to the Democratizing of Transgenderism (Routledge, 2010).

Elisabeth Hanscombe, PhD, is a writer and psychoanalytic psychologist who com-

pleted her PhD in the Unit for Biography and Autobiography at La Trobe University,
Australia, on the topic ‘life writing and the desire for revenge’. She is interested in the
ways in which psychoanalytic object relations theory intersects with that of narrative
and the auto/biographical. She has published a number of short stories and essays in
the areas of autobiography, psychoanalysis, testimony, trauma, and creative nonfiction
in Meanjin, Island, Tirra Lirra, and Quadrant, as well as in the journals, Life Writing and
Life Writing Annual: Biographical and Autobiographical Studies, as well as in psycho-
therapy journals and magazines throughout Australia and in the United States. She
was shortlisted for the Australian Book Review’s 2009 Calibre essay prize and has a
chapter in Stories of Complicated Grief: A Critical Anthology (NASW Press, 2013).

Lucy Huskinson, PhD, is a senior lecturer in the School of Philosophy and Religion
at Bangor University, UK. She is Co-editor-In-Chief of the International Journal of
Jungian Studies and the author of Nietzsche and Jung (Routledge, 2004) and Introduction
to Nietzsche (SPCK, 2010). She is the editor and a contributor to Dreaming the Myth
Onwards: New Directions in Jungian Therapy and Thought (Routledge, 2009) and Spirit
Possession and Trance: New Interdisciplinary Perspectives (Continuum, 2010). She has also
authored numerous papers on psychoanalysis, analytical psychology, and philosophy.

Gurvinder Kalra is currently working as registrar with Northern Area Mental

Health Services (NAMHS) in Melbourne, Australia. He has extensively worked
in the area of ‘cinemeducation’ and has used cinema in his teachings at various
medical colleges in Mumbai where he served as a faculty member before moving
to Melbourne. He has widely presented and published in this area. He is currently
associate editor of the Journal of Contemporary Medical Education.

Mark Nicholls, PhD, is a senior lecturer in cinema studies at the University of

Melbourne, Australia, where he has taught film since 1993. He is the author of Lost
Objects of Desire: The Performances of Jeremy Irons (Berghahn Books, 2012), Scorsese’s Men:
Melancholia and the Mob (Pluto and Indiana University Press, 2004), and has recently
published chapters and articles on Italian art and film in the Cold War (Third Text),
 Contributors ix

Mad Men (Refractory), Martin Scorsese (Film Quarterly, Palgrave Macmillan, Blackwell
& Cambridge), Luchino Visconti (QRFV), and Shakespeare in film (JFV). Mark is a
film journalist and worked for many years on ABC Radio and for The Age newspaper,
for which he wrote a weekly film column between 2007 and 2009. Mark has an
extensive list of stage credits as a playwright, performer, producer, and director.

Irene Oestrich is a Professor at the University of Aalborg, and the head psychologist
in the School for Cognitive and Behavioural Therapies, Mental Health Services in
Copenhagen, a clinical supervisor, and former leader of the Center for Cognitive
Therapy, Psychiatric Center Sankt Hans in Roskilde. She has been innovative in
cognitive treatment since 1974 and served as Chair of the Association for Cognitive
Behaviour Therapy and President of the European Association of Behavioural and
Cognitive Therapies. Irene is an active educator, supervisor and researcher, and is
regularly invited to contribute to national television programmes and media inter-
views. She is author of a number of books and articles.

Andrea Sabbadini, C. Psychol., is a fellow of the British Psychoanalytical Society,

its former honorary secretary, and its current director of publications. He works in
private practice in London, is a senior lecturer at University College London, a
trustee of the Freud Museum, a member of the IPA Committee on Psychoanalysis
and Culture, the director of the European Psychoanalytic Film Festival, and the
chairman of a program of films and discussions at the Institute of Contemporary
Arts (ICA). He is the founder/editor of Psychoanalysis and History and the film sec-
tion editor of The International Journal of Psychoanalysis. He has published in the
major psychoanalytic journals, and has edited Il tempo in psicoanalisi (1979), Even
Paranoids Have Enemies (Routledge, 1998), The Couch and the Silver Screen (Routledge
2003), Projected Shadows (Routledge, 2007), and Psychoanalytic Visions of Cinema
(a special issue of Psychoanalytic Inquiry, 2007).

