MPS Symposium: Healing the Past in the Present: Giving Voice to Pain through Film and Psychoanalysis

April 1, 2013 3 Comments


Film and psychoanalysis will be the focus of the 38th annual MPS Symposium on Saturday, April 13, 2013 from 9 am- 3:30.  The program will be held in the magnificent Detroit Film Theatre.

Dr. Glen Gabbard, DFT curator Elliot Wilhelm and Dr. Marc Rosen are the featured discussants.  Terrance Davies’ 1988 masterpiece “Distant Voices, Still Lives” will be screened in its entirety in 35mm form.  The rich interplay of film and psychoanalysis will unfold throughout the day as we explore the capacity of film and psychoanalysis to provide access to the “unthinkable.”  What are the similarities?   How does the language of film enhance our ability as therapists to immerse ourselves in the struggle to transform trauma?    There will be ample time to discuss various aspects of the program and to engage in a lively Q and A.

For registration information, please contact Monica Simmons at 248-851-3380.

Don’t miss this one!

Breaking News
3 Comments to “MPS Symposium: Healing the Past in the Present: Giving Voice to Pain through Film and Psychoanalysis”
  1. Distant Voices, Still Lives is a remarkable film. Although it can be exciting to view it fresh on the big screen, it also benefits from multiple screenings. It is not available on DVD in the US, but it can be seen via Amazon Instant Video or on Comcast On Demand under “Indie Foreign”. What is the nature of memory? Can a film attempt to capture the experience of remembering as well as the content of memory? Terance Davies does a remarkable job. Haunting. Difficult, but inspiring. Jolyn

  2. Bruce Russell says:

    In thinking about this film, I have found it helpful to think about the following questions:

    (1) Are all of the children (Eileen, Maysie, and Thomas) ambivalent in their feelings towards their father? If so, why? If not, why not? Of those who are ambivalent, why are they?

    (2) Mickey has been a friend of Eileen since childhood. How is she unlike the three children? What sorts of songs does she always sing? What’s the best explanation of the difference between her and the children?

    (3) What sorts of relationship do the children and Mickey have to their spouses and why do they differ? Evidence?

    (4) Why is Jingles, a friend of Eileen’s and Mickey’s, in the film?

    (5) Did the mother love the father and, if so, why? Do the songs she sings after he dies differ from those before his death? If so, how and why?

    (6) Did the father love the mother or the children? What is the evidence in the film that supports your view, whatever it is?

    OK, some of you know that I’m a professor so excuse me if these sound like study questions! You can just ignore them and watch the film if you want, which might be best on first viewing.

  3. Bruce Russell says:

    I would like to correct Bruce Russell on a few things involving the names of the characters. First, the son is usually called Tony even if he is called Thomas Anthony at his wedding. He is usually called “Tony” probably because his father is named Tommie. Second, it’s Maisie and Micki, not the way you spelled them. Sheesh! And you call yourself a professor!

    P.S.–Sometimes, I don’t like the way you use commas!However I did like the way you put quotes around “Tony” above, thereby distinguishing the use and mention of a term.

Leave a Reply



Fresh from the Toronto Film Festival

The TIFF screens are darkened in Toronto. The past two weeks allowed nearly 400,00 fortunate cinephiles to view over...

First Update/Summary from the TIFF

The 2014 Toronto International Film Festival is in full swing.  Those of us fortunate enough to join the Detroit...

Coursera and the Reel Deal Mind Join Again on September 2 for: Scandinavian Film and Television!

    Does your Bergman filmography feel Im-Personna?   Do you wonder if there is more “at stake” to...