All films are followed by couch-talks on Freud, analysis, dreams, religion and madness.

The Date Palm Café will be open for refreshments before each film. Wine bar and light snacks will be available for late night screenings.

Admission: $10, $5 students and seniors. Series ticket: $100, $50 students and seniors

Monday, September 18, 7pm

Young Dr. Freud (Der Junge Freud)

Dir.: Alex Corti. Germany, 1976, B&W, German w/English subtitles. 98mins. Post-screening discussion hosted by Dr. Arnold Richards with Dr. George Makari, Associate Professor of Psychiatry and Director of the Institute for the History of Psychiatry, Cornell University.

This film examines the life of the father of psychoanalysis through the lens of his own ground-breaking theories. Questioning the character of Sigmund Freud at integral points in his development, director Axel Corti and screenwriter Georg Stephan Troller invert the psychoanalytic model and place the analyst in the position of analysand.

Monday, September 25, 7pm

Secrets of a Soul

Dir.: Georg Wilhelm Pabst. Germany, 1926, B&W. 97mins. Silent with English intertitles. Post-screening discussion with Eli Zaretsky, Professor of History, The New School.

In 1925, Freud refused a lucrative offer to consult on Pabst's film, and expressed his opposition to the use of the ‘new art’ in connection with the ‘new science.’ Pabst gained the support of Freud’s colleagues, Karl Abraham and Hanns Sachs, creating a fascinating representation of the Freudian psychoanalytical process as it was at its inception. Based on an actual patient of Freud, this film is a bourgeois melodrama about a chemistry professor whose frustrated desire to father a child meshes with his jealousy of his wife's childhood sweetheart.

LATENITE & WINEBAR at 9:15 pm

Freud Home Movies

A selection of documentary footage of Freud and his contemporaries, including The Eleventh Congress of the Psychoanalytic Association 1929; Freud at Potzledorf, 1932; and Freud Home Movies 1937-1938. Library of Congress and Freud Archives, 90 mins.

Monday, October 9, 7pm

Dreams, Psychoanalysis and Film

A conversation and screening hosted by Bruce Sklarew, co-founder and co-chair of the Forum for the Psychoanalytic Study of Film, Washington, D.C.; and Lynn Gamwell, Director, Binghamton University Art Museum, SUNY/Binghamton, and author of Dreams, 1900-2000. When Freud published The Interpretation of Dreams in 1900, he began the modern study of a phenomenon that has fascinated human beings for thousands of years. At the same time, he opened a new realm – the unconscious mind – to filmmakers and artists who were inspired by his theories. This program features fascinating film footage and a fresh, bold look at Freudian thought.

Monday, October 16, 7pm

The Soulkeeper: The True Story of Sabina Spielrein

Dir.: Roberto Faenza. Italy/France/UK, 2002, English and Italian w/English subtitles. 90 mins. Post-screening discussion with John Kerr, psychologist and historian, author of A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein; Dr. Zvi Lothane, Clinical Associate Professor of Psychiatry, Mt. Sinai School of Medicine; Nellie Thomson, Ph.D Psychoanalyst and Historian.

In 1905 a nineteen-year-old girl, arriving from Russia in a desparate condition, is admitted into a psychiatric hospital in Zurich, where she is suffering from a severe form of hysteria and refusing to eat. Young Carl Gustav Jung takes her under his care and, for the first time, experiments with the psychoanalytical method of his teacher, Sigmund Freud. He also begins an affair with her, and thus is born a sweeping story of love and passion. Sabina Spielrein eventually becomes a psychoanalyst herself, founding the famous White School, and dies in 1942, a victim of Nazi violence. This film is based on the 1977 discovery of the missing epistolary between Jung, Freud and Spielrein.

Monday, October 30, 7pm

1919

Dir.: Hugh Brody. UK, 1985, B&W and Color. 99 mins. Post-screening discussion with Dr. Arlene Kramer Richards, Ed.D., Training and Supervising Analyst, New York Freudian Society, and Fellow, Institute for Psychoanalytic Training and Research; Richard Gottlieb M.D., Training and Supervising Analyst, Berkshire Psychoanalytic Institute; faculty, New York Psychoanalytic Institute; Associate Clinical Professor of Psychiatry, Albert Einstein College of Medicine.

