Bibliography Part 1 of

THE BIG PICTURE: A POST-JUNGIAN MAP OF GLOBAL CINEMA

by James Whitlark, Ph.D.

Works Cited


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Allen, Woody. Without Feathers. New York: Random House, 1975. Reprint. New York: Ballantine, 1983.
Alschuler, Lawrence R. “Jung and Politics.” The Cambridge Companion to Jung. Ed. Polly Young-Eisendrath and Terence Dawson. Cambridge: Cambridge University Press, 1997.
Anderson, Joseph L., and Donald Richie. The Japanese Film: Art and Industry. Forward by Akira Kurosawa. Tokyo: Charles E. Tuttle, 1959.
Andreasen, Nancy C. “Creativity and Mental Illness: Prevalence Rates in Writers and Their First Degree Relatives.” American Journal of Psychiatry 144 (1987): 1288-1299.
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Andrew, J. Dudley. The Major Film Theories: An Introduction. New York: Oxford University Press, 1976.
Anger, Kenneth. Hollywood Babylon. New York: Dell, 1975.
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Apostolos-Cappadona, Diane. Art, Creativity, and the Sacred. New York: Crossroads, 1985.
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Ardrey, R. The Territorial Imperative. New York: Dell, 1971.
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Augustine, St. Confessions. Translated by Rex Warner. New York: New American Library, 1963.
Ayalti, Hanan J. Ed. Yiddish Proverbs, In Yiddish and English. New York: Schocken, 1963.
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Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. Translated Caryl Emerson and Michael Holquist. Austin, Texas: University of Texas Press, 1981.
Barber, John. “Mozart Depicted as a Popinjay,” Daily Telegraph, 5 November 1979: 15.
Barkan, Leonard. The Gods Made Flesh: Metamorphosis the Pursuit of Paganism. London: Yale Univesity Press, 1986.
Barry, Iris, and Eileen Bowser, D. W. Griffith: American Film Master. Garden City, NY: Doubleday, 1965
Basch, M. The Basic Fault. New York: Brunner/Mazel, 1968.
Bates, Brian. The Way of the Actor: A Path to Knowledge & Power. Boston: Shambala, 1987.
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Bergman, Ingmar. Fanny and Alexander. Translated by Alan Blair. New York: Pantheon, 1982.
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Bertine, Eleanor. Jung’s Contribution to Our Time. New York: Putnam, 1967.
Bien, Peter. Kazantzakis: Politics of the Spirit. Princeton, New Jersey: Princeton University, 1989.
Billington, Michael. “Divining for a Theme,” The Guardian, 5 November 1979, 11.
Biró, Yvette. Profane Mythology: The Savage Mind of the Cinema. Translated by Imre Goldstein. Bloomington: Indiana University Press, 1982.
Bissette, Stephen R. “Higher Ground: Moral Transgressions, Transcendent Fantasies.” In Cut!: Horror Writers on Horror Film. 25—56. New York: Christopher Golden, 1992.
Black Elk Speaks: Being the Life Story of a Holy Man of the Oglala Sioux. As told through John G. Neihardt. Lincoln, Nebraska: University of Nebraska Press, 1961.
Blake, Michael. Dances With Wolves. New York: Fawcett, 1988.
Blatty, William Peter. On The Exorcist. New York: Bantam, 1972.
Boas, Franz. “Introduction to Handbook of American Indian Languages. “ Bureau of American Ethnology, Bulletin 40, part I: 5-75.
Boorman, John. The Emerald Forest Diary. New York: Farrar Straus Giroux, 1985.
Bordwell, David. The Films of Carl—Theodor Dreyer. Berkeley: University of California, 1981.
Borges, Jorge Luis. “Some Versions of Homer.” Translated by Suzanne Jill Levine. PMLA, 107 (October 1992): 1136-38.
Borges, Jorge Luis. Labyrinths: Selected Stories and Other Writings. New York: New Directions, 1964.
Bornoff, Nicholas. Pink Samurai: Love, Marriage & Sex in Contemporary Japan. New York: Pocket , 1991.
Bourguignon, Erika. “Dreams and Altered States of Consciousness in Anthropological Research.” F. L. Hsu, ed. Psychological Anthropology. Cambridge, Mass.” Schenkman, 1972. Pp. 403-34.
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__________. Psychological Anthropology. New York: Holt, Rinehart & Winston, 1979.
Brady, Patrick. “Chaos and Revolution in Art and Literature: Zola's L'Oeuvre” Nineteenth-Century French Studies 20 Fall—Winter 1991—1992): 196—202.
