Abstract

This chapter explores an experimental leap into the unknown: the relevant potential of a Jungian theoretical lens conjoined with filmmakers in the constant discovery of their technical abilities. Central to the discussion is the simultaneous inevitability and impossibility of change, in which cinematography is expanded to its limits to reveal human emotions and psychological images across time – the analysis of film images – or is considered in the context of multimodal elements and psychological perspectives, the attention to a film’s narrative notwithstanding. Psychological meaning results from the perception of a set of signs encountered through innovative modalities in filmmaking. As signs are objects of perception, their modalities will determine at least part of their essence. The cinematic technique of the extended camera shot which will be at the heart of this discussion is one modality that enables Jungian thought and film studies to connect in an interdisciplinary manner.