Dealing with psychoanalysis and passion, Hugh Brody’s film is the bittersweet chronicle of Sophie (Maria Schell) and Alexander (Paul Scofield), former patients of Freud in Vienna. In 1984, the two are reunited when Sophie sees Alexander interviewed on television and contacts him. As the two reminisce, they find they both harbor bitterness at their treatment by Freud. In a series of flashbacks, they are seen in their therapy sessions, though Freud is never shown on camera, only his voice is heard

Monday, November 6, 7pm

The Cook, The Thief, His Wife and Her Lover

Dir: Peter Greenaway. France/Netherlands/UK, 1989, English. 124mins. Dr. Peter Stastny, psychiatrist and filmmaker.

Peter Greenaway adopts a trivial but surrealistic narrative to capture the dynamics of compulsions and desire embedded in Western religious practices, and makes references to the intricate ties of Judaism, Paganism, and Christianity. Petty crime kingpin Albert Spica has pretensions of the high-life and holds nightly court with his uncouth cohorts in a French restaurant that he owns. His wife, Georgina, flirts with Michael, an intellectual bookseller, and nightly the two begin a secret affair. When Spica learns of the affair, he rages through the restaurant, inflicting brutalities upon all, and killing Michael by forcing him to eat the pages from his own books. Georgina decides to inflict a particularly cruel fate upon her husband.

Monday, November 13, 7pm

Pressure Point

Dir.: Hubert Cornfield. USA, 1962, B&W. 91mins. Post-screening discussion with Dr. Maurice Preter, Assistant Professor of Clinical Psychiatry, Columbia University College of Physicians & Surgeons.

Racial tension heats up when a conservative black prison psychiatrist (Sidney Poitier) is assigned to treat a staunch racist and former Nazi party member (Bobby Darin). Poitier knows what makes the mind tick, but his new patient is a ticking time bomb, a racist Nazi fanatic, and he finds the boundaries of his professionalism sorely tested when he must counsel Darin.

Monday, November 20, 7pm

Zelig

Dir.: Woody Allen. USA, 1983, B&W and Color. English and German. 79mins. Fictional documentary about the life of human chameleon Leonard Zelig, a man who becomes a celebrity in the 1920s due to his ability to look and act like whoever is around him. Everyman Zelig is literally capable of being any and every man, a human vessel who embodies our sociological urge to conform

LATENITE & WINEBAR at 9:15 pm

Street of Crocodiles

Dir.: The Quay Brothers, adapted from a short story by Bruno Schulz. UK, 1986, Color. 21mins. This film conjures up a world of aberrations existing just beneath the façade of our everyday reality where myth and pathology intertwine. The Quay Brothers’ masterpiece is adapted from a short story by Bruno Schulz, and was their first film shot on 35mm. A museum keeper spits into the eyepiece of an ancient peep-show and sets the musty machine in motion, plunging the viewer into a nightmarish netherworld of bizarre puppet rituals among the dirt and grime.

Monday, December 4, 7pm

Beyond Good and Evil

Dir.: Liliana Cavani. Italian/French/W.German, 1977. Italian w/English subtitles. 130mins. Post-screening discussion with Angela Von Der Lippe, author and senior editor, WW Norton; and Matthew von Unwerth, Director of the Brill Library of the New York Psychoanalytic Institute.

When Lou Andreas Salomé arrived in Vienna to attend Freud’s lectures in 1912, she had already developed her theory of narcissism. Without undergoing analysis herself, she began her own practice after a short training period with Freud. Salomé was to Freud “an understander par excellence,” the only woman among his colleagues with whom he would maintain a long and continuous correspondence. The film explores her ‘ménage a trois’ with Nietzsche and Paul Ree, and the early development of her research and personality.

Monday, December 11, 7pm

Dead of Night

Dir.: Alberto Cavalcanti, Charles Crichton, Basil Dearden, and Robert Hamer. UK, 1945. 102mins. Black & White. Post-screening discussion with Dr. Leon Balter, Training and Supervising Analyst, New York Psychoanalytic Institute and Associate Clinical Professor of Psychiatry, Mt. Sinai Medical School, NY.

