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Hess-Lüttich (Bern/ Berlin/ Kapstadt) K O D I K A S / C O D E Volume 39 (2016) · No. 1 - 2 Gunter Narr Verlag Tübingen Reviews Claudia Wassmann (ed.) 2015: Therapy and Emotions in Film and Television: The Pulse of OurTimes, London: Palgrave Macmillan Therapy and Emotions in Film and Television: The Pulse of Our Times is a collection of nine articles edited by historian Claudia Wassmann and published by Palgrave Macmillan in 2015. The topic indicated by the title is interesting and timely because, as the editor herself points out in the introduction, therapy, film and emotion are “ pivotal elements of contemporary culture through which cultural concerns of contemporary societies can be articulated ” (2015: 2) and productive of perspectives for interdisciplinary approaches. This claim is convincingly supported by one of the authors, Omar V. Rosas who further argues in his article that the process of emotionalisation of contemporary culture is related to the rise of therapeutic culture and highlighted not only in news reporting but also other media, including film and TV shows. During the past decade, the emotionalisation of culture has increasingly engaged the interest of scholars from different disciplines. Moreover the “ affective turn ” in research which highlights the turning away from post-structuralist legacies towards an emphasis on materiality and different ways of relating to the material anchoring and cultural as well as political organisation of affect, emotion, passion or feeling (see Liljeström & Paasonen 2010), has also invaded the study of popular culture. Over the past few years, a great deal of scholarly articles and books have been published on emotion and popular culture, ranging from studies on the affective economies of online discussion forums (see Paasonen 2011; Hillis, Paasonen & Petit 2015) to affective audience reactions to horror films (see Reyes 2016). The study of popular culture and emotion is inherently multidisciplinary and the articles in this volume are written by scholars engaged in multidisciplinary research tapping on historical studies, media studies, communication studies, literary studies and psychology among others. The collection has irrefutable novelty value, because to date there are no other volumes that offer a multidisciplinary view on the intersections of therapy culture, emotion and multimodal visual media. Also for this reason the triangle of therapy and emotion in film or TV is an interesting starting point. However, for a reader who expects a collection with articles which, as the main title promises, direct a keen eye on the interlinks between emotion, therapy and filmic or TV representation, the volume is partly disappointing. Although all of the contributions are well written and of high quality, not all of them combine all three aspects mentioned in the title in an analytical discussion on emotional climates of Western societies through film or TV, as the editor, Claudia Wassmann writes in the introduction. For example the first article in the volume by Sandra Trudgen Dawson on class and the change of the British holiday cultures from the thirties to the present, provides an interesting insight into the social, economic, technological and ideological development of holiday-making. However, the roles of both emotion and film in constructing the holiday ideologies and the possibly therapeutic aspects of the emotional economies of holiday cultures as constructed by or represented in film remain underdeveloped. The volume contains two articles on anger management, a topic directly related to emotion and therapy. In his extremely insightful contribution Peter N. Stearns discusses the transformation of male anger from an accepted and sometimes admired constituent of the “ cool guy ” to an emotion requiring “ management ” in the Americal culture. Ursula Oberst continues the discussion on the paradoxes of anger from the perspectives of emotional intelligence and emotional management. For a reader looking forward to a dialogue between the main argument and film, both articles are disappointing despite their otherwise interesting approaches. Since quite many of the contributions either refer to films or television shows only briefly and quite superficially without engaging in a discussion about their contents, representational potential or emotional charge, the reader may question the formulation of the title of the volume. The volume is organized so that towards the end, the focus on emotion and therapy as connected to film and TV becomes more pronounced. In her contribution, Sally Chivers analyses the representation of old age and the emotional implications of gradual degradation of health to an old couple constricted in the closed space of their flat in Amour (2012; dir. Michael Haneke). She does not address the therapeutic impacts of cinema, but interestingly pays attention to the ways in which social expectations regarding “ right kind of care ” clash with the experience of the couple and creates space for different interpretations of the film. The most important contribution of the article has to do with Chivers ’ s observation of how the emotional confusion of the elderly protagonists leads to different emotionally motivated interpretations in the audience, creating space for different readings of the ending as murder, mercy, fulfillment of a final wish or escape from solutions imposed on the elderly by society. Through its introduction of different emotional articulations, the film crates room for various representations of old age beyond the treatment of the elderly mostly as a social problem. Two of the articles combine all three key themes of the volume in an analytic discussion. Stella Bruzzi ’ s article is a contribution to trauma and memory studies in which she discusses the well covered topic of various therapeutic possibilities offered by the revisitation of traumatic experiences through filmic re-enactment. The material used is dramatized - or semi-fictionalised - documentaries of internationally known and felt traumatic events such as the murder of John Kennedy and the terrorist attack of 9/ 11. The theoretical discussion in the article is based on a few sources only, and although mentioning Judith Butler ’ s Frames of War (2010) when referring to the trauma of 9/ 11 is spot on, the argumentation would have benefited also from some work by trauma and memory studies scholars (for example Caruth 1996, Kaplan 2005, Walker 2005). Particularly the incorporation of Marianne Hirsch ’ s (2012) well-known work on post-memory and work on the mechanisms of representation and identification would have been enlightening and helped avoid the sometimes relatively straight-forward assumptions on the relationship between audience identification with what is presented on the screen. 