First European Psychoanalytic Film Festival (epff1) 2001

THURSDAY, 1 NOVEMBER - Regent’s College

19:00 – 22:00
Registration and Reception
19:00 – 20:15
Drinks and Hot Fork Buffet
20:30-21:30
Welcome
Andrea Sabbadini (Chair EPFF), Don Campbell (President British Psychoanalytic Society), Gareth Binns (NESTA)

FRIDAY, 2 NOVEMBER - BAFTA

8:30 - 10:00
Workshop 1 Narratives and documentaries: An encounter with Michael Apted and his films Helen Taylor Robinson (Chair) - Michael Apted
Panel 1 Film, feminism and the maternal body Laura Mulvey (Chair) - Whedbee Mullen (Abjection, Abstraction, Akerman) - Mandy Merck (The maternal body and the lesbian relationship: a return to Sally Potter’s The Gold Diggers)

10:30 - 13:00
Film & Discussion 1 Germany Run, Lola, Run Gerhard Schneider (Chair) -Tom Tykwer - Annegret Mahler-Bungers
Film & Discussion 2 Croatia Marsal Michael Parsons (Chair)
- Vinko Bresan - Ljiljana Filipovic

14:30 - 16:00
Panel 2 Psychoanalysis and Euro-Horror. Freud’s worst nightmares? Steven Schneider (Chair) - Michael Grant (Fulci’s Waste Land. Cinema, horror and the dreams of modernism. The „real“ and the abominations of hell) - Donald Campbell (The Body Horror film genre and adolescent development:A psychoanalytic perspective) - Thomas Elsaesser (“Look deep into yourself”: European perspectives on The Silence of the Lambs)
Panel 3 Screening desire: Cinema’s dreamings and realities David Rodowick (Chair) - Elizabeth Cowie (Bergman’s Persona and Wild Strawberries) - Vicky Lebeau (Herzog’s The Enigma of Kaspar Hauser) - Eva Parrondo (Bardem’s The Ugliest Woman in the World)

16:30 - 18:00
Panel 4 „One in the Eye - from Sam”. Samuel Beckett’s contribution to our vision in Cinema, Theatre and Psychoanalysis Helen Taylor Robinson (Chair) - Juliet Stevenson - Ian Christie
Workshop 2 Dreams against the nightmare. Historical trauma in contemporary cinema Gregorio Kohon (Chair) - Lindy Heymann & Marilyn Milgrom (Kissing Buba)- Miguel Sapochnik & Ivor Powell (The Dreamer) - Jed Sekoff (From persecution to witness in two short films)

SPECIAL SCREENINGS
19:00 - 20:40    La Stanza del Figlio (Nanni Moretti, 2001, Italy)
21:00 - 22:40    Leo (José Luis Borau, 2001, Spain)

SATURDAY, 3 NOVEMBER - BAFTA

8:30 - 10:00
Workshop 3 Sons and fathers: A room of their own Paola Golinelli & Andrea Sabbadini (Chairs) - Nanni Moretti - Stefano Bolognini
Workshop 4 Mothers and daughters: José Luis Borau’s Leo
Carol Topolski (Chair) - José Luis Borau - Peter Evans

10:30 - 13:00
Film & Discussion 3 France Harry: He is here to help Alain de Mijolla (Chair) - Dominik Moll - Candy Aubry
Film & Discussion 4 Hungary My Twentieth Century Katalin Bogyay (Chair) - Ildiko Enyedi - Catherine Portuges – Judit Székács

14:30 - 16:00
Workshop 5 Documentary directors and their protagonists: A transferential/ counter-transferential relationship? Emanuel Berman (Chair) - Michal Aviad (Ever shot anyone?) - Timna Rosenheimer (Fortuna)
Workshop 6 Sight & sound: Cinema’s singular syntax
Harriet Wrye (Chair) - Diana Diamond (Szabo’s Sunshine) - Bruce Sklarew (Bertolucci’s Besieged) - Liliana Pedrón de Martin (Vinterberg’s Festen)

16:30 - 18:00
Panel 5 The inner and outer worlds of the film-makers‘ temporary social structure - Construction and deconstruction of a film ‚colony’
Chris Mawson (Chair) - Bernardo Bertolucci – Fiona Shaw
Panel 6 Filming psychoanalysis: Feature or documentary? David Bell (Chair) - Hugh Brody - Michael Brearley

19:45 - 24:00
DINNER DANCE at Café Royal, 68 Regent’s Street, London W1
In the presence of Lord and Lady Puttnam
SUNDAY, 4 NOVEMBER - Regent’s College

10:30 - 13:00
PLENARY DISCUSSION co-chaired by Ian Christie & Andrea Sabbadini.

Events listed in the colour PURPLE take place at Regent’s College, Inner Circle, Regent’s Park, London NW1
Events listed in the colour RED take place in the Princess Anne Theatre at BAFTA, 195 Piccadilly, London W1
Events listed in the colour BLUE take place in the David Lean Room at BAFTA, 195 Piccadilly, London W1

Abstracts and Synopses

Michael Apted
Michael’s presentation will be on how he moves between fiction and
non-fiction, movies and documentaries in his work, and how each is
influenced by the other. He will be showing examples from his work to
illustrate his talk.

