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                                 Psychoanalytic Takes on Cinema 2011-2012

Watching. Seeing. Listening. Hearing. Voyeurism. Curiosity. Spying. Observing. Mimicking.

Gazing. Peering. Eavesdropping.

• COURSE COORDINATOR: Cindy Bollman, PhD
• LOCATION: 6912 Ayr Lane, Bethesda, MD
• TIME: 7:30 pm
• COST: CE credit: $300 ($250 Member rate*) / $175 for General Audience (no CE Credit)
• Registration Online
  

September 16

Rear Window (1954)

As his broken leg heals, wheelchair-bound L.B. Jefferies

(James Stewart) becomes absorbed with the parade of life

outside his window and soon fixates on a mysterious man whose behavior has Jefferies convinced a murder has taken place. Meanwhile, other windows reveal the daily lives of a dancer, a lonely woman, a composer, a dog and more. Grace Kelly, Thelma Ritter and Wendell Corey co-star in this Alfred Hitchcock-helmed classic. 

Discussant:  Sandra Friedman, Ph.D.

October 21

The Lives of Others (2006)

Set in 1980s East Berlin, director Florian Henckel von Donnersmarck's debut feature (which earned an Oscar for Best Foreign Language Film) provides an exquisitely nuanced portrait of life under the watchful eye of the state police. When a successful playwright and his actress companion become subjects of the Stasi's secret surveillance program, their friends, family -- and even those doing the watching -- find their lives forever changed. 

Discussant:  Robert Winer, M.D.

November 18

Reflections in a Golden Eye (1967)

Carson McCullers's Southern drama comes to the big screen

with Marlon Brando as Maj. Weldon Penderton, a repressed homosexual married to the carping Leonora (Elizabeth Taylor), who's having an affair with one of her husband's colleagues (Brian Keith). This emotionally charged tragic comedy from director John Huston explores the landscape of grief, denial and the power of our closest relationships to damage what we care about the most. 

Discussant:  Karen Sosnoski, Ph.D.

 

January 13

Fish Tank (2009)

The life of hot-tempered teen outcast Mia (Katie Jarvis) takes

an unexpected turn when her mother, Joanne (Kierston Wareing), brings home a handsome and mysterious boyfriend named Connor (Michael Fassbender), who pledges to bring sweeping positive changes to the household. British writer-director Andrea Arnold's sophomore feature won Best British Film at the 2010 BAFTAs. 

Discussant: Tarpley Long, MSW

February 10

La Mirada Invisible (The Invisible Eye) (2010)

Buenos Aires, March 1982. On the streets of the Argentinean

capital, people are challenging the military dictatorship. The walls

of the school are thick and redoubtable. A secure promise of the guaranteed preservation of the good old days of school routine

from anything that may happen outside its walls in the neighboring streets, in Buenos Aires itself, in the Argentina of 1982. María Teresa is a classroom assistant at that school, an innocent - or maybe just ignorant - mistress of ceremonies, a bystander. She is twenty years old. She started work when it was still summer and

Mr. Biasutto, the chief classroom assistant, made quite clear to her at her first interview the sort of attitude she is expected to adopt with students because it would not be an easy task to arrive at what he called 'the optimum surveillance point': Always on the 'qui vive', never missing a thing, but never giving cause for alarm amongst the students. 

Discussant:  Tito Pieczanski, M.D. 

March 9

Blue Velvet (1986)

An innocent man (Kyle MacLachlan) gets mixed up in a small-town

murder mystery involving a kinky nightclub chanteuse (Isabella Rossellini) and a kidnapper (Dennis Hopper) with a penchant for snorting helium in this moodily surreal mystery from writer-director David Lynch. One of the most critically acclaimed movies of the 1980s, the film inspired a generation of independent filmmakers by taking a dark look at the lives of everyday Americans.   

Discussant:  Cindy Bollman, PhD

April 13

The Secret in Their Eyes (2010)

A startling discovery comes to light for retired Argentine criminal

investigator Benjamín Espósito (Ricardo Darín) as he pens a biographical novel about the unsolved case of a young newlywed's brutal rape and murder years ago. Past and present intertwine for Espósito and colleague Irene Menéndez Hastings (Soledad Villamil) in director Juan José Campanella's Oscar-winning character study in which justice, pain and love collide. 

 

Discussant:  Julio Szmuilowicz, M.D.  Faculty member, Toronto Institute of Psychoanalysis

 

 

 

 

 

 

 

 

 

CONTINUING EDUCATION CREDIT

Educational Objectives:

1. Participants will learn to identify selected psychoanalytic concepts and issues related to film characters and relationships.
2. Participants will be able to use psychoanalytic theory to understand or “read” the text, subtexts, and narrative devices of the films..

This program is directed towards all members of the Center and other mental health professionals, either graduates or in training, who use psychoanalytic therapy as a treatment modality, and also to individuals interested in applying psychoanalytic principles to film.

This activity has been planned and implemented in accordance with the Essential Areas and policies of the Accreditation Council for Continuing Medical Education through the joint sponsorship of the American Psychoanalytic Association and (name of non-accredited provider). The American Psychoanalytic Association is accredited by the ACCME to provide continuing medical education for physicians.

The American Psychoanalytic Association designates this Live Activity for a maximum of 21 AMA PRA Category 1 Credit(s)^™. Physicians should claim only the credit commensurate with the extent of their participation in the activity.

IMPORTANT DISCLOSURE INFORMATION FOR ALL LEARNERS: None of the planners and presenters of this CME program have any relevant financial relationships to disclose.

The Washington Center for Psychoanalysis, Inc. is approved by the American Psychological Association to sponsor continuing education for psychologists. The Washington Center for Psychoanalysis, Inc. maintains responsibility for the program and its content and offers a maximum of 21 credit hours for this activity. The programs of the Washington Center for Psychoanalysis, Inc. meet the criteria for continuing education as defined by the Maryland Board of Social Work Examiners, District of Columbia and Virginia Boards of Social Work, and the American Board of Examiners in Clinical Social Work. The Washington Center for Psychoanalysis, Inc. designates this program as a continuing education activity for social work for 3 credit hours per meeting or a maximum of 21 credit hours.

 

 

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