Terrie Waddell, PhD, an associate professor of Media: Screen and Sound at La

Trobe University, Australia. She lectures and researches on the relationship between
screen media, myth, literature, gender, popular culture, and analytical psychology. As
well as numerous chapter and journal contributions, she has authored and edited the
following books: Wild/lives: Trickster, Place and Liminality on Screen (Routledge,
2010), Mis/takes: Archetype, Myth and Identity in Screen Fiction (Routledge, 2006),
Lounge Critic: The Couch Theorist’s Companion (co-editor, The Australian Centre for
the Moving Image, 2004), and Cultural Expressions of Evil and Wickedness: Wrath,
Sex, Crime (editor, Rodopi, 2003).

Jamieson Webster, PhD, is in private practice in New York City. She teaches at
Eugene Lang College, New York University, and at The Institute for Psychoanalytic
Training and Research. She is a supervising psychologist with the clinical psychology
doctoral program of the City University of New York. She is the author of The Life
and Death of Psychoanalysis: On Unconscious Desire and its Sublimation (Karnac, 2011).
ACKNOWLEDGMENTS

The editors are grateful and appreciative of the excellent support given them by
Susannah Frearson and Kate Hawes at Routledge, and especially thankful to Leslie
Gardner for her encouragement and conversations that sparked the initial ideas for
this publication. Terrie Waddell would also like to express thanks to the Faculty of
Humanities, La Trobe University for internal research grant support, and the
Melbourne women writers group for their advice and input: Kim Baston, Mary
Debrett, Lisa French, Hester Joyce, and Meredith Rogers.

All dialogue from television and film is included here under the terms of fair
dealing.

The excerpt from Chapter 35: Psychoanalysis and Film in Chapter 1 is reprinted
with permission from the Textbook of Psychoanalysis, Second Edition (Copyright
©2012). American Psychiatric Association. All rights reserved.
INTRODUCTION
Lucy Huskinson and Terrie Waddell

It is well known that the pioneer of psychoanalysis Sigmund Freud thought cinema
unfit for psychoanalytic application. He did not even see it as a means for making
his ideas accessible to the general public. ‘I do not believe,’ Freud exclaimed in a
letter to his colleague, Karl Abraham, ‘that satisfactory plastic representation of our
abstractions is at all possible.’ He continued to note, ‘I would much prefer if my
name did not have anything to do with it at all’ (Freud and Abraham 1965: 9 June
1925). On another occasion he wrote a scathing attack on film to his colleague
Sándor Ferenczi, ‘Filming seems to be as unavoidable as page-boy haircuts, but
I won’t have myself trimmed that way and do not wish to be brought into personal
contact with any film’ (Freud and Ferenczi 1995: 14 August 1925).
Freud cemented his disinterest in the movie industry as a medium for the creative
exploration of psychoanalysis by rejecting a lavish offer by the mogul Samuel
Goldwyn. Goldwyn was prepared to pay Freud—whom he regarded as the ‘greatest
love specialist in the world’—a sum of no less than $100,000 (the equivalent of
$1,347,104.04 in 2014) for his expert advice on the production of a ‘really great
love story’ about Anthony and Cleopatra. But Freud refused even to meet Goldwyn,
sending instead a one-sentence telegram declining the invitation ( Jones 1957; Gay
1988: 454). Although Freud shrugged off his rejection as inconsequential,1 it caused
a minor uproar, with the New York Times running the headline,‘FREUD REBUFFS
GOLDWYN: Viennese Psychoanalyst is Not Interested in Motion Picture Offer’
for its issue on 24 January 1925.
Although Freud avowed to Abraham that he did not wish to come into contact
with any form of cinema, this was not the case. He saw his first film in 1907 on a roof-
top projector screen in Rome’s Piazza Colonna. He explains in a letter to his family
how it entranced him, making him feel ‘spellbound’ (E. Freud 1960: 261–3). Later,
during his 1901 trip to America, he spent the evening of 4 September at Hammerstein’s
Victoria Theatre (New York), in the company of Ferenczi, C. G. Jung, A. A. Brill,
2 Introduction