Emanuel Berman
Documentary directors and their protagonists: A transferential/ counter-transferential
relationship?
Unlike fictional figures created by scriptwriters, directors and actors,
the protagonists of documentaries are flesh-and-blood individuals. They
are chosen by the director – usually on the basis of some identification
or fascination – and may experience this choice as an opportunity to be
heard and understood. The process of filming forces director and
protagonist(s) into a complex interaction, which extends and transforms
the initial relationship. Mutual gratitude and fear of exploitation or
damage, mutual dependence and the anger it arouses, fluctuations between
experiences of gratifying mirroring and of embarrassing exposure,
struggle about the ownership and correct interpretation of one’s story –
these are some of the possible nuances of the evolving dynamics, which
in spite of different goals and setting may resemble characteristics of
an analytic transferential/ counter-transferential relationship. These
issues will be informally explored in a discussion (including relevant
clips) with the directors of three dissimilar films, which deal with a
woman penetrating a close-knit group of male soldiers, a director
pursuing a controversial politician, and the traumatic childhood of five
adult sisters.

José Luis Borau
FILM: Leo
Winner of the 2000 Goya Award for Best Director, Leo is an atmospheric
romantic thriller set in the wilderness of industrial Madrid. The film
features Iciar Bollain in the title role, a homeless woman struggling to
reconcile herself with the pains of her past. She is a tough and lonely
outsider, a representative of the underclass, who must struggle to keep
herself fed and clothed. Bollain delivers a grim and powerful
performance as the tortured woman trapped in her past. Leo is a
disturbing glimpse of modern Madrid and it’s inhabitants, masterfully
executed by acclaimed director José Luis Borau.

Michael Brearley
Filming psychoanalysis: Feature or documentary
I will suggest that it is impossible for a variety of reasons for a
documentary film on psychoanalysis to portray actual sessions without
infringing damagingly on the process itself.
This is inevitably frustrating, since it puts film-maker and viewer in
the position of the child excluded from the Oedipal couple, and the
restriction has lead some film-makers to withdraw from the idea.
We believe, however, that this very restriction can be used in a
creative way if the feelings involved are faced and made a part of the film. The
film-maker Hugh Brody has been willing to take this seriously.

Vinko Bresan
MARSAL [Marshal Tito’s Spirit]: Film as abreaction
Tito’s death represented for some the death of the father of the nation,
and for others long waited liberation from a totalitarian leader. With
the war in ex-Yugoslavia, Tito’s name has become almost shameful to
mention. Vinko Bresan’s movie Marshal Tito’s Spirit articulates the
repressed problem with lot of humour. Marshal Tito’s ghost appears on an
Adriatic island and the Mayor starts organising „socialist
spiritualistic tourism“.
Both communists and nationalists are involved in a performance which
works as collective psychodrama in which all the participants abreact
not just their individual pasts, but also the collective, denied, one.
The film has a cathartic meaning for the public too, and is an
interesting starting point for various psychoanalytic considerations
about projections and the return of repressed, while humour once again
proves to be closely connected with the unconscious.

Hugh Brody
Filming psychoanalysis: Feature or documentary
My presentation will begin with the opening scenes of his film Nineteen
Nineteen, starring Paul Scofield and Maria Schell. In these scenes the
two central figures see one another in a television documentary about
Freud, and reveal that they were once Freud’s patients. They then
meet, and begin to recall their analyses, including an interpretation of
a dream. This film clip raises central questions about use of
documentary and drama. The story of the writing of this film
illustrates the struggle that can take place between these two forms,
and how, in this case, the writers opted for a fictional form. In the
film project that I am developing with Michael Brearley, Andrea
Sabbadini and Paul Williams, the same struggle has been at work. Our
decision is to opt for documentary, but not to the exclusion of art. By
telling the story of this struggle, the discussion leads into central
questions about both film and psychoanalysis, as well as to the
difficulties such films face from the market place.

ElizabethCowie
Screening memory: allegorical dreaming and tales of the past in Ingmar
Bergman’s Wild Strawberries (1957) and Persona (1966)
Bergman’s films suggest a disdain for psychoanalysis and the role Freud
showed dreams play in our unconscious. Yet dreaming and remembering are
central expressive and narrative modes in Bergman’s films. How should
such sequences be understood and should they be understood
psychoanalytically? This presentation will explore the uncanniness of
dreaming in Wild Strawberries (1957)and Persona (1966) arising from the
epistemic uncertainty for the spectator of these scenes and their role
for the character dreaming. And it will look at the issues of
interpretation produced by the enigmas and aporias of the narration in
relation to Jean Laplanche’s notion of the ‚enigmatic message‘ and its
demand for translation.

Diana Diamond
Sight and Sound in Sunshine: The Cinematic Representation of Historical
and Familial Trauma.
Sunshine portrays what is universal in the individual psyche and what
can be configured by historical circumstances and cataclysms. Sunshine
refers to Sonnenshein (which in Hungarian means “sunshine”), a Jewish
family whose fate through three generations forms the core of the film’s
narrative. Sunshine is the name of the family tonic, an elixir which
generates the family fortune , also referring to the power of Eros in
each generation ensuring the family’s survival at the same time wreaking
havoc with family relationships. The paper focuses on the
transgenerational transmission of trauma, in particular the incest and
the murder of family members in the Holocaust, as well as how film is
uniquely suited to represent historical and individual trauma through
acoustic and visual modes of representation.

Ildiko Enyedi
FILM: My twentieth century
Directed by Ildiko Enyedi The dazzling and vivacious My Twentieth
Century revolves around twin girls abandoned and separated in infancy.
One grows up into a hedonistic jewel-thief, the other into a poor but
idealistic political agitator.
Their adventures form the springboard for a magic-carpet ride through
modern history, full of exotic locales and shameless coincidences.
Enyedi fashions an enchanting, imaginative visual style that recreates
and slyly transforms the look of old photographs and movies. A discourse
on the image as well as on history, this self-reflexive tour-de-force
climaxes, appropriately, in a hall of mirrors, and ends with a
breathtaking plunge into its own vanishing point.

