Time and space provide the coordinates for the exploration of psychological phenomena and, more specifically, of what takes place in the psychoanalyst s consulting room: in the minds of the two participants, as well as in the complex relationship that develops between them."Boundaries and Bridges" consists of eleven chapters covering, among others, such topics as: the development of a sense of time in children, the temporal dimension of the psychoanalytic setting, the function of the couch in the therapeutic process, the importance of silence, and of sounds, in human development and in the analytic relationship itself.Illustrated by the case material about a replacement child and by several clinical vignettes, the book, as stated in its thought-provoking Introduction, is the author s attempt to distill some of the ideas which, in the course of almost forty years of analytic work, have emerged as foundations to his thinking and practice.The book is written in a fluent, easily accessible style. Its content is informed by a variety of psychoanalytic theories underpinning the observations made about the human mind in general, and the clinical situation in particular, but with little technical jargon cluttering up its pages. Reading it should convince even those skeptical about the value of psychoanalysis that our discipline is indeed a powerful tool for the understanding of our most intimate experiences."

The experience of watching films - entertaining, moving, instructive, frightening or exciting as they may be - can be enriched by the opportunity to reflect upon them from unconventional perspectives.Psychoanalytic Reflections on Film: Moving Images offers its readers in an accessible language one such viewpoint, informed by Andrea Sabbadini's psychoanalytic insights and therapeutic experience. Using a psychoanalytic interpretative approach, some twenty-five important feature films are discussed as the artistic vehicles of new, unsuspected meanings. The first chapter looks at films which represent psychoanalytic work itself, having therapists and their patients as their main characters. The remaining five chapters cover movies on themes of central concern to analytic theorists and clinicians, such as childhood and adolescent development, and varieties of intimate relationships among adults. The latter include romantic love and its disturbing association to death fantasies; eroticism and prostitution; and voyeuristic desire - a significant phenomenon in this context given its parallels with the activity of watching films. Andrea Sabbadini's psychoanalytic approach, which explores the part played by unconscious factors in shaping the personality and behaviour of film characters, is used to interpret their internal world and the emotional conflicts engendered by the vicissitudes they live through. The book is completed by a filmography and biographical notes on film directors. Psychoanalytic Reflections on Film presents the relationship between cinema and psychoanalysis as a complex one. These two most different of cultural phenomena are shown to share a wish on the part of their practitioners to uncover profound truths about the human condition, and to provide a language with which to describe them. Going beyond futile 'psycho-historical' attempts to analyse filmmakers through their products, or a superficial application of psychoanalytic concepts to film, Sabbadini shows how both cinema and psychoanalysis can benefit from a meaningful interdisciplinary dialogue between them. The book will be of special interest to practicing psychoanalysts and students, scholars and historians of film studies.

Projected Shadows presents a new collection of essays exploring films from a psychoanalytic perspective, focusing specifically on the representation of loss in European cinema. This theme is discussed in its many aspects, including: loss of hope and innocence, of youth, of consciousness, of freedom and loss through death. Many other themes familiar to psychoanalytic discourse are explored in the process, such as:

• Establishment and resolution of Oedipal conflicts
• Representation of pathological characters on the screen
• Use of unconscious defence mechanisms
• The interplay of dreams, reality and fantasy

Projected Shadows aims to deepen the ongoing constructive dialogue between psychoanalysis and film. Andrea Sabbadini has assembled a remarkable number of internationally renowned contributors, both academic film scholars and psychoanalysts from a variety of cultural backgrounds, who use an array ofcontemporary methodologies to apply psychoanalytic thinking to film.

This original collection will appeal to anyone passionate about film, as well as professionals, academics and students interested in the relationship between psychoanalysis and the arts.

Even paranoids have enemies is the reply Golda Meir is said to have made to Henry Kissinger who, during the 1973 Sinai talks, accused her of being paranoid for hesitating to grant further concessions to the Palestinians. It is used as part of the title of this book to highlight the complex relationship between paranoia and persecution. The book is divided into three sections: section one addresses aspects of the complex psychological impact that experiences of external and internal persecution have on the individual; section two brings together expositions on paranoid and persecutory processes in groups, institutions and bureaucracies; and section three discusses the social, political and cultural factors which give rise to these processes. The theoretical viewpoints introduced and discussed come to life in the political, social and historical arenas where the politics of the Middle East, the pressures of Japanese society and the dynamics of the drug scene are used to illustrate and understand the issues involved in paranoid thinking and in persecution.