and Ernest Jones. The type of film was most likely a short comedy (Gifford 2004:
150) that may not have been to Freud’s taste according to Jones, who maintained,
‘Freud was only quietly amused’ (1955: 56). Later still, just before he moved to
London, Freud was spotted in a Viennese cinema, watching an American ‘double
feature,’ comprising a cowboy and crime film (Sklarew 1999). His response to film
was therefore divided, rejecting it on a professional level but secretly enjoying the
experience. His professional dismissal of the industry was most likely prompted
by a desire to protect psychoanalysis from sensationalist exploitation, thereby pre-
serving its purity and integrity, as one might wish for any original and supposedly
‘scientific’ body of work.
Given the shared aims of the film industry and psychoanalysis to penetrate the
mysterious depths of human behaviour, and the huge potential for dialogue and
debate between them, it is perhaps unfortunate that Freud chose not to contribute
his expert insights. However, a year after rejecting Goldwyn’s invitation, two of
his colleagues, the Berlin psychoanalysts Hanns Sachs and Karl Abraham, agreed
to consult on what came to be the first film about psychoanalysis, Secrets of a Soul:
A Psychoanalytical Drama (1926). Although it was pitched as an ‘educational film’
and screened to critical acclaim, Freud, in what appears to be a dogmatic defence
of his previous disinterest, chose not to see it.2
The extent to which filmmakers consult bona fide experts in various psycho-
therapeutic fields is inconsistent. As Abraham himself admitted in a letter to Freud
about his desire to act as a consultant for Secrets of a Soul, ‘This kind of thing is not
really up my street’ but ‘so typical of our times that it is sure to be carried out, if not
with us then with people who know nothing about it’ (Freud and Abraham 1965:
7 June 1925). The situation seems to have changed very little since, with as many
obviously inaccurate cinematic portrayals of psychoanalytic themes as seemingly
accurate ones.
Research and scholarship at the interface of psychological and film theory has
developed into a discipline in its own right, with increasingly focused attempts to
apply a range of psychological frameworks to all aspects of film—creative inception,
development, production, and reception.
Eavesdropping is very much part of this long-standing tradition. But one key
difference that sets this volume apart is its evaluation of the curious dynamics that
occur when film attempts to depict the theories and dynamics of psychotherapy
itself, placing the psychotherapist centre stage. The many ways that film and televi-
sion have either attempted to fashion this character as a representation of the
profession—or diluted the complex ideas of psychotherapy in an attempt to make
the figure more accessible, entertaining, and convincing—reveals intriguing insights
into the manner in which we popularly engage with and interpret the psycho-
therapeutic process.
Just as Freud’s rejection of Goldwyn’s lucrative offer bemused the American
public, and undoubtedly contributed an aura of mystique to Freud’s own persona
and work, the psychotherapist continues to capture the popular imagination. This
is most aptly demonstrated in the enduring portrayal of therapists in film and on
 Introduction 3