Lindy Heymann
Kissing Buba
It’s 1970 and Tamar is 10. Everything in her world is nicely in order and
that’s how she likes it. But when Tamar’s mum, Sarah, takes her to visit
her grandmother, she enters a world where nothing makes sense. Who are
the people Buba is so scared of, and why is everything in her flat painted
red? Tamar is frightened but then she finds a very old photograph of a 10
year old girl, and she begins to look at Buba in a different light.

Vicky Lebeau
Another child of violence? Werner Herzog’s The Enigma of Kaspar Hauser
‘We absolutely need new images‘: in 1979, Werner Herzog’s claim restates
an anxiety about the life of the image in cinema which has become one of
the hallmarks of his film-making. This paper explores that anxiety
through Herzog’s remarkable reflection on the myth of the foundling in
The Enigma of Kaspar Hauser (1974) – a film which, probing the
experience of loneliness through the figure of a child who has never
seen a human face, can be brought into dialogue with a psychoanalysis of
the (maternal) face as the foundation of the domain of the visual.

Chris Mawson (Chair)
Panel: The inner and outer worlds of the film-makers‘ temporary social structure. When we
form a group in order to pool our resources to address a task, to create
something together, inevitably we combine also our anxieties and our
habitual means of protecting ourselves, sometimes in the service of the
enterprise, and sometimes to its overall detriment. In this panel we
will explore the film-makers‘ actual experiences of working with their
colleagues in the temporary social structure - a ‚colony‘ - set in
motion by their joint efforts. Bernardo Bertolucci and Fiona Shaw will
present descriptions drawn from their experiences as Film Director and
Actor respectively, and the Chair will engage the speakers and the
audience in drawing out some of the unconscious individual, group and institutional processes affecting the task.

Nanni Moretti
FILM: La Stanza del Figlio
Winner of the 2001 Palme d’Or at Cannes International Film Festival, The
Son’s Room is a film on how a family copes with the loss of a child. At
a Cannes press conference, Moretti, the author of 15 features such as
“Dear Diary” (1994) and “Red Wood Pigeon” (1990), said he wanted the
father, played by himself, to be a psychoanalyst in order to show how
someone used to dealing with the sorrow of others copes himself. Laura
Morante, who plays the mother, explained in Italian newspaper La
Repubblica that Moretti wanted to tell a story of pain that doesn’t
reunite but separates and shows how everyone goes his or her own way in
order to survive. “This is a beautiful and honest film”, the actress said.

Whedbee Mullen
Abjection, Abstraction, Akerman
Chantal Akerman’s work as a filmmaker is marked by an ambiguous
relationship to the figure of the mother. Can this relationship be
explained in terms of the maternal abject? In News from Home Akerman’s
juxtaposition of a garrulous mother and the orderly, rectilinear city of
New York creates tensions between what can and cannot be considered
symbolic or abject.

Laura Mulvey (Chair)
Film, feminism and the maternal body
This Panel addresses ways in which certain feminist film-makers have
approached the representation of the maternal body on the screen. One of
the most significant aspirations behind feminism has been the desire to
find means of articulating those aspects of femininity that have,
traditionally, been repressed or distorted in culture. And this
aspiration has strongly influenced feminism’s interest in psychoanalytic
theory. The challenge to represent the maternal body and also the
mother-daughter relationship has been important to feminist film-makers,
particularly those active in the avant-garde movement of the 1970s. The
Panel will concentrate on certain select moments from chosen films to
discuss these questions and issues in detail.

Eva Parrondo Coppel
Portrayal of a classical femme fatale: The Ugliest Woman in the World
(Miguel Bardem, Spain, 1999)
This paper takes the Spanish noir film The Ugliest Woman in the World
(Miguel Bardem, 1999) as a contemporary case study that follows the
classical conventions in the portrayal of the femme fatale. The aim of
the paper is to argue for the crucial distinction between the Other of
the drives (as embodied by the femme fatale) and the Other of desire
(‚Woman‘/‘Man‘) in order to understand the construction of sexual
difference in films.

Liliana Pedrón de Martín
Denunciation: An Attempt To Avoid Madness
Thomas Vinterberg, director of the film Festen (The Celebration,
Denmark, 1998) and member of the Danish Group, Dogma 95, has conceived
another significant cinematographic work. This filmmaker group, which
opposes commercial, conventional, cinema, has created a movement which
rejects the superfluous, going back-to-basics filmmaking: digital video,
handheld camera, natural sounds and lighting. In this search of
aesthetic truth, against simulation, there is an implicit denunciation.
The Celebration provides Vinterberg the opportunity to denounce
incestuous perversion in the family, reveal the enigma of suicide, and
family complicity that induces madness. In terms of psychoanalysis, the
denunciation tries to avoid denial and the splitting of the ego that
diminishes creativity and thinking capacity, and helps to discover a
historical truth.

Helen Taylor Robinson
„As far as the imagination dictates”; the Form of the Imagination/ the
Form of Psychoanalysis with reference to Beckett’s “Film” and Freud’s
“Psychoanalysis”
With reference to Beckett’s one work of the imagination for the screen
“FILM” I will present a 10 minute address to the audience after showing
the film (25 minutes running time). This will in a concentrated way
examine the freely operating unconscious that creates formal constraints
only insofar as they enhance the imaginative endeavour, (Beckettian
film-form), and indicate briefly where and how psychoanalytic form has
challenged the deepest unconscious freedoms of the mind, so parting
company with the greatest and deepest exploration of what Mind is, and
relinquishing this task, “the form of things unknown” to the artists.
Beckett’s willingness to create what he calls “obscenities of form” and
psychoanalysis’ unwillingness to go as far as the imagination dictates
constitutes my deliberately provocative debate about both formal
mediums, Art and Psychoanalysis.