Psychoanalytic Perspectives on Virtual Intimacy and Communication in Film brings together a group of psychoanalysts to explore, through film, the new forms of communication, mainly the internet, that enter more and more frequently into the affective lives of people, their intimacy and even the analytic room. The contributors, all practising psychoanalysts, analyse the potential and surprising transformations that human relationships, including psychoanalysis, are undergoing. At present, it is difficult to value the future importance and predict the possible disquieting consequences of the use and abuse of the new technologies; we run the risk of finding ourselves unprepared to face this revolutionary transformation in human connections and affects. Will it be possible in a near future that human beings prefer to fall in love with a machine gifted with a persuasive voice instead of a psychoanalyst 'in person'? The contributors explore the idea that virtual intimacy could begin to replace real life, in sentimental and psychoanalytic relationships. Imagination and fantasy may be strengthened and may ultimately prevail over the body, excluding it entirely. Can the voice of the analyst, sometimes transmitted only by telephone or computer, produce a good enough analytic process as if it were in-person, or will it help to foster a process of idealisation and progressive alienation from real life and connections with other human beings? The film Her (2013), alongside others, offers a wonderful script for discussing this matter, because of the deep and thoughtful examination of love and relationships in the contemporary world that it provides. Psychoanalytic Perspectives on Virtual Intimacy and Communication in Film will be of great interest to all psychoanalysts and psychoanalytic psychotherapists interested in the ongoing impact of technology on human relationships.

Psychoanalytic Perspectives on Virtual Intimacy and Communication in Film brings together a group of psychoanalysts to explore, through film, the new forms of communication, mainly the internet, that enter more and more frequently into the affective lives of people, their intimacy and even the analytic room. The contributors, all practising psychoanalysts, analyse the potential and surprising transformations that human relationships, including psychoanalysis, are undergoing. At present, it is difficult to value the future importance and predict the possible disquieting consequences of the use and abuse of the new technologies; we run the risk of finding ourselves unprepared to face this revolutionary transformation in human connections and affects. Will it be possible in a near future that human beings prefer to fall in love with a machine gifted with a persuasive voice instead of a psychoanalyst 'in person'? The contributors explore the idea that virtual intimacy could begin to replace real life, in sentimental and psychoanalytic relationships. Imagination and fantasy may be strengthened and may ultimately prevail over the body, excluding it entirely. Can the voice of the analyst, sometimes transmitted only by telephone or computer, produce a good enough analytic process as if it were in-person, or will it help to foster a process of idealisation and progressive alienation from real life and connections with other human beings? The film Her (2013), alongside others, offers a wonderful script for discussing this matter, because of the deep and thoughtful examination of love and relationships in the contemporary world that it provides. Psychoanalytic Perspectives on Virtual Intimacy and Communication in Film will be of great interest to all psychoanalysts and psychoanalytic psychotherapists interested in the ongoing impact of technology on human relationships.

The experience of watching films - entertaining, moving, instructive, frightening or exciting as they may be - can be enriched by the opportunity to reflect upon them from unconventional perspectives.Psychoanalytic Reflections on Film: Moving Images offers its readers in an accessible language one such viewpoint, informed by Andrea Sabbadini's psychoanalytic insights and therapeutic experience. Using a psychoanalytic interpretative approach, some twenty-five important feature films are discussed as the artistic vehicles of new, unsuspected meanings. The first chapter looks at films which represent psychoanalytic work itself, having therapists and their patients as their main characters. The remaining five chapters cover movies on themes of central concern to analytic theorists and clinicians, such as childhood and adolescent development, and varieties of intimate relationships among adults. The latter include romantic love and its disturbing association to death fantasies; eroticism and prostitution; and voyeuristic desire - a significant phenomenon in this context given its parallels with the activity of watching films. Andrea Sabbadini's psychoanalytic approach, which explores the part played by unconscious factors in shaping the personality and behaviour of film characters, is used to interpret their internal world and the emotional conflicts engendered by the vicissitudes they live through. The book is completed by a filmography and biographical notes on film directors. Psychoanalytic Reflections on Film presents the relationship between cinema and psychoanalysis as a complex one. These two most different of cultural phenomena are shown to share a wish on the part of their practitioners to uncover profound truths about the human condition, and to provide a language with which to describe them. Going beyond futile 'psycho-historical' attempts to analyse filmmakers through their products, or a superficial application of psychoanalytic concepts to film, Sabbadini shows how both cinema and psychoanalysis can benefit from a meaningful interdisciplinary dialogue between them. The book will be of special interest to practicing psychoanalysts and students, scholars and historians of film studies.

Projected Shadows presents a new collection of essays exploring films from a psychoanalytic perspective, focusing specifically on the representation of loss in European cinema. This theme is discussed in its many aspects, including: loss of hope and innocence, of youth, of consciousness, of freedom and loss through death. Many other themes familiar to psychoanalytic discourse are explored in the process, such as:

• Establishment and resolution of Oedipal conflicts
• Representation of pathological characters on the screen
• Use of unconscious defence mechanisms
• The interplay of dreams, reality and fantasy

Projected Shadows aims to deepen the ongoing constructive dialogue between psychoanalysis and film. Andrea Sabbadini has assembled a remarkable number of internationally renowned contributors, both academic film scholars and psychoanalysts from a variety of cultural backgrounds, who use an array ofcontemporary methodologies to apply psychoanalytic thinking to film.

This original collection will appeal to anyone passionate about film, as well as professionals, academics and students interested in the relationship between psychoanalysis and the arts.