Dead of Night, the first psychoanalytic horror film, was produced in England immediately after the end of World War II – that is, after the English population had suffered systematic Nazi terror from imminent invasion, incessant aerial bombing and rocket-bombs. This film continued the pre-war format of horror films based on the themes of the supernatural and the hubris and excesses of science. However, it introduced psychoanalysis as the science in question. In the film, psychoanalysis is used ambivalently for understanding supernatural horror. The film is structured on two levels: a genteel English country weekend, with witty and urbane guests (including a psychoanalyst); five horror stories told by the guests, presented as “flash-backs” within the frame of the country weekend. Psychoanalytic insights into this film structure are used here to explain how the film induces horror in the audience. Because of the defensive nature of this formal structure, the audience is induced (through repeated but disguised stimulation) to accept as its own an inherently horrific unconscious fantasy. The plot of the film then undercuts that defensive formal structure and presents a vivid manifest rendition of that fantasy. The stimulated audience, deprived of the reassuring structure, experiences severe anxiety – that is, horror.

Monday, December 18, 7pm

Persona

Dir.: Ingmar Bergman. Sweden, 1966, Swedish w/English subtitles. 83 mins. Post-screening discussion with Dr. Ira Konigsberg, Professor Emeritus of Film and Video Studies, English Language and Literature, University of Michigan.

Considered one of Bergman's masterpieces, Persona is also one of his most dazzling, complex, and dramatic works. With Sven Nykvist's other-worldly cinematography and brilliant performances by Liv Ullman and Bibi Andersson, the film explores the nature of personality and identity, present and memory, dream and reality. On the one hand, his most psychoanalytically informed work, Persona transcends into the realm of art where the subject of creativity and the very relationship between film and reality are explored. The filmic technique is tantalizing and challenging, forcing the audience into an intense and self-scrutinizing relationship with the film's images and characters that is almost unique in cinema.