Miguel Sapochnik
The Dreamer:
In a dark vision of the future where emotionally suppressed human clones
are mass manufactured and discarded for the latest model, a male and
female clone share a last look as they wait for termination. Against the
callous inhumanity of the termination plant workers, the woman is electrocuted
and dropped into a furnace before the man is hooked up. But the circuit
fails, and in the desperate moments before his death we see that he is not a
soulless creation.

Bruce Sklarew
Musical Blending and Altruistic Surrender in Bertolucci’s Besieged
In Bertolucci’s elegant chamber work, Besieged, a young African medical
student cleans a grand house in exchange for a room. The owner, an
eccentric, older British pianist falls in love with her, not knowing
that her husband is a political prisoner. Music is the seductive conduit
and integrator of the narrative, an intrinsic element of the story
itself. Classical and African pop melds in Coltran’s ‘My Favourite
Thing’ and is sublimated into an unusual Ostinato. As the musician
divests himself of his valuable artistic possessions including his grand
piano to ransom her husband out of prison, Bertolucci states that the
film illustrates Corteau¹s adage, ‘There is no love, there is only proof
of love.’ The seaming altruism is explored discussing slips, coverages,
the use of externalization and identification in Anna Freud’s altruistic
surrender, and a latent homosexual linkage. Besieged ends in a delicious ambiguity.

Biographical Information

Michael Apted
was born in the UK, and studied history and law at Cambridge University
before beginning his career in film. He soon became a well-established
television director soon after beginning work as a TV researcher.
In 1972 he directed Triple Echo, followed by Stardust, The
Squeeze and Agatha. Apted’s acclaimed film, The Coal
Miner’s Daughter, marked his first directing project in the United
States. In the USA in 1981 he directed The Continental Divide and
Gorky Park, before returning to England to shoot Kipperbang. In 1984 he
directed First Born and three years later, Critical Condition.
Gorillas In The Mist (1998) was filmed in Rwanda and Kenya,
following which Michael travelled to the Soviet Union to film The
Long Way Home, a documentary about Boris Brebenshikov. In 1990 he
directed Class Action. Two years later he directed three films:
Incident at Oglala, Thunderheart and 35 Up. The latter was
a follow-up to his acclaimed 1963 Seven Up documentary, of which
42 Up is the latest instalment. Fascinatingly, the model of
Seven Up has been exported to Russia. In 1994 Michael Apted
directed the thriller Blink.
Also in 1994 his documentary Moving the Mountain described the events leading up to the Tiananmen Square atrocity. The film was premiered at the Human Rights Watch
International Film Festival. Later that year, he directed Jodie Foster
in Nell. More recently he directed the medical drama Extreme
Measures and also the documentary Inspirations, chronicling
the lives of six diverse artists including David Bowie and Roy
Liechtenstein. He also directed the James Bond movie, The World Is
Not Enough. The quality of his contributions to the Documentary film
was recognised in 1999 when he received the Career Achievement award
from the International Documentary association. Michael Apted has
had made 20 major feature films in approximately the same number of
years. His latest, Enigma has just been released. It is a story
set in the context of the successful efforts of British cipher experts
in cracking the secret coding system used by the Germans.

Candy Aubrey is a candidate of the Geneva section of the Swiss
Psychoanalytical Society, currently working in private practice. She was
trained as a child psychiatrist and is currently involved in teaching
medical students at the Geneva medical school. Her most recent
publication is about: Comments on metaphors of listening (Scandinavian
Psychoanalytic Review. In press).

Michal Aviad has been working as a
director and producer of documentary films in since 1986. Her films
include: Acting Our Age (1987, 60 min), which explores women and
aging. The Women Next Door (80-min, 1992). Filmed during the
Intifada, the film examines the roles of Palestinian and Israeli women
in the conflict. Ever Shot Anyone? (60-min, 1995), explores
Israeli male culture from a woman’s point of view. Jenny & Jenny
(1997, 60-min), a film on two teenage working-class Israeli girls.
Ramleh (2001, 60-min), a film on the lives of three women who
represent marginalized communities essential to the understanding of
Israel today. Aviad’s films have participated in many international
festivals, received awards and were aired on television stations around
the world. Aviad teaches film at Tel Aviv University

David Bell is a member of the British Psychoanalytic Society and a Consultant in the Adult Department in the Tavistock Clinic. He teaches Freud at the British Psychoanalytical
Society and also lectures on the M.Sc. Psychoanalytic Studies programme at
University College London. He has long been interested in the relations
between psychoanalysis and other disciplines such as literature, social
theory, politics and philosophy and has written widely on these themes.
He has made a particular study of the work of Dennis Potter and has
edited two books Reason and Passion and Culture and
Psychoanalysis: a Kleinian Perspective.

Emanuel Berman is a training analyst at
the Israel Psychoanalytic Institute, and a professor of psychology at
the University of Haifa and at New York University. He edited
Essential Papers on Literature and Psychoanalysis (1993). His papers
on film include “The film viewer: From dreamer to dream interpreter” (Psychoanalytic
Inquiry, 1998), and discussions in the International Journal of
Psycho-Analysis of “Vertigo” (1997), “Night moves” (1998) and
“Exotica” (2000, with R. Matalon).

Bernardo Bertolucci,the leading Italian film director and the Honorary
President of EPFF was born in Parma, Italy, in March 1941. His films
include: La Commare Secca (The Grim Reaper), Prima della rivoluzione
(Before the Revolution), Sosia (Partner), Strategia del ragno (The
Spider’s Strategem), Il conformista (The Conformist), L’ultimo tango a
Parigi (Last Tango in Paris), 1900, La Luna, Tragedia di un uomo
ridicolo (Tragedy of a Ridiculous Man), L’ultimo imperatore (The Last
Emperor), The Sheltering Sky, Little Buddha, Ballo da sola (Stealing
Beauty) and Besieged.