176 Reviews Miguel Ángel Huerta Floriano ’ s contribution on the representation of therapists and therapy on screen gives an interesting insight into the central cultural assumptions constructive of contemporary therapeutic culture through a case study of Woody Allen. Like Bruzzi above, Floriano treats film as a therapeutic medium due to its capacity to imitate the mechanisms of the human psyche and sees Woody Allen ’ s filmography featuring patients, therapists and (meta-)therapy sessions as a space for the audience to vent and reflect on their own psychological concerns. I find that Floriano is right in pointing out how Allen ’ s films stage the complicated workings of the human psyche through various narrative-aesthetic devices such as irony, humour, split screen, dreamlike features, monochrome and generic blurring in expressing the mental states of the characters and calling for audience identification. I also agree that film always incorporates emotion and invites affective reactions from the audience. However, the ways in which film as an aesthetic narrative device embodies therapeutic potential is time, culture and personspecific; although Allen ’ s films are viewed by global audiences, the response to them may vary a great deal depending on the therapy cultures of each cultural context. As viewers we are used to American representation but that does not erase the significance of cultural difference. In Robin Kurilla ’ s study the focus is on American therapy films. Kurilla introduces his study through a brief discussion about the ways in which mass medial narratives are interconnected with real-life social discourses. His aim is to study the formation of narratives of psychotherapy and psychiatry in an impressive material of 57 films, and find out how the complicated relationship between film and real-world face-to-face therapy is constructed and manifested though the cinematic presentations. Moreover, Kurilla puts forward an argument that therapy functions as a rite of passage between different social and psychological states and emphasizes the metaphorical nature of this process thus creating a route for connecting it with the cultural narratives extracted from the material. All in all, Kurilla presents an insightful analysis of film as capable of analyzing society and culture through representational means through the 12 narratives he proposes. In addition, despite the dominance of American material, he reserves room for cultural difference in the interpretation thus recognizing the significance of contextual factors in the construction of representation. However, the connection between therapy as an actual practice and its representations remains vague which also leads to vagueness of the conclusions. Omar V. Rosas revisits the terrorism discussion referred to by Stella Bruzzi in her article. Rosas ’ s very interesting contribution deals with the emotional online framing of the attack on Charlie Hebdo in January 2015. His argumentation draws on the mediatization of culture and society, a concept originally introduced by Stig Hjarvard in 2013, which refers to the interconnectedness of media and society and the dominance of the logic of the media in social and cultural matters. Against this basic assumption Rosas explores the therapeutic potential of the emotional framing of terrorist attacks in the management of fear. Rosas refers to a number of studies on terrorism, fear and framing of emotions in media discourses. The concepts of emotional regime and affective storytelling highlight the mechanisms of the process of emotional framing in a productive way. However, Judith Butler ’ s (2010) wellknown and insightful analysis of both individual and collective reactions to terrorism and Sara Ahmed ’ s (2000, 2004) brilliant discussion on the production of the stranger as an object Reviews 177 of fear would probably have been useful in understanding the social, cultural and political construction of terrorism and emotions, including the management of fear, in contemporary journalism because of the very detailed discussion both scholars engage in when analyzing the foundations and social impacts of these phenomena. In the introduction the editor of the volume, Claudia Wassmann, bypasses the necessity of a theoretical discussion of the central concepts explored in the articles of the volume. This is slightly surprising for a reader who expects the starting points of the collection to be defined in the first chapter. Moreover, rather surprisingly, Wassmann does introduce a lengthy theoretical discussion in the last article of the volume meant to be a summary of the central issues dealt with in the volume as well as serve as “ Tentative Conclusions ” . It would have helped the readers orientate towards the volume had at least parts of it been placed in the “ Introduction ” . Despite the reservations presented above, the volume presents informative reading and will certainly inspire future scholars interested in the intersections of visual media, emotion and therapeutic discourses. References Ahmed, Sara 2000: Strange Encounters. Embodied Others in Postcoloniality. London/ New York: Routledge Ahmed Sara 2004: The Cultural Politics of Emotion. London/ New York: Routledge Butler, Judith 2010: Frames of War. When is Life Grievable? Verso: London/ Brooklyn Caruth, Cathy 1966: Unclaimed Experience: Trauma, Narrative, and History. Baltimore: Johns Hopkins University Press Hillis, Ken, Susanna Paasonen & Michael Petit 2015. Networked Affect. Cambridge MA/ London: MIT Press Hirsch, Marianne 2012: The Generation of Postmemory. Writing and Visual Culture after the Holocaust. New York: Columbia University Press Kaplan, E. Ann 2005: Trauma Culture: The Politics of Terror and Loss in Media and Literature. New Brunswick: Rutgers University Press Liljeström, Marianne & Susanna Pasonen 2012: Working with Affect in Feminist Readings. Disturbing Differences. London/ New York: Routledge Paasonen, Susanna 2011: Carnal Resonance. Affect and Online Pornography. Cambridge MA/ London: MIT Press Reyes, Xavier Aldana 2016: Horror Film and Affect. Towards a Corporeal Model of Viewership. London/ New York: Routledge Walker, Janet 2005: Trauma Cinema. Documenting Incest and the Holocaust. Oakland: University of California Press Tiina Mäntymäki (Vaasa) Laurent Cesalli/ Janette Friedrich (eds.) 2014: Anton Marty & Karl Bühler. Zwischen Denken und Sprache, Basel: Schwabe, XXVI, 336 pp. Laurent Cesalli und Janette Friedrich haben die Beiträge einer Genfer Konferenz überAnton Marty und Karl Bühler herausgegeben. Abgesehen von der Einleitung der herausgeber sind die elf Beiträge in die vier Kapitel „ Phänomenologische, pragmatische und semiotische 178 Reviews