FILM & PSYCHOANALYSIS American Jewish Historical Society, Leo Baeck Institute YIVO Institute for Jewish Research All films are followed by couch-talks on Freud, analysis, dreams, religion and madness. The Date Palm Café will be open for refreshments before each film. Wine bar and light snacks will be available for late night screenings. Admission: $10, $5 students and seniors. Series ticket: $100, $50 students and seniors Monday, September 18, 7pm Young Dr. Freud (Der Junge Freud) Dir.: Alex Corti. Germany, 1976, B&W, German w/English subtitles. 98mins. Post-screening discussion hosted by Dr. Arnold Richards with Dr. George Makari, Associate Professor of Psychiatry and Director of the Institute for the History of Psychiatry, Cornell University. This film examines the life of the father of psychoanalysis through the lens of his own ground-breaking theories. Questioning the character of Sigmund Freud at integral points in his development, director Axel Corti and screenwriter Georg Stephan Troller invert the psychoanalytic model and place the analyst in the position of analysand. Monday, September 25, 7pm Secrets of a Soul Dir.: Georg Wilhelm Pabst. Germany, 1926, B&W. 97mins. Silent with English intertitles. Post-screening discussion with Eli Zaretsky, Professor of History, The New School. In 1925, Freud refused a lucrative offer to consult on Pabst's film, and expressed his opposition to the use of the ‘new art’ in connection with the ‘new science.’ Pabst gained the support of Freud’s colleagues, Karl Abraham and Hanns Sachs, creating a fascinating representation of the Freudian psychoanalytical process as it was at its inception. Based on an actual patient of Freud, this film is a bourgeois melodrama about a chemistry professor whose frustrated desire to father a child meshes with his jealousy of his wife's childhood sweetheart. LATENITE & WINEBAR at 9:15 pm Freud Home Movies A selection of documentary footage of Freud and his contemporaries, including The Eleventh Congress of the Psychoanalytic Association 1929; Freud at Potzledorf, 1932; and Freud Home Movies 1937-1938. Library of Congress and Freud Archives, 90 mins. Monday, October 9, 7pm Dreams, Psychoanalysis and Film A conversation and screening hosted by Bruce Sklarew, co-founder and co-chair of the Forum for the Psychoanalytic Study of Film, Washington, D.C.; and Lynn Gamwell, Director, Binghamton University Art Museum, SUNY/Binghamton, and author of Dreams, 1900-2000. When Freud published The Interpretation of Dreams in 1900, he began the modern study of a phenomenon that has fascinated human beings for thousands of years. At the same time, he opened a new realm – the unconscious mind – to filmmakers and artists who were inspired by his theories. This program features fascinating film footage and a fresh, bold look at Freudian thought. Monday, October 16, 7pm The Soulkeeper: The True Story of Sabina Spielrein Dir.: Roberto Faenza. Italy/France/UK, 2002, English and Italian w/English subtitles. 90 mins. Post-screening discussion with John Kerr, psychologist and historian, author of A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein; Dr. Zvi Lothane, Clinical Associate Professor of Psychiatry, Mt. Sinai School of Medicine; Nellie Thomson, Ph.D Psychoanalyst and Historian. In 1905 a nineteen-year-old girl, arriving from Russia in a desparate condition, is admitted into a psychiatric hospital in Zurich, where she is suffering from a severe form of hysteria and refusing to eat. Young Carl Gustav Jung takes her under his care and, for the first time, experiments with the psychoanalytical method of his teacher, Sigmund Freud. He also begins an affair with her, and thus is born a sweeping story of love and passion. Sabina Spielrein eventually becomes a psychoanalyst herself, founding the famous White School, and dies in 1942, a victim of Nazi violence. This film is based on the 1977 discovery of the missing epistolary between Jung, Freud and Spielrein. Monday, October 30, 7pm 1919 Dir.: Hugh Brody. UK, 1985, B&W and Color. 99 mins. Post-screening discussion with Dr. Arlene Kramer Richards, Ed.D., Training and Supervising Analyst, New York Freudian Society, and Fellow, Institute for Psychoanalytic Training and Research; Richard Gottlieb M.D., Training and Supervising Analyst, Berkshire Psychoanalytic Institute; faculty, New York Psychoanalytic Institute; Associate Clinical Professor of Psychiatry, Albert Einstein College of Medicine. Dealing with psychoanalysis and passion, Hugh Brody’s film is the bittersweet chronicle of Sophie (Maria Schell) and Alexander (Paul Scofield), former patients of Freud in Vienna. In 1984, the two are reunited when Sophie sees Alexander interviewed on television and contacts him. As the two reminisce, they find they both harbor bitterness at their treatment by Freud. In a series of flashbacks, they are seen in their therapy sessions, though Freud is never shown on camera, only his voice is heard Monday, November 6, 7pm The Cook, The Thief, His Wife and Her Lover Dir: Peter Greenaway. France/Netherlands/UK, 1989, English. 