television since the early twentieth century—a time that saw a rise in popularity of
psychotherapy and a greater investment in film production. Since then, and with the
intensification of celebrity and ‘confession culture’ where all is supposedly revealed,
the fertile possibilities of exploiting the emotional and intellectual depths of psy-
chotherapy have attracted writers, directors, and audiences alike.
But who exactly is the psychotherapist? The answer is found in fantasy—a form
of creative imagining that speaks to psychotherapy and filmmaking alike.
Despite the popularity of psychotherapy as a valuable treatment and as an
attractive screen subject, the figure of the psychotherapist remains elusive and dif-
ficult to fathom. There is no one-size-fits-all character—no ideal prototype that all
therapists-in-training struggle to emulate or that all budding filmmakers seek to
recreate on screen. And the mysterious nature and identity of this figure deepens
when we consider the potential mismatch between the onscreen psychotherapist,
whose raison d’être is to entertain and engage audiences, and the professional, real-
life counterpart, who becomes involved with the day-to-day dramas of her or his
patients.
One would be forgiven for assuming the qualities of actual psychotherapists take
precedence over fictionalised versions and that filmmakers can only proffer, at best,
shadowy replicas of the real deal, and at worst, unhelpful and misleading misrepre-
sentations. But if we bear in mind that the psychotherapist deals in fantasy when
attempting to shed light on the tensions that underlie a patient’s behaviour, the
ideals or ‘truths’ she or he seeks are themselves predicated on a blurring of truth and
falsehood—a clouding of realities that mirror the distortions on screen. One can
never know for certain what is ‘real.’
Although psychotherapists and their clients or patients often desire to unveil the
unadulterated, objective truth of any given situation, this is not the ultimate aim of
therapeutic practice. What is sought are the subjective interpretations of the clients’
experiences—which involve, in large part, their fantasies about such experiences—
so that they might begin to engage more productively with them and accept, inte-
grate, and own these more complex aspects of their life. In this respect, the aim of
therapy is to turn the client’s fantasies into a reality that they are able to live with.
Reality and fantasy are fused in a dynamic interplay that is itself influenced by the
psychotherapist’s interventions and interpretations.
This merger, as a prerequisite of psychotherapy, continues with the figures of
psychotherapist and patient as they become intertwined at an unconscious level
(a state referred to as ‘transference’ in psychoanalysis) whenever a therapeutic or
empathic bond is experienced.3 It is perhaps unsurprising that a similar state of
union is often alluded to in descriptions and explanations of the hypnotic effect
of films (the ‘spellbound’ effect, as Freud himself called it). Just as the client or
patient experiences an unconscious sense of unification with their psychotherapist,
the film viewer can experience a similar identification with the fictional characters
and narratives on the screen.
Attempts to isolate, identify, and explain who the psychotherapist really is and
the essential characteristics of their work are tricky at best and, arguably, subvert the
4 Introduction

very possibility in doing so. And yet, as the chapters in this volume demonstrate,
there is much to be gained from examining the murky boundaries that surround
our perceptions of psychotherapy and psychotherapists and how they can or cannot
be depicted. Eavesdropping scrutinises the porous boundaries of the imaginary and
actual in portrayals of psychotherapists on screen and in their real-life counterparts,
with a view to making sense of the issues that underpin these interpretations.
The authors represent an impressive range of expertise in the area. Some are
scholars of psychotherapy or psychotherapists themselves who together adopt a
range of psychotherapeutic approaches, including but not limited to classical
Freudian psychoanalysis, Lacanian and Jungian thought, object relations, cognitive
behavioural therapy, and psychiatry. Others are scholars of media and film, who
work closely with the processes of film production and textual analysis. Others still
are consultants to film, providing insight into the complexities of translating real life
into entertaining drama. Given that the authors represent a wide variety of fields
and professions, they are accustomed to speaking of a similarly wide range of ther-
apeutic models, each with its own terminology and theories. These contrasting
approaches are enriching to our investigation because they open up dialogues, but
they can also be confusing in their varied points of reference. For instance, although
we have chosen to refer to the psychotherapist and psychotherapy as generic terms for
the title of this volume and within this introduction, we mean this to extend to the
variety of equivalent figures and therapies—such as the psychoanalyst, psychiatrist,
psychologist, and so forth—that arise in the specific contexts described and
explained throughout the chapters.
Eavesdropping begins with three chapters (by Sabbadini, Huskinson, and
Hanscombe) that together comprise Part I, ‘Erotic Transference.’ Each explores the
erotic dimension of the psychotherapist as depicted on screen, with particular focus
on the erotic merger of the psychotherapist with his or her client. Although themes
of the erotic and eroticism are irresistible to filmmakers, given their association with
illicit sexuality and the transgression of boundaries, it is important to bear in mind
that there is often a less sensational psychological meaning behind such encounters.
As C. G. Jung explains, the merger (or coniunctio as he often refers to it) that under-
pins the relationship between psychotherapist and client—and indeed, the very
psychotherapeutic endeavour itself—has at its core a profound sense of the spiritual
that is layered in meaning and difficult for our modern mind-set to fathom. Jung
maintains that due to our inability to comprehend its nature, we are compelled
instead to interpret the experience of unconscious merger in sexual and erotic
terms (cf. 1946, par. 460; par. 360). Freud disagreed with Jung’s more spiritual
interpretation of the therapeutic merger, preferring a sexualised reading. Jung,
however, justified his position by drawing attention to the relative ease with which
we are compelled to interpret the nature of an essentially profound experience as
something more titillating and immediately satisfying; a sentiment that, despite
Freud’s opposing insistence on the primacy of sexuality, suggests he had good
reason to be suspicious of the film industry’s capacity (with its unashamed focus on
entertainment) to portray his complex ideas faithfully.
 Introduction 5