___________. “Chaos et Naturalisme” Les Cahiers Naturalistes 67 (1993): 201—09.
___________. “Chaos Theory, Control Theory, and Literary Theory: Or, A Story of Three Butterflies” Modern Language Studies 20 (Fall 1990): 65—79.
|__________. “Does God Play Dice? Deterministic Chaos and Stochastic Chance in Proust's Recherche.” In Thomas M. Kavanagh, ed. Chance, Culture and the Literary. Ann Arbor: Department of Romance Languages, University of Michigan,1994: 133-49.
_________. "Entropy or Negentropy? Chaos and Closure from Diderot to Desvignes" Studies on Lucette Desvignes and the Twentieth Century 4 (1994): 157-64.
__________. “From Feminism to Chaos Theory: Nonlinearity in Lucette Desvignes.” In Freeman G. Henry, ed. Discontinuity and Fragmentation. Proceedings of the 21st French Literature Conference at the University of South Carolina. Amsterdam: Rodopi, 1994: 101—08.
__________. “From Transactional Analysis to Chaos Theory: New Critical Perspectives” Australian Journal of French Studies 26 (May—August 1989): 176—93.
___________. “The Rococo Butterfly Meets the Butterfly Effect: A Chaos Theory Approach to Art and Literature” Studies on Voltaire and the Eighteenth Century 305 (1992): 1534—38.
___________. “La Theorie du chaos et L'Oeuvre: Peinture, structure,
| thematique” Les Cahiers Naturalistes 38 (1992): 105—12.
_________. “Theorie du chaos et structure narrative” Eighteenth-Century Fiction 4 (October 1991): 43—51.
Braid, James. The Power of the Mind over the Body. London: John Churchill, 1843.
Briggs, John, and F. David Peat. Seven Life Lessons of Chaos: Spiritual Wisdom from the Science of Change New York: Pernnial, 2000.
___________. Turbulent Mirror: An Illustrated Guide to Chaos Theory and the Science of Wholeness. New York: Harper & Row, 1989.
Briggs, John. Fractals: The Patterns of Chaos. New York: Touchstone, 1992.
Brightfield, Richard. Masters of the Louvre. The Young Indiana Jones Chronicles™, No. 4. A Choose Your Own Adventure® Book. New York: Bantam, 1993.
Broer, Lawrence R. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. Ann Arbor: UMI, 1989.
Brook, Peter. “Theatre, Popular and Special, and the Perils of Cultural Piracy: Peter Brook interviewed by David Briton” in David Williams. Ed. Peter Brook and the Mahabharata: Critical Perspectives. London: Routledge, 1991.
Brubaker, Richard L. “Comments: The Goddess and The Polarity of The Sacred.” In The Divine Consort: Radha and the Goddesses of India. Edited by John Stratton Hawley and Donna Marie Wulff. Boston: Beacon Press, 1982.
Brustein, Robert. “The Triumph of Mediocrity,” The New Republic, 17 January 1981: 23-24.
Bryce-Boyer, L. “Further Remarks Concerning Shamans and Shamanism,” The Israel Annals of Psychiatry and Related Disciplines, 2 (October 1964): 235-57.
Budd, Mike. The Cabinet of Dr. Caligari: Texts, Contexts, Histories. New Brunswick: Rutgers University Press, 1990.
Buñuel, Juan Luis. “A Letter on The Exterminating Angel.” In The World of Luis Buñuel, edited by Joan Mellen, 255. New York: Oxford University Press, 1978.
Buñuel, Luis. Conversaciones con Buñuel. Edited by Max Aub. Prologue by Federico Alvarez. Madrid: Aguilar, 1985.
__________. The Exterminating Angel; Nazarin; Los Olvidados. Translated by Nicholas Fry. New York: Simon and Schusáter, 1972.
Buñuel, Luis, José de la Colina and Tomás Pérez Turrent. Objects of Desire: Conversations with Luis Buñuel. Edited and translated by Paul Lenti. New York: Marsilio, 1992.
Burch, Noël. To the Distant Observer: Form and Meaning in the Japanese Cinema. Revised and edited by Annette Michelson. Berkeley: University of California Press, 1979.
Burke, Kenneth. Permanence and Change: An Anatomy of Purpose. 2nd ed. Los Altos, Calif.: Hermes Publications, 1954.
Butwin, Joseph and Frances. Sholom Aleichem. Boston: Twayne, 1977.
Cameron, James, and William Wisher. Terminator 2: Judgment Day, The Book of the Film, An Illustrated Screenplay. New York: Applause, 1991.
Campbell, Joseph. The Hero with a Thousand Faces. Bolingen Series No. 17. New York: Pantheon, 1949.
__________. The Power of Myth. With Bill Moyers. New York: Doubleday, 1988.
Campbell, Richard H., and Michael R. Pitis. The Bible on Film: A Checklist 1897-1980. Metuchen, New Jersey: Scarecrow Press, 1981.