124mins. Dr. Peter Stastny, psychiatrist and filmmaker. Peter Greenaway adopts a trivial but surrealistic narrative to capture the dynamics of compulsions and desire embedded in Western religious practices, and makes references to the intricate ties of Judaism, Paganism, and Christianity. Petty crime kingpin Albert Spica has pretensions of the high-life and holds nightly court with his uncouth cohorts in a French restaurant that he owns. His wife, Georgina, flirts with Michael, an intellectual bookseller, and nightly the two begin a secret affair. When Spica learns of the affair, he rages through the restaurant, inflicting brutalities upon all, and killing Michael by forcing him to eat the pages from his own books. Georgina decides to inflict a particularly cruel fate upon her husband. Monday, November 13, 7pm Pressure Point Dir.: Hubert Cornfield. USA, 1962, B&W. 91mins. Post-screening discussion with Dr. Maurice Preter, Assistant Professor of Clinical Psychiatry, Columbia University College of Physicians & Surgeons. Racial tension heats up when a conservative black prison psychiatrist (Sidney Poitier) is assigned to treat a staunch racist and former Nazi party member (Bobby Darin). Poitier knows what makes the mind tick, but his new patient is a ticking time bomb, a racist Nazi fanatic, and he finds the boundaries of his professionalism sorely tested when he must counsel Darin. Monday, November 20, 7pm Zelig Dir.: Woody Allen. USA, 1983, B&W and Color. English and German. 79mins. Fictional documentary about the life of human chameleon Leonard Zelig, a man who becomes a celebrity in the 1920s due to his ability to look and act like whoever is around him. Everyman Zelig is literally capable of being any and every man, a human vessel who embodies our sociological urge to conform LATENITE & WINEBAR at 9:15 pm Street of Crocodiles Dir.: The Quay Brothers, adapted from a short story by Bruno Schulz. UK, 1986, Color. 21mins. This film conjures up a world of aberrations existing just beneath the façade of our everyday reality where myth and pathology intertwine. The Quay Brothers’ masterpiece is adapted from a short story by Bruno Schulz, and was their first film shot on 35mm. A museum keeper spits into the eyepiece of an ancient peep-show and sets the musty machine in motion, plunging the viewer into a nightmarish netherworld of bizarre puppet rituals among the dirt and grime. Monday, December 4, 7pm Beyond Good and Evil Dir.: Liliana Cavani. Italian/French/W.German, 1977. Italian w/English subtitles. 130mins. Post-screening discussion with Angela Von Der Lippe, author and senior editor, WW Norton; and Matthew von Unwerth, Director of the Brill Library of the New York Psychoanalytic Institute. When Lou Andreas Salomé arrived in Vienna to attend Freud’s lectures in 1912, she had already developed her theory of narcissism. Without undergoing analysis herself, she began her own practice after a short training period with Freud. Salomé was to Freud “an understander par excellence,” the only woman among his colleagues with whom he would maintain a long and continuous correspondence. The film explores her ‘ménage a trois’ with Nietzsche and Paul Ree, and the early development of her research and personality. Monday, December 11, 7pm Dead of Night Dir.: Alberto Cavalcanti, Charles Crichton, Basil Dearden, and Robert Hamer. UK, 1945. 102mins. Black & White. Post-screening discussion with Dr. Leon Balter, Training and Supervising Analyst, New York Psychoanalytic Institute and Associate Clinical Professor of Psychiatry, Mt. Sinai Medical School, NY. Dead of Night, the first psychoanalytic horror film, was produced in England immediately after the end of World War II – that is, after the English population had suffered systematic Nazi terror from imminent invasion, incessant aerial bombing and rocket-bombs. This film continued the pre-war format of horror films based on the themes of the supernatural and the hubris and excesses of science. However, it introduced psychoanalysis as the science in question. In the film, psychoanalysis is used ambivalently for understanding supernatural horror. The film is structured on two levels: a genteel English country weekend, with witty and urbane guests (including a psychoanalyst); five horror stories told by the guests, presented as “flash-backs” within the frame of the country weekend. Psychoanalytic insights into this film structure are used here to explain how the film induces horror in the audience. Because of the defensive nature of this formal structure, the audience is induced (through repeated but disguised stimulation) to accept as its own an inherently horrific unconscious fantasy. The plot of the film then undercuts that defensive formal structure and presents a vivid manifest rendition of that fantasy. The stimulated audience, deprived of the reassuring structure, experiences severe anxiety – that is, horror. Monday, December 18, 7pm Persona Dir.: Ingmar Bergman. Sweden, 1966, Swedish w/English subtitles. 83 mins. Post-screening discussion with Dr. Ira Konigsberg, Professor Emeritus of Film and Video Studies, English Language and Literature, University of Michigan. Considered one of Bergman's masterpieces, Persona is also one of his most dazzling, complex, and dramatic works. With Sven Nykvist's other-worldly cinematography and brilliant performances by Liv Ullman and Bibi Andersson, the film explores the nature of personality and identity, present and memory, dream and reality. On the one hand, his most psychoanalytically informed work, Persona transcends into the realm of art where the subject of creativity and the very relationship between film and reality are explored. The filmic technique is tantalizing and challenging, forcing the audience into an intense and self-scrutinizing relationship with the film's images and characters that is almost unique in cinema.

	HOME FILM PROGRAM CONFERENCE Information and film tickets: 917-606-8200 www.ticketweb.com Conference Registrar: Lawrence Schwartz Partners 25-79 31 St. Astoria, NY 11102 E-mail Psypsa@aol.com Phone/Fax: 718-728-7416 Voice Mail: 718-278-0863

		Film is an artistic form of expression, but unlike most literature, film has a strong message for, and appeal to, the unconscious, performing the same essential work as dreams, and doing so in a manner which addresses the unconscious aspects of the psyche often without the conscious ego ever realizing what has occurred. --Daniel Kluge, University of Dallas