The three chapters of Part 1 tackle the thorny issue of transference and counter-
transference in a variety of on-screen therapeutic relationships between the psycho-
therapist and his or her client.The overt and subtextual questions considered within
each analysis pivot around the exploitation of intimacy in the psychotherapeutic
‘treatment,’ distorting the valuable process of erotic transference so that it becomes
almost a perversion for entertainment value. Although this focus on sexual tension
links each chapter, the authors—two of whom are practicing therapists—also
explore the blurred lines between the contrasting worlds of actual therapy and the
fantasy of therapy. Given the mysterious nature of this confidential exchange
between (often) two people engaged in deeply personal issues, the potential power
plays of the therapist in this dynamic are an irresistible lure for screenwriters.
Psychoanalyst and scholar Andrea Sabbadini in Chapter 1, ‘The (Mis)representa-
tion of Psychoanalysis in Film,’ opens Part I with a study that emphasises the playful
and comedic imaginings of erotic transference in film. Sabbadini draws on screen
examples from a variety of genres to argue that most attempts to realise therapist/
patient relationships inevitably fail to capture the complexity of therapeutic work.
He takes the following films and television programs to task, by highlighting the
manner in which they misrepresent analysts/therapists and the role of transference/
countertransference: Spellbound (1945), In Treatment (2008–2010), A Dangerous
Method (2011), and Deconstructing Harry (1997). To demonstrate the unwitting
humour of hyper-real sexual abandon on the part of fictional analysts, Sabaddini
looks to Spellbound, citing Dr Petersen’s (Ingrid Bergman’s) overpowering ‘erotic
countertransference-at-first-sight’ toward her patient John Ballantyne (Gregory
Peck): “‘I am here as your doctor only,’ she whispers, passionately kissing her
patient. ‘It’s nothing to do with love. Nothing at all.’”
Sabaddini despairs at the way psychotherapists/analysts are portrayed negatively—
unable to take responsibility for the ethical boundaries demanded by their profes-
sion. For dramatic and comedic purposes, this goes further than sexual transgression
into other abusive and self-serving forms of exploitation. He also claims that
although cinema is a visual form of communication, psychotherapy is verbal. This
he argues is a crucial handicap that prevents one from ever being able to reproduce
the intimacy of the consulting room. And if the dialogue takes precedence, as it
does in the television series In Treatment, the length of time it takes for revelations
to occur within sessions of psychotherapy would of course be ‘tedious when
watched on a cinema [or television] screen.’
From Sabbadini’s critical commentary about the failure of the fictional psycho-
therapist to correspond adequately to their real-life counterpart, particularly when
erotic transference is concerned, we move to an argument that finds these emotional
extremes to be instructive and enlightening, especially with regard to making sense
of the dynamics of erotic transference and the ways we—as audience members,
clients, or therapists—respond to it. Thus, in Chapter 2, ‘Challenging Freud on the
Realities of Erotic Transference with Fictional Case Study: The Sopranos (1999–
2007) and In Treatment (2008–2010),’ Lucy Huskinson explains how, despite Freud’s
warnings about the dangers of erotic feelings between analyst and patient, they ‘are
6 Introduction