Katalin Bogyay
was educated in Budapest and London. She
graduated in Economics and holds an MA in Communications, a postgraduate
diploma in Journalism, and a certificate in Counselling Skills.
Well-known in Hungary as a television personality, she started her
career at Hungarian Television (MTV) as a presenter and senior editor of
Music and Arts and later became a film-make and producer. Currently, she
is the Director of the Hungarian Cultural Centre in London and a founder
of the Ferenc Liszt Academy Network.

Stefano Bolognini ,Training and Supervising Analyst of the Società
Psicoanalitica Italiana, has been National Scientific Secretary from
1997 to 2001. Among other things he organized the first meeting between
BPS and SPI. He is member of the Theoretical Working Party of EPF. He
published papers on the main Italian and International Reviews, mainly
on Empathy and the Analyst’s inner world. He published Like Wind,
Like Wave (Bollati Boringhieri) a collection of tales with a
psychoanalytic taste, that won the Gradiva Prize 2000, and he edited the
book The dream 100 years after (2000).

José Luis Borau
Filmography:
1960 En el Río (director); 1963
Brandy (director); 1964
Crimen de doble filo (director); 1969
1, 2, 3…Al escondite inglés
(actor and producer); 1971 Mi querida señorita
(script, actor and producer), Estado de sitio
(producer), Consejo a los ruminantes
(producer), Permanencia de los
arabescos (producer); 1973
El mundo dentro de tres dias (producer);
Un cochero impertinente
(producer); Hay que matar a B
(director, script, producer); 1975 Furtivos
(director, script, producer, actor); 1976 Camada negra
(script, producer); 1977 El monosabio
(producer); 1979 La sabina
(director, script, producer); 1984 Río abajo
(director, script, producer); 1986 Tata mia
(director, script, producer); 1998 Niño nadie
(director, script, producer);
2000 Leo (director, script, producer).

Michael Brearley
is a Member of the British Psychoanalytical Society, and full-time
practitioner in private practice. Previously he was a professional
cricketer, and lecturer in philosophy. Michael writes, teaches and
lectures on psychoanalytical matters, and occasionally on cricket,
sport, and the links with leadership and team building. He is a member
of organizing committee of the ‘1st European Psychoanalytic Film Festival’.

Vinko Bresan won a diploma on the International
festival of short films in Oberhausen in 1987 with the student film Our
Stock Exchange. His film How the War started On my Island won the first
prize at the young East European movies in Cottbus. The film Marshal
Tito’s Spirit had the Croatian premiere in December 1999. The ruling
Government of that period banned the broadcasting of TV commercial for
the film on Croatian TV for political reasons.

Hugh Brody is both an anthropologist and a film-maker. As well as
Nineteen Nineteen, his work includes documentary films for British and Canadian Television
and the books Maps And Dreams, Means of Escape and The Other Side Of Eden. He
has won numerous awards for his work, has been the recipient of several
honorary degrees and is an Honorary Associate of the Scott Polar
Research Institute at the University of Cambridge and of the School of
Comparative Literature at the University of Toronto.

Donald Campbell,
a child, adolescent and adult psychoanalyst, works in the National
Health Service and in private practice. He has written on violence,
suicide, child sexual abuse and adolescence. He served as Chairman of
the Portman Clinic and is currently President of the British
Psycho-Analytical Society.

Ian Christie is Anniversary Professor of Film and Media History in the School of History
of Art, Film and Visual Media, Birkbeck College, University of London.
From 1997 - 1999 he was Professor of Film Studies, University of Kent.
He was the Co-founder with Michael Grant of the journal Film Studies.
Vice-President of Europa Cinemas, an EU funded organisation which
supports exhibitors through Europe who show European Films, he is a
regular broadcaster on Film. Recent Publications: A Matter of Life
and Death, BFI Film Classics Series, 2000; Between Magic and
Realism: Medea on Film, in Edith Hall, Fiona Macintosh and Oliver
Taplin, eds., Medea in Performance 1500-2000, Oxford: Legenda, 2000.

Elizabeth Cowie
teaches Film Studies at the University of Kent at Canterbury. Her book,
Representing the Woman: Cinema and Psychoanalysis, was published
in 1997, and her recent work on cinema and psychoanalysis has focused
on documentary film, trauma and the spectator in The Spectacle of
Actuality, in Collecting Visible Evidence, eds. Jane Gaines and
Michael Renov, Minnesota: Un. Minnesota Press, 1999; and on Hiroshima mon amour in
‘Traumatic Memories of Remembering and Forgetting’, in Between the
Psyche and the Polis: Refiguring history in literature and theory,
eds. Michael Rossington and Anne Whitehead, Aldershot: Ashgate
Publishing, 2000.

Diana Diamond
is Associate Professor in the Doctoral Program in
Clinical Psychology at the City University of New York, an Adjunct
Professor of Psychiatry at the New York Presbyterian Hospital-Cornell
Medical Center Hospital. She has published a number of articles in the
areas of attachment theory, borderline personality, mental
representation, and film and psychoanalysis. She is on the editorial
board of Psychoanalytic Inquiry and is the co-editor with
Harriet Wrye of a volume on film and psychoanalysis, entitled
Projections of Psychic Reality: A Centennial of Film and
Psychoanalysis. She is a film reviewer for the International
Journal of Psychoanalysis. She is a psychoanalytic candidate at the
New York University Postdoctoral Program in Psychoanalysis, and is in
private practice in New York.