Card, Orson Scott. How to Write Science Fiction and Fantasy. Cincinnati, Ohio: Writer’s Digest, 1990.
Carpenter, Richard. Robin of Sherwood. New York: Penguin, 1984.
Carpenter, Richard, with Robin May and Anthony Horowitz. THE COMPLETE ADVENTURES OF ROBIN OF SHERWOOD. Harmondsworth: Puffin Books, 1990.
Carrington, P. “Dreams and Schizophrenia.” Archives of General Psychiatry, 50 (1972): 343-50.
Church, J. Language and the Discovery of Reality. Twayne World Authors Series, No. 460. New York: Random House, 1961.
Ciment, Michael. John Boorman. Translated by Gilbert Adair. Boston: Faber and Faber, 1986.
Cocteau, Jean. Cocteau’s World: An Anthology of Writings by Jean Cocteau. Edited and Introduced by Margaret Crosland. London: Peter Owen, 1972.
__________. Orpheus; Oedpius Rex; The Infernal Machine. Translated by Carl Wildman. London: Oxford University Press, 1962.
Comer, Ronald J. Abnormal Psychology. New York: W. H. Freeman, 1992.
Conley, Tom. Film Hieroglyphs: Ruptures in Classical Cinema. Minneapolis: University of Minnesota Press, 1991.
Conrad, Joseph. Heart of Darkness. Edited by Robert Kimbrough. New York: Norton, 1963.
__________. Notes on Life and Letters. London: J. M. Dent & Sons, 1921.
Cook, Pam. The Cinema Book. New York: Pantheon, 1985.
Cooper, J. E., R. E. Kendall, and R. E. Gurland. Psychiatric Diagnosis in New York and London. London: Oxford University Press, 1972.
Cosandey, Roland, André Gaudreault, and Tom Gunning. Eds. Une Invention du Diable? Cinéma des Premiers Temps et Religion.Lausanne: Les Presse de l'université Laval/Éditions Payot Lausanne, 1992.
Costner, Kevin, Michael Blake, and Jim Wilson. Dances With Wolves: The Illustrated Story of the Epic Film. New York: Newmarket, 1990.
Coward, Harold G. Sacred Word and Sacred Text: Scripture in World Religions. Maryknoll, New York: Orbis, 1988.
Crowther, Bosley. Vintage Films. New York: G. P. Putnam’s Sons, 1977.
Culhane, John. Walt Disney’s Fantasia. New York: Abradale Press, 1983.
De Grazia, Edward, and Roger K. Newman, Banned Films: Movies, Censors and the First Amendment. New York: R.R. Bowker, 1982.
Deleuze, Gilles. Cinema 1. Translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Giles, and Felix Guattari, Anti-Oedipus: Capitalism and Schizophrenia. Translated by Helen R. Lane and Robert Hurley. Minneapolis: University of Minnesota Press, 1985.
DeLisi, Lynn E., ed. Depression in Schizophrenia. Washington: American Psychiatric Press, 1986.
DeMille, Cecil B. The Autobiography. Edited by Donald Hayne. Englewood, New Jersey: Preston Hall, 1958.
Derrida, Jacques. Dissemination. Translated by Barbara Johnson. Chicago: University of Chicago Press, 1981.
___________. Speech and Phenomena. Translated by David B. Allison. Evanston, Ilinois: Northwestern University Press, 1973.
Dick, Philip K. Do Androids Dream of Electric Sheep? New York: Ballantine, 1968.
Dodge, Kenneth A. “Emotion and Social Information Processing.” Judy Garber and Kenneth A. Dodge, eds. The Development of Emotional Regulation and Disregulation. Cambridge: Cambridge University Press, 1991.
Doel, Marcus A., and David B. Clarke, “From Ramble City to the Screening of the Eye: Blade Runner, death and symbolic exchange.” In The Cinematic City. London: Routledge, 1997.
Drew, William M. D.W. Griffith’s Intolerance: Its Genesis and Its Vision. Jefferson, N.C.: McFarland, 1986.
Dreyfus, Hubert. “Knowledge and Human Values,” Teachers College Records, 82/3 (Spring 1981): 519.
Durgnat, Raymond. Films and Feelings. Cambridge, Massachusetts: M. I. T. Press, 1967.
__________. Luis Buñuel. Los Angeles: University of California, 1977.
Eastman, John. Retakes: Behind the Scenes of 500 CLassic Movies. New York: Ballantine, 1989.
Eastman, Max. The Enjoyment of Laughter. New York: Simon and Schuster,1936.
Eberwein, Robert T. A Viewer’s Guide to Film Theory and Criticism. Metuchen, New Jersey: Scarecrow Press, 1979.