not always delusional fantasies that obstruct or resist the progress of therapy, but may
help to facilitate such progress.’ The erotic feelings among the characters in
The Sopranos and In Treatment serve as useful case studies for the analysis of erotic
behaviour and our psychological responses to it because they position their audi-
ences in the roles of psychoanalyst or detective. Audiences are encouraged to
uncover the motivations and best possible outcomes of the erotic situation and to
sift notions of ‘truth’ from ‘fantasy.’ Huskinson argues that the ‘struggle to make
sense of these elusive experiences and to ascertain their true nature […] is the
archetypal conundrum that befalls every intimate relationship,’ and therefore such
attempts to understand our erotic encounters should not involve sacrificing what
we perceive to be either the fantasy or the reality of the situation; rather we should
embrace both aspects, for their interplay provides the means to our self-discovery.
Huskinson explains how we cannot expect to discover definitive ‘truths’ about
the nature of love and the erotic without also sacrificing the fantasy that underpins
these experiences. To arrive at the ‘truth’ of a situation is to kill the attraction and
to squander the potential clues that could lead to a greater understanding of one’s
inner life. By the same token, she claims that when films or television programs
‘reveal’ the ‘truth’ of the matter by divulging whether or not the analyst or patient
does in fact feel love, or is instead deluded (temporarily blinded) by their irrational
feelings, audiences may inevitably lose interest in the erotic transference (and/or
countertransference) and so disconnect from their role as pseudo psychoanalyst/
detective. For Huskinson, the on-screen erotic encounter between patient and
psychoanalyst/psychotherapist is in essence a replication of the erotic encounter in
everyday life. In both situations, fantasy and reality are not mutually exclusive. The
delusion lays in thinking there is a definitive truth rather than accepting, as
Huskinson argues, that ‘erotic feelings are so enmeshed within layers of fantasy and
remnants of past experiences that to question whether one is “really” in love is to
miss the point and bypass the nature of the experience.’’
In Chapter 3, ‘The Real Psychotherapist: An Impossibility for Film,’ Elisabeth
Hanscombe, a practising psychoanalytic psychotherapist, takes a more cautious
approach to erotic countertransference by drawing on the sexual transgressions of
In Treatment’s lead character, the psychotherapist Dr Paul Weston (Gabriel Byrne).
Hanscombe argues that the series allows for some exploration of the issue, but it
does so in an extreme manner by portraying Weston as a man struggling to distin-
guish between the ‘as-if ’ nature of his profession and the experiences of life beyond
it. She regards Weston’s character as a boundary violator, whose redemption is
questionable, despite acknowledging the folly of acting on his desire for a seductive
patient while his marriage flounders. For Hanscombe, collapsing the boundaries of
therapy and life outside of the consulting room ‘is a serious breach of trust similar
to incest between a parent and child.’
Hanscombe also touches on the problematic depiction of the psychoanalyst
Giovanni Sermonti in The Son’s Room (2001). From her own experience as a prac-
tising therapist, Hanscombe considers the task of reproducing therapy and therapists
on screen as virtually impossible, given the private nature of the work. Consequently,
 Introduction 7