Thomas Elsaesser
is Professor in the Department of Art and Culture at
the University of Amsterdam and Chair of Film and Television Studies.
His writings on film theory, national cinema and film history are
frequently featured in collections and anthologies. His books as author
and editor include New German Cinema: A
History (1989),
Early Cinema: Space Frame Narrative
(1990), Writing for the Medium: Television
in Transition (1994),
A Second Life: German Cinema’s First Decades
(1996), Fassbinder’s Germany: History,
Identity, Subject (1996),
Cinema Futures: Cain, Abel or Cable
(1998), The BFI Companion to German Cinema
(1999), Weimar Cinema and After
(2000), and Metropolis
(2000).

Ildiko Enyedi,
writer/director, was born in Budapest in 1955. After acquiring a degree
from Budapest University of Economics, she studied at the Budapest
Academy of Theatre and Film Art from 1980 to 1984. Her first feature,
My 20th Century, won the prestigious Camera D’Or at the 1989 Cannes
Film Festival and was subsequently released widely in Europe and in the
United States. It won the Special Prize at the Edinburgh Film Festival,
as well as the Critic’s Special Prize at the Budapest Film Festival,
and, in the U.S., finished fourth in the voting of the National Society
of Film Critics for Best Film of the Year in 1990. The script for
Magic Hunter, her second feature film, won the Hartly-Merrill Prize
for International Screenwriting.

Peter Evans, film historian and professor of Spanish Studies at
London University. His books on cinema include: Blue Skies and
Silver Linings; Aspects of the Hollywood Musical (with Bruce
Babington); Challenges to Authority, Film and Fiction in
Contemporary Spain (with Robin Fiddian); Affairs to Remember; the
Hollywood Comedy of the Sexes (with Bruce Babington);
Biblical Epics, Sacred Narrative in the Hollywood Cinema
(with Bruce Babington); The Films of Luis Buñuel; Subjectivity and
Desire; BFI Modern Classics: Women on the Verge of a
Nervous Breakdown; Terms of Endearment; Hollywood
Romantic Comedy of the 1980s and 1990s (with Celestino Deleyto).

Ljiljana Filipovic is the author of the
books Nesvjesno u filozofiji [The Unconscious in Philosophy],
Filozofija i antipsihijatrija Ronalda D. Lainga [Philosophy and
Anti-Psychiatry of Ronald D. Laing], Sokol u susteraju [The Hawk in the
Shoe-maker’s Shop]. She teaches the psychoanalysis of drama at
the Academy of Drama Arts in Zagreb and is currently working on a
manuscript Theatre of the Unconscious.

Paola Golinelli, full member of the Società
Italiana di Psicoanalisi, since 1994 participates in the SPI project for
the development of Psychoanalysis in Croazia, giving residential
seminars in Zagreb. She wrote mainly on trauma, loss, mourning and
nostalgia and published papers on cinema and psychoanalysis. She
participated in international workshops on Cinema and Psychoanalysis in
Jerusalem, Geneva and lately in Nice.

Michael Grant
is Senior Lecturer in Film Studies at the University of Kent at Canterbury,
UK. Publications include studies of contemporary poets, essays on
philosophy and on the horror film, a monograph on Dead Ringers (1998)
and a collection entitled The Modern
Fantastic: The Cinema of David Cronenberg
(1999). He has also edited The Raymond
Tallis Reader (2000).

Lindy Heymann
graduated from Central St Martins in 1990 with a BFA in Film & Fine Art.
Since then she has had a prolific career directing music videos. She has
made two documentaries, the first of which, Three Hours in High Heels
is Heaven, featured four suburban transvestites. Lindy is currently
co-directing Showboy, an independent low-budget feature film,
shooting in Los Angeles and Las Vegas.

Gregorio Kohon
is a training analyst of the British Psycho-Analytical Society. In 1988 he co-founded,
with Valli Shaio Kohon, the Brisbane Centre for Psychoanalytic Studies,
which he directed until 1994. He is the editor of The British
School of Psychoanalysis - The Independent Tradition
(1986), and of The Dead Mother-The Work of Andre Green
(1999). His book No Lost Certainties to be Recovered was
published in 1999. He works in private practice in London.

Vicki Lebeau lectures in English at the
University of Sussex. She is author of Lost Angels: Psychoanalysis
and Cinema (Routledge 1995) and Psychoanalysis and Cinema: the
Play of Shadows (Wallflower Press 2001). Her most recent
publications on psychoanalysis and culture include Psychopolitics:
Frantz Fanon’s Black Skin, White Masks (in Psycho‑politics and
Cultural Desires, Campbell and Habord (eds.) Taylor and Francis
1998), The Child in Question, in Angelaki (April 2000) and
Another Child of Violence, in New Formations: The Ruins of
Childhood (Winter 2001).

Annegret Mahler-Bungers
studied literature, philosophy and history of arts.
She is a psychoanalyst and training analyst of the IPA, a member and
teacher at the Alexander - Mitscherlich-Institut in Kassel/ Germany.
She has had work published on psychoanalysis and group analysis,
psychoanalysis of culture and literature, literature of the Holocaust
and anti-Semitism.

Chris Mawson is a psychoanalyst, and a
member of the Organising Committee of the EPFF.A Member of the British
Psychoanalytical Society he first trained as a Clinical Psychologist and
worked initially with adolescents and children, first at the Tavistock
Clinic and later in the Child Psychiatry department of the Paddington
Green Children’s Hospital, in the days when children at that clinic were
offered intensive psychoanalytic treatment. He now works in private
practice. As well as the clinical practice of psychoanalysis he is
interested in the study of groups and organisations from a
psychoanalytic perspective, particularly that pursued by the British
Group Relations orientation.

Mandy Merck is Professor of Media Arts at Royal Holloway,
University of London, where she directs the MA programme ‚Gender and
Sexuality on Screen‘. Her most recent book is In Your Face: Nine
Sexual Studies (NYU, 2000) and her next is a collection -
co edited
with Chris Townsend -
on the work of Tracey Emin (Thames and Hudson, 2002).