__________. Film and the Dream Screen: A Sleep and a Forgetting. Princeton, New Jersey: Princeton University Press, 1984.
Eco, Umberto. “Casablanca: Cult Movies and Intertextual Collage.” In David Lodge, ed. Modern Criticism and Theory: A Reader. . New York: Longman, 1988.
Edinger, Edward F.. Ego and Archetype: Individuation and the Religious Function of the Psyche. New York: Penguin, 1972.
Edwards, Gwynne. The Discreet Art of Luis Buñuel: A Reading of his Films. London: Marion Boyars, 1982.
Eibl-Eibesfeldt, Irenäus. “The Biological Foundation of Aesthetics.” In Beauty and the Brain: Biological Aspects of Aesthetics, edited by Ingo Rentschler, Barbara Herzberger, and David Epstein. Basel: Birkhäuser, 1988.
Eisenstein, Sergei. Film Form: Essays in Film Theory. Translated by Jay Leyda. New York: Meridian, 1957.
Eliade, Mircea. The Myth of the Eternal Return: Or, Cosmos and History. Translated by Willard R. Trask. Princeton: Princeton University Press, 1971.
Eliot, Charles. Japanese Buddhism. London: Routledge & Kegan Paul, 1969.
Eliot, T. S. The Complete Poems and Plays: 1909-1950. New York: Harcourt, Brace and World, 1952.
__________. The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. Edited and with an introduction by Valerie Eliot. New York: Harcourt Brace Jovanovich, 1971.
Elley, Derek. The Epic Film: Myth and History. London: Routledge & Kegan Paul, 1984.
Encyclopædia Britanica. 24 Volumes. Chicago: William Benton, 1959.
Erdoes, Richard, and Alfonso Ortiz, eds. American Indian Myths and Legends. New York: Pantheon, 1984.

Ergil, Kevin V., Marnae C. Ergil, Peter T. Furst, Nacy Gordon, John M. Janzen, Elisa J. Sobo, Linda Sparrowe, Ancient Healing: Unlocking the Mysteries of Health and Healing Through the Ages. Linconlnwood, Illinois: Publications International, 1997.
Erickson, Milton. “The Method Employed to Formulate a complex Story of the Induction of an Experimental Neurosis in a Hypnotic Subject, Journal of General Psychology, 31 (1944): 67-84.
__________. “Hypnotic Psychotherapy,” The Medical Clinics of North America, (1948): 571-583.
__________, My Voice Will Go with You: The Teaching Tales of Milton H. Erickson. Ed. Sidney Rosen. New York: Norton, 1982.
__________. “Pseudo-orientation in Time as a Hypnotherapeutic Procedure, “ Journal of Clinical and Experimental Hypnosis 2 (1954): 261-283.
__________. “Naturalistic Techniques of Hypnosis,” American Journal of Clinical Hypnosis, 1 (1958): 3-8.
__________. “A hypnotic technique for resistant patients,” American Journal of Clinical Hypnosis, 7 (1964): 3-82.
__________. “Pantomime Techniques in Hypnosis and the Implications,” American Journal of Clinical Hypnosis, 7 (1964): 65-70.
__________. The Collected Papers of Milton H. Erickson on Hypnosis. 4 vol. Edited by Ernest L. Rossi. New York: Irvington Publishers, 1980.
Erickson, Milton, and Elizabeth Erickson. “Concerning the Character of Posthypnotic Behavior,” Journal of General Psychology, 2 (1941): 94-133.
Erickson, Milton, and Jay Haley, and J. Weakland. “A Transcript of a Trance Induction with Commentary,” American Journal of Clinical Hypnosis, 2 (1959): 49-84.
Erickson, Milton, and Ernest Rossi. Experiencing Hypnosis: Therapeutic Aprroaches to Altered States. New York: Irvington, 1981.
________. “Varieties of Hypnotic Amnesia,” American Journal of Clinical Hypnosis, 16 (1974): 225-39.
_________. “Varieties of Double Bind,” American Journal of Clinical Hypnosis, 17 (1975): 143-57.
_________. “Two-level Communication and the Micro-dynamics of Trance,” American Journal of Clinical Hypnosis, 18 (1976): 153-71.
_________. “Autohypnotic Experiences of Milton H. Erickson,” American Journal of Clinical Hypnosis, 20 (1977): 36-54.
_________. Hypnotherapy: An Exploratory Casebook. New York: Irvington Publishers, 1976.
Erickson, Milton, Ernest Rossi, and S. Rossi. Hypnotic Realities. New York: Irvington Publishers, 1976.
Ermarth, Elizabeth Deeds. Sequel to History: Postmodernism and the Crisis of Representational Time. Princeton: Princeton University Press, 1992.
Estabrooks, George. Hypnotism. New York: Dutton, 1943.

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