Il tratto distintivo degli scritti di Morin sul cinema; che in Italia non hanno trovato la considerazione che avrebbero meritato; egrave; lrsquo;approccio interdisciplinare; la capacitagrave; dellrsquo;autore di attingere a contributi provenienti da ldquo;saperirdquo; diversi; siano essi lrsquo;antropologia; la filosofia o la psicologia.Attraverso questa molteplicitagrave; di contributi egrave; possibile analizzare il cinema da una prospettiva particolare: quella che mira a cogliere lrsquo;esperienza effettivamente vissuta dallo spettatore.Con ldquo;Edgar Morin. Cinema e immaginariordquo;; Marco Trasciani si propone di individuare e proporre al lettore i tratti essenziali della visone del cinema che caratterizza lrsquo;opera di Morin; cosigrave; come egrave; esposta nei tre scritti che sono dedicati al tema ( Il cinema o lrsquo;uomo immaginario; I divi; Lo spirito del tempo).Il cinema per Morin egrave; una ldquo;macchina per pensarerdquo; che coinvolge ed emoziona; capace di determinare una attivitagrave; immaginativa che si confonde con il flusso delle immagini provenienti dallo schermo. Attraverso le particolari modalitagrave; in cui la partecipazione cinematografica si realizza; cuore tematico di questo scritto; vengono alla luce gli elementi magici occultati allrsquo;interno delle societagrave; tecnologicamente avanzate; si rivela la natura semi-immaginaria dellrsquo;uomo. La sua propensione a farsi accompagnare nellrsquo;esistenza; ed anche nello stato di veglia; dalle sue fantasie.Alla base dellrsquo;immaginario; che attraverso la visione cinematografica si viene costituendo; si collocano i processi di proiezione ed identificazione. Questi processi trovano una loro particolare forma di espressione nel fenomeno del divismo che; nella parte centrale del lavoro; egrave; ampiamente analizzato; sia negli aspetti di nuova liturgia di massa; sia come desiderio di salvezza individuale; a fronte delle potenze alienanti e spersonalizzanti operanti nella societagrave; di massa.Nella parte finale del saggio egrave; infine affrontata la questione della cultura di massa; dalla particolare prospettiva dellrsquo;autore; una ldquo;terza viardquo;; neacute; apologetica; neacute; apocalittica. Lrsquo;humus dei nostri pensieri e delle nostre vite.
#1425443 in eBooks 2013-09-05 2013-09-05File Name: B00B3MB76U
Review
8 of 8 people found the following review helpful. Excellent clinical resource!!!By Harvey M. CanterClinicians doing psychological assessments that utilize projective drawings (and grad students learning how to do them)will find this economical tome a welcome resource of ideas around practice and interpretation. It is far more articulate and precise than the typical "cook-book" guides that one may encounter; which present an overwhelming; unintegrated array of interpretive assertions. While not a comprehensive guide to projective drawing techniques; Leibowitzs book nonetheless is very complete with regard to the method that it treats. The book has a basis in Kohuts developmental theories; but it is not a strident piece of propaganda for that school of thought. Leibowitz recommends that practitioners take a two-step approach to interpreting drawings--one that is an initial "impressionistic" response; and then a more detailed; methodical "structural" investigation. In this second step; the clinician looks at the specific formal aspects of the drawing (line; placement; shading; etc.) and then some of the more symbolic aspects of the pictorial content. He recommends use of House; Tree; Person (Male and Female); and Animal figures; followed by a brief Inquiry about each rendering. There are loads of pictorial examples; and some rather extensive case studies as well; with an emphasis on how drawings can give important clues about the baseline issues in treatment;and how progress on these issues can be literally seen to improve over time. This is one of the more instructive aspects of the book. While not an "Evidenced-Based Approach" in terms of controlled statistical analysis; the implications are nonetheless quite evident to a clinical observer.I would not recommend this book as a first book on the topic; and certainly not as the only book a clinician should consult. In terms of "cookbooks" the chapter in the Ogden book (3rd Ed.) is still excellent; and the chapter in Groth-Marnats standard text on Psychological Assessment is also quite good. Osters book "Using Projective Drawings in Clinical Practice" is also outstanding and has some fascinating alternate drawing approaches; my favorite being the "Draw-A-Person In the Rain" technique. I also like Cantlays "Detecting Child Abuse"; and Malchiodis work on drawings of children of domestic violence. There are; of course; specific guides to the H-T-P and Kinetic Family Drawings that are quite useful; too.I am glad that I have the Leibowitz book in my library as it adds a very clinically-sensitive; integrative; and therapy-based approach that is not typically included in the usual manuals and guides on this topic.4 of 4 people found the following review helpful. book; Interpreting DrawingsBy Carolyn lamuniereI am getting back into this sort of work after many years. I found the book very helpful. The only problem is that although the text refers to drawings in color; there are no drawings in color in the book. So it is hard to see what the author is referring to. The book was expensive and should have used color drawings when referred to.1 of 1 people found the following review helpful. HelpfulBy BekahThis book is helpful for anyone attempting to interpret projective drawing assessments; such as the H-T-P. Such personality measures typically have little in the way of an interpretation manual; making a book like this invaluable. When I recently administered the House-Tree-Person drawing test; this book helped me find themes throughout the three drawings that were useful in my interpretation and integration.