Alain de Mijolla,
Psychoanalyst, training member of the Société Psychanalytique
de Paris, president of the International Association for the History of
Psychoanalysis, author of Les visiteurs du moi, fantasmes
d’identification (Les Belles Lettres, 1996), co-director of
Psychanalyse (Paris, PUF, 1996), director of the International
Dictionary of Psychoanalysis (publication in March 2002), author
of “Freud and the Psychoanalytic Situation on the Screen” (in: Bergstrom
J.(ed.), Endless Night ; Cinema and Psychoanalysis, Parallel
Histories, L.A., London, University of California Press, 1999).

Marilyn Milgrom, producer, grew up in the London suburbs within a
Jewish family whose roots lie in Eastern Europe. She has worked as an
actor, casting director, television director and producer and is now
focusing exclusively on her passion for story-telling in her work as a
script development consultant.

Dominik Moll
was born in 1962 in Bühl (West-Germany). He studied film in the City
College of New York and the National French Film School (IDHEC). He has
worked as assistant director and editor and directed his first feature
film, Intimité, in 1992. Harry, he’s here to help is his
second feature. He lives and works in France.

Nanni Moretti Film director, actor, producer and
distributor, was born on 19 August
1953. He has directed the following films:
1976 IO SONO UN AUTARCHICO
1978 ECCE BOMBO presented at Cannes Festival
1981 SOGNI D’ORO Jury Special Prize, Venice Festival 1981
1984 BIANCA presented at Montreal Festival 1984
1985 LA MESSA E‘ FINITA Silver Bear at the Berlin Festival 1986
1989 PALOMBELLA ROSSA
1990 LA COSA documentary
1993 CARO DIARIO prize for Best Direction, Cannes Festival 1994
1998 APRILE presented at Cannes Festival 1998
2001 “LA STANZA DEL FIGLIO” Palme d’Or, Cannes Festival 2001
In 1986 he has founded with Angelo Barbagallo SACHER FILM, which has produced:
1987 NOTTE ITALIANA (dir. Carlo Mazzacurati)
1988 DOMANI ACCADRA
1989 PALOMBELLA ROSSA
1990 LA COSA
1991 IL PORTABORSE” (dir. Daniele Luchetti)
1993 CARO DIARIO
1995 LA SECONDA VOLTA (dir. Mimmo Calopresti)
1998 APRILE
2001 LA STANZA DEL FIGLIO (dir. Nanni Moretti)
As an actor:
1977 PADRE PADRONE (dir. Paolo e Vittorio Taviani)
1988 DOMANI ACCADRA and 1991 IL PORTABORSE (dir. Daniele Luchetti)
1995 LA SECONDA VOLTA (dir. Mimmo Calopresti)
Since 1996 he has chaired the Sacher Festival of short films.

Whedbee Mullen is a writer with a
particular interest in children’s literature. Until recently, she was a
lecturer in the Department of Art History and Theory, and Co-director of
Film Studies at the University of Essex, specialising in psychoanalysis,
experimental cinema and fantastic film.

Laura Mulvey is Professor of Film and Media
Studies at Birkbeck, and Director of the AHRB Centre of British Film and
Television Studies. Her essays have been published in Visual and
Other Pleasures (Macmillan 1989) and Fetishism and Curiosity
(British Film Institute 1996). She also wrote Citizen Kane (BFI
Film Classic). She has co-directed six films with Peter Wollen as well
as Disgraced Monuments
with Mark Lewis (Channel Four 1994).

Eva Parrondo Coppel currently is working as a
free‑lance film theorist in Spain. Forthcoming publications are: a book
on Gilda, an article for a book on film and psychoanalysis and an
article for a book on the Spanish film director Cecilia Bartolomé.

Michael Parsons
is a psychoanalyst, a training analyst of the British Psychoanalytical
Society and a member of the IPA. Before studying medicine and
psychiatry, and then training in psychoanalysis, his original studies
were in classics and philosophy. He is the author of The Dove that
Returns, The Dove that Vanishes: Paradox and Creativity in
Psychoanalysis (Routledge).

Liliana Pedrón de Martín, an Argentinian
psychologist and Member of the International Psychoanalytical
Association, she is the Culture Commission Coordinator (Argentine
Psychoanalitycal Association), a Member of the „Family and Couple
Psychoanalysis Department“ (1998-2000) and Co Professor of the Seminar
„Freud’s Social Writings Today „. She has published Articles on
„Virginia Woolf´s Personal Diary“ (Rev. De Psicoanálisis A.P.A.
Liv. 4, 1997), „Marguerite Yourcenar: A Psychoanalytic Vision“ (Rev. De
Psicoanálisis A.P.A.
LVII (2), 2000). She has also organized
the ‘1st Congress of Film &
Psychoanalysis’ for the Argentine Psychoanalytic Association (1996)
and the ‘Congress of Image& Sound’ (1998).

Catherine Portuges is Director of the
Interdepartmental Program in Film Studies and Professor of Comparative
Literature at the University of Massachusetts, Amherst. She has been
working on Hungarian cinema for 15 years. She is the author of Screen
Memories: the Hungarian Cinema of Marta Meszaros (1993), and of the
forthcoming Cinema in Transition: Post-communist East-Central Europe.
In various articles, she has examined issues of Jewish identity in contemporary cinema. She
has also recently published in Cineaste an essay on Szabo’s Sunshine.

Ivor Powell has a long trajectory in
film-making. He started his career as Stanley Kubrick assistant in 2001.
He went on to become Ridley Scott’s producer on The Duelists; Blade
Runner; and Alien.