she claims, filmmakers must resort in degree to caricature, even in sensitive depictions,
as in the case of Sermonti, who is in the midst of dealing with the trauma of his
son’s death. Hanscombe concedes that this portrayal, stylised and artificial as it is,
might be closely aligned to an experience of extreme grief that can force one to
behave mechanically. Similarly she claims that there is a form of elasticity in the way
erotic countertransference can be played out. When portrayed on screen, the erotic
errs toward a stereotypical attraction, possibly designed to create a moralistic response.
Part II, ‘The Psychoanalytic Approach,’ comprises four chapters (by Creed;
Nicholls; Bhugra and Kalra; and Gherovici and Webster). Each draws on theories of
either Freud or Lacan in order to explore their interpretations of fictional psycho-
therapists and psychoanalysts. Barbara Creed in Chapter 4, ‘Equus: Ecstasy, Therapy,
and the Animal,’ focuses on Sidney Lumet’s Equus (1977), a film production of
Peter Shaffer’s play (1973). This challenging and provocative story is about an ado-
lescent boy named Alan Strang (Peter Firth), who sees a psychoanalyst, Martin
Dystart (Richard Burton), in order to make sense of his unusual desires for horses—
in particular, his predilection to blind them and worship, through erotic-religious
rituals, a mythical horse-god of his own creation named ‘Equus.’ Creed centres on
the intricate fusion of Alan’s emotional disturbance and Dysart’s personal struggle
with despair to develop her argument. In this context, she explains how a Freudian
interpretation of the boy’s desires would lead one to regard the horses and horse-
god as signifiers of the omnipresent father or Christian God. Creed critiques this
Freudian reading by offering a contrasting interpretation. She argues that the horse
and horse-god represent a life-giving source of ecstasy, otherwise lost if interpreted
(in Freudian terms) as something other to human experience.
Through Dysart’s painstaking work with Alan, he comes to realise that when we
regard ourselves as separate to animals, we abandon the kind of heightened passion
that enables us to feel truly alive. This chapter puts forward the view that in our
attempts to prioritise our rational concerns for civilization, we have disconnected
ourselves from the primal animal roots that nurtured and allowed for an engagement
with bodily euphoria.The tug of war between the Christian emphasis on the denial
of bodily instincts—an emphasis that continues to underpin the values of Western
civilization—and the strong connection with physical sensation that is primary
to the animal is at the heart of the film. Equus, as a mythical creation, becomes a
‘transcendental signifier’ in Creed’s reading, one that ‘raises the possibility of a
future society in which the distinction between human and animal is no longer
maintained in order to produce a definition of what it means to be human.’
Next we turn, in Chapter 5, to Mark Nicholls’ examination of the character of
Freud in the television drama series of the same name. In ‘A Conversation Between
Enlightened Friends: The Mutual Reassurances of the Arts and Sciences in Freud,’
Nicholls explains how this particular dramatization of Freud’s life and work reveals
a dynamic relationship between the intimacy of the therapeutic or analytic session
and the localised requirements of small screen melodrama. The chapter concentrates
on the ethical and professional problems of psychoanalysis as a developing ‘science’
and, as is the case with previous chapters, attempts to make sense of the thorny issue
8 Introduction

of transference and countertransference that arises between the psychoanalyst and

patient/client in the course of their therapeutic exchange.
Nicholls investigates Freud’s professional and personal relationships with various
key figures in the early stages of his work who contributed to the complex
intellectual and ethical issues of the ‘talking cure’: his daughter Anna, Ernst von
Fleischl, Josef Breuer, Wilhelm Fliess, and C. G. Jung. Innovation, creativity,
and above all, therapeutic experience are revealed by Nicholls to be the ultimate
sources of health and self-knowledge. In addition to the analysis of therapy in Freud,
Nicholls considers how the television series positions the viewer as client and
therapist, and he argues for the viability of small screen spectatorship as an additional
and complementary form of therapy—that is to say, as another type of ‘conversation
between intelligent friends.’
In Chapter 6, ‘Applying Psychoanalysis to Hindi Cinema,’ Dinesh Bhugra and
Gurvinder Kalra explain how psychoanalysis in India developed along different
theoretical lines to Freud’s work in Vienna. The authors focus on the work of
Girindrasekhar Bose, a psychoanalyst who remodelled Freudian theory in the 1920s
to make it more relevant to Indian culture in Bengal. They then turn to the 1990s’
scholar A. K. Ramanujan, who challenged Bose’s work on the ‘Indian Oedipus
complex.’ In contrast with the classical Freudian idea that the son experiences feel-
ings of rivalry toward the father, the libidinal direction is reversed to suggest that it
is the father’s rivalry toward the son that is more significant. Another distinctive
aspect of the Indian Oedipus complex is its divergence from the classical Freudian
model, so rather than the son desiring the mother and thereby seeking to replace the
father, the father desires the daughter and the mother desires the son—a scenario
that inevitably places the daughter in a secondary position. Bhugra and Kalra identify
this version of the Oedipal complex within Indian myths and stories, with particular
focus on two significant films, Lamhe [Moments] (1991) and Kyon Ki [Because]
(2005). Both highlight issues of transference through the lens of maternal–paternal
and analyst–patient desire.
In the final chapter of this section, Chapter 7, ‘The Bad Psychoanalyst: Watching
the Success of Failure,’ Patricia Gherovici and Jamieson Webster draw on Lacanian
theory to discuss the importance of dispelling the fantasy of ‘cure’ as an expected
outcome of therapy. The authors explain that the collapse of the analyst–analysand
relationship, as portrayed on screen, largely demonstrates the psychoanalyst’s failure
to live up to the expectations of the patient (and perhaps the audience). However,
what we are witnessing is not in principal a narrative about a treatment that has
been derailed, but a treatment that has allowed the patient to give up their illusion
of a cure. According to the authors, what we witness then is ‘something critical
regarding the scene of the termination of an analysis.’
Echoing other chapters in this volume, Gherovici and Webster implicitly main-
tain that depictions of a smooth or successful treatment—especially one that is
unrealistically successful, where, for instance, all expectations of the psychotherapy
are satisfied and all psychological problems and issues are effectively resolved—are
unlikely to appeal to filmmakers. Such depictions would most likely be drama-free
 Introduction 9

