I think it's important to remember at the outset that development is layered; and that to the extent we can speak of progressing through developmental stages, for example, "achieving" object constancy, we are referring to emergent capacities in ego development that are layered on top of earlier ways of being.
Late in the summer of 1982 several of us were involved in a beehive of activity that was soon to result in the formation of The Dallas Society for Psychoanalytic Psychology. Someone suggested that we tell our local newspapers what we were up to. As a result, I undertook to write a press release, my first and, so far, only foray into journalism.
Margaret Mahler, who helped us understand how we develop an internal sense of security, tells us in her memoirs about her sense of security. "On arriving in England in 1938 and seeing the British Union Jack, she felt a sense of security she had long lost in Vienna. On arriving in the United States six months later and seeing the Stars and Stripes, she felt a greater sense of security. But one evening, years later, when she was driving a car in Manhattan and saw a lit synagogue, she felt the greatest sense of security of all."
During the 20th Century dreams were more rigorously scrutinized from a wider variety of perspectives than they had been previously. At the opening of the century, Freud published what would become perhaps its most significant book, The Interpretation of Dreams. In it he approached dreams as the product of an active mind dealing with the dreamer's thoughts from the preceding day, the dreamer's psychic conflicts, and the dreamer's most disguised life-long wishes.
In No Dancin' in Anson Ricardo Ainslie focuses on a seemingly idiosyncratic event in the life of a small West Texas town. Through this event he explores the complex psychology of many of the ethnic, racial, and economic tensions creasing the face of America. His method is a blend of anthropological field study techniques and contemporary psychoanalytic thought combined with an engaging narrative literary style.
Film is a relatively fresh medium for public expression, and originated around the same time that psychoanalysis began. While film is often analyzed as a form of literature, I think that this is improper to the nature of the medium. I find that a psychoanalysis of film tends to produce a much clearer analysis of particular films, as well as the medium itself. It is this point that I plan to demonstrate.