Helen Taylor Robinson is a Member of the
British Psychoanalytical Society, Honorary
Senior Lecturer in Inter-Disciplinary
Studies (Literature and
Psychoanalysis) at University College London, MSc. In Theoretical
Psychoanalytic Studies. Her public lectures include: ‚As
it would seem‘; approaches to the unconscious
through the work of Samuel Beckett and Sigmund Freud;
Beckett and Bion /The Emergence of Meaning;
and The Bespoke Universe; Shakespeare, Freud and Beckett, Tailors and
Outfitters, also published in British Journal of Psychotherapy
Vol. 17, no 2 , 2000.

David N. Rodowick
is Professor of Film Studies at King’s College London. His books include
Reading the Figural, or, Philosophy after the New Media,
Gilles Deleuze’s Time Machine, The Difficulty of Difference:
Psychoanalysis, Sexual Difference, and Film Theory, and The
Crisis of Political Modernism: Criticism, Ideology, and Contemporary
Film Theory.

Timna Rosenheimer
is a documentary film director, writer and artistic editor of Helicon, an anthological series
of contemporary poetry. Her film Fortuna, a 53 minute documentary, (a family saga about six sisters) won numerous awards, was broadcast on Israeli TV, shown in film festivals in Europe and bought by broadcasters abroad. Her book Home – spaces, objects, people was published earlier this year.

Andrea Sabbadini
Chairman of the Organising Committee of
the 1st EPFF, is a former film critic. A member of the British
Psychoanalytical Society, he has been in charge for several years of
their programme on psychoanalysis
and the arts. He is also
Honorary Senior Lecturer at UCL, the Founding Editor of
Psychoanalysis and History and the Book
Review Editor of The International Journal of Psychoanalysis.

Miguel Sapochnik
studied film-making at Bournemouth College of Art. His graduation piece was
screened by Film Four and shown at the Edinburgh Film Festival. He works
independently as a screenwriter and has directed three short films. He
co-wrote with Ivor Powell The Dreamer,
a short film that is an exploration of what it is to be human through
telling the story of a clone awaiting termination.

Gerhard Schneider
Studied maths, philosophy, and psychology. He is a member of the IPA, and a
teacher at the Psychoanalytic Institute Heidelberg-Karlsruhe of the DPV.
His main working topics are personal identity, internalization,
psychoanalysis of the visual arts and film. He has published several
papers, as well as books, on these topics.

Steven Schneider
is a Visiting Lecturer at Tufts
University (Massachusetts), and is completing PhDs in Philosophy at
Harvard University and in Cinema Studies at New York University’s Tisch
School of the Arts. He has published widely on the horror genre in
various journals and edited collections. Forthcoming books as author
and editor include Fear Without Frontiers: Horror Cinema Across the
Globe (FAB Press), Freud’s Worst Nightmares: Psychoanalysis and
the Horror Film (Cambridge University Press), and Dark Thoughts:
Philosophic Reflections on Cinematic Horror (Scarecrow Press).

Jed Sekoff, is a psychoanalyst practicing in
Berkeley, California. His writing has focused on the intersection of
psychoanalysis, memory and culture (including the films,
Frankenstein, Nineteen Nineteen,
and Blue Velvet). Currently, he is clinical consultant to
Survivors International, an organization offering psychotherapeutic
evaluation and treatment to survivors of repression and torture.

Judit Székács,
psychoanalyst and psychotherapist, was born and educated in Budapest and
now now lives and works in London. Since childhood she has been fond of
fairy tales and of movies. Slogans like that of Korda’s about Hollywood
(„it’s not enough to be Hungarian, you need talent as well“) have shaped
her sense of reality and nurtured a sense of humour that she considers
an essential ingredient for survival.

Bruce Sklarew is Co-founder and co-chair of the
Forum for the Psychoanalytic Study of Film; co-editor, Bertolucci’s,
The Last Emperor; Multiple Takes, Wayne State University
Press and Bernardo Bertolucci: Interviews , University of
Mississippi Press; ‘Freud and Film: Encounters in the Weltgeist’,
JAPA, Vol. 47, pp1238-1246; former faculty, Baltimore-Washington
Institute for Psychoanalysis.

Juliet Stevenson
Laurence Olivier Best actress award winner, star of
Theatre and Film, is currently appearing in Anthony Minghella’s
screening for Channel Four of Samuel Beckett’s Play (with
Kristin Scott-Thomas and Alan Rickman) which will be shown at the
Barbican Theatre in September with all the other 18 screenplays of
Beckett’s work.

Carol Topolski is a psychoanalytic
psychotherapist. For a dozen years, alongside her practice, she was a
Senior Film and Video Examiner (otherwise known as Film Censor) at the
British Board of Film Classification, appointed on the basis both of her
profession and her
work in the fields of
domestic violence, rape and the penal system. She is interested in the
dialogue between psychoanalysis and film, in particular in the meaning
and process of the visual.

Tom Tykwer was born in 1965 (Wuppertal).
He worked at a cinema already during his school days, later on for
several years in Berlin. His first film as a director was in 1993. In
1994 he was the co-founder of the film production firm X-Filme Creative
Pool. He became well-known by his 3rd film
Run, Lola, Run (1998). His last film
The Princess and the Warrior
(2001) was premiered in the US-start in June.

Harriet Wrye
,Past President, Training and
Supervising Psychoanalyst, Los Angeles Institute and Society for
Psychoanalytic Studies (LAISPS), authored The Narration of
Desire: Erotic Transferences and Countertransferences,
Analytic Press (1994) plus numerous articles and film reviews. She
chaired the IPA’s 1995 Los Angeles Post Congress on Film and
Psychoanalysis and guest edited with Diana Diamond Psychoanalytic
Inquiry’s special issue:
Projections of Gender and Power on the American Film Screen.

Quelle: http://www.psychoanalysis.org.uk/epff/programme.htm

Redaktion CD, 15.6.2013