and tedious and would involve the time-consuming silences and repetitions that are
hallmarks of psychotherapy. ‘For those watching,’ claim Webster and Gherovici, ‘the
action glides into something interesting only when the frame slips out of focus or is
broken.’ Drawing on a number of films that revolve around psychoanalysis and
other forms of psychotherapy that involve a confrontation with failure, this chapter
attempts to redeem inaccurate portrayals of the therapeutic exchange on screen by
arguing that such narratives offer important clues into the processes of ending the
relationship.
We come then to the final part of this volume, Part III, ‘A Contest of Wills,’
which comprises four chapters (by Waddell, Bassil-Morozow, Fredericksen, and
Oestrich). Each examines fraught portrayals of psychotherapy in film and television
to explain how these troubled cases are often motivated by the prejudices of film
producers or directors. Together they explore the meaning of fantasy and reality
from the perspective of the director, professional consultant, or audience, respectively,
and expose the tensions and conflicts underpinning this relationship.
In Chapter 8, ‘Shrink-Wrapped Television: Simulated Therapy, Disclosure, and
the Lure of Plausible Doubt,’ Terrie Waddell examines the strains that result from
pseudo ‘therapeutic’ encounters between trained psychotherapists and ‘guests’ on
the televised chat show circuit. According to Waddell, television is preoccupied
with psychotherapy as a form of entertainment—a fixation exemplified by the pop-
ular 1980s’ American talk show. Although trained analysts were often incorporated
into these programs, the principal hosts played the role of pseudo analyst to nonce-
lebrity and celebrity guests. From this fascination with purely talking about intimate
struggles, confessional television became ratings gold and consequently a staple of
popular media. This background prefaces a close analysis of the UK program,
Shrink Rap (2007), where ex-comedian and clinical psychologist Pamela Stephenson
facilitates simulated therapy ‘sessions.’ In the particular episode analysed here,
Waddell takes to task Stephenson’s conversation with fellow UK comic Chris
Langham.
In a mirrorlike twist, Langham played a psychoanalyst in the comedy series, Help
(2005), and worked with Stephenson in the late 1970s. Accused and convicted of
downloading child pornography, he talks with Stephenson about his childhood
abuse and his rationale for viewing such material. The questions explored revolve
around: notions of authenticity, simulated therapy/disclosure as a form of entertain-
ment, and the emotional labour of the celebrity confession. Of particular interest is
the concept of ‘plausible doubt,’ a phrase that Waddell uses to describe ‘the oscilla-
tion between a perceived point of authenticity and its slippage.’ She argues that in
situations such as the Langham/Stephenson exchange, what we might consider to
be authentic moments are destabilised by doubt or by another perspective, so that
the boundaries of any assumed reality are always porous.
Helena Bassil-Morozow scrutinises the Freud/Jung/Spielrein biopic,
Cronenberg’s A Dangerous Method (2011), to tease out the dynamics between the
director and his key protagonist, C. G. Jung. In Chapter 9, ‘Crossing the River Styx
in a Small Boat,’ she argues that the film is a typical Cronenbergian piece exploring
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