Media Research Lab

(Paper Code: 353)

Partial Fulfillment of the requirement of

Bachelors of Journalism and Mass Communication
(Batch: 2018-2021)

Cinema Therapy: A Therapeutic Tool

Under the guidance of:

Dr. Nisha Singh
(Assistant Professor)

Submitted by: Simran Gupta

Enrollment no: 04214702418

Maharaja Agrasen Institute of Management Studies

Affiliated to Guru Gobind Singh Indraprastha University, Delhi

PSP Area, Plot No. 1, Sector 22, Rohini, Delhi 110086, India
 CERTIFICATE

This is to certify that Simran Gupta and Riya Gulati students of Bachelors of Journalism and

Mass Communication, Maharaja Agrasen Institute of Management Studies, Guru Gobind Singh

Indraprastha University, enrolled for the batch 2018-2021,with enrolment number 04214702418

and 03414702418 have completed their research project titled “Cinema Therapy: A Therapeutic

Tool” under my supervision and is genuine work produced by them.

Date: 08/01/2021 Dr. Nisha Singh

Place: New Delhi Supervisor

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 ACKNOWLEDGEMENT

We take this opportunity to express my earnest gratitude to all the people behind this project.
Beginning with Dr. Nisha Singh for guiding throughout the project and helping us to make this
file in a composed and adequate shape, and furthermore, Maharaja Agrasen Institute of
Management Studies to give this course and the stage to move ahead in life.

We also want to express our gratitude towards our family whose unequivocal love and support
has dependably been of incredible significance boosting our spirits and urging us to take full
advantage of any opportunity that comes our way paving path to success in life.

The project has been a crucial process brimming with difficulties and new learning opportunities
that made us mindful of the expert world and showed us routes of how to emphatically develop
in it.

Simran Gupta (04214702418)

Riya Gulati (03414702418)

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TABLE OF CONTENT

S.No. Contents Page No.

1 CHAPTER-1
INTRODUCTION 5-7

REVIEW OF LITERATURE 8-31

RESEARCH
OBJECTIVES & METHODOLOGY 32
HYPOTHESIS

2 CHAPTER-2
RESEARCH DESIGN 33-34
RESEARCH PROBLEM

3 CHAPTER-3
DATA ANALYSIS 35-36

DATA PROCESSING 37-41

42-46
TABLES

4 CHAPTER-4
SUMMARY 47

5 CHAPTER-5
CONCLUSION 48
SUGGESTIONS

LIMITATIONS
49

6 CHAPTER-6
BIBLIOGRAPHY 50

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 7 APPENDIX
51-55

CHAPTER-1

INTRODUCTION

Cinema therapy or movie therapy is a form of expressive therapy - like art, music and dance
therapy - for medical and mental health issues. It is also used as a form of self-help.
Cinematherapy was created and popularized by Dr. Gary Solomon, the first to write on using
movies as therapy. The movement started to catch up again in 2019 with the featured
documentary "Calypsonians" by director Anghelo Taylor, unlike the creation of Dr. Gary
Solomon, Anghelo Taylor wrote the CinemaTherapy Manifesto, that starts with one simple
principle "In order for cinema therapy truly exist the filmmaker must have an internal search,
question or problem to solve inside himself but that relates with the rest of humanity or with
specific community. Once the filmmaker and his crew engage in the process of filmmaking, they
start healing by the revelation and situations that happen along the process of making a film. In
the end, the result of that process will be a medicine for all the viewers as human beings. But
everything starts with the deep intention that the filmmaker has when making the film"

Movie therapy, also known as cinema therapy, involves the therapist-directed viewing of movies
for therapeutic purposes. The combination of thematic elements—music, dialogue, lighting, and
images—can often evoke deep feelings in viewers, both allowing for personal reflection and
providing new perspective on external events.

Movies might be used as part of individual therapy, group therapy, or family therapy, but movie
therapy has been shown to be particularly beneficial as part of couples counseling.

Metaphor, symbolism, and imagery might often be used by therapists as they help those in
treatment explore thoughts and feelings and address areas of concern. Some therapists work with
people in treatment to explore and analyze dreams, for example, and others may use guided
imagery as a therapeutic technique. Thus, many may find the integration of movies and other
forms of media, in which these and other literary elements are often widespread, to be logical.
Not only do movies contain symbols, they also might generate empathy, increase communication

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skills, and allow those in therapy to become more aware of their own feelings and desires. Movie
watching allows viewers to engage in a number of ways—linguistically, visuospatial,
interpersonally, and intrapsychically. Proponents of movie therapy believe this may be helpful
because learning has been shown to occur more quickly when information is processed in more
than one way.

Movie therapy developed along the lines of bibliotherapy, which is the therapeutic use of books
and reading in clinical practice. The term “cinema therapy” was first used in 1990 by L.
Berg-Cross, P. Jennings, and R. Baruch, who defined the technique as a form of therapy in which
a therapist selects films relevant to a person in treatment's areas of concern, which the individual
might view alone or with specified others.

The therapist and person in treatment will generally first discuss how to watch the film in a
mindful way and how to recognize and explore reactions to the film. Reactions to the film are
typically discussed in a later therapy session, where the therapist may ask the person in treatment
to consider connections between the film and the person's own life. If a couple is in therapy
together, they may be given a list of questions to consider and discuss together. Movies may
often be easily integrated into therapy because they are widely available and accessible to many
people. Further, most people find watching a movie to be an enjoyable experience, and some
may prefer this form of therapeutic work to other modalities.

Film can lead people to experience a wide range of emotion. Who has not walked out of a movie
theater feeling sad, scared, inspired, or otherwise moved? Movies can potentially open a person's
eyes to new solutions to any number of difficulties and may provide many therapeutic benefits in
addition to entertainment. They might offer hope, provide role models, and reframe problems.
Film characters may also serve to exemplify different issues people face. A person addressing
alcohol abuse in therapy might, for example, find viewing a movie in which a character achieves
recovery from the same concern to be both inspirational and helpful.

Movies can potentially open a person's eyes to new solutions to any number of difficulties and
may provide therapeutic benefits in addition to entertainment.Additionally, movies can provide a
safe way for people to discuss their thoughts and feelings. Direct questions from a therapist may
be intimidating to some people, especially those who have difficulty openly sharing their
feelings. The use of film in therapy can provide a less overwhelming way to talk about feelings,
as it allows people to explore concerns indirectly by relating them to those of characters in the
film. Some individuals might also be more likely to realize the presence of certain issues in their
relationships and personal life when they first experience them in a movie. A person in an
emotionally abusive relationship might not realize the relationship is abusive, but a fictional
depiction of a relationship understood to be abusive may give the person a greater understanding
of what constitutes abuse.

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Film can help enhance the connection between people. It can be a great way to enhance rapport
between the therapist and the person in therapy, especially if at first discussion does not come
easily. Family therapy sessions may also be enhanced by the viewing of relevant movies:
Families may find it easier to begin communication when they discuss fictional families who
face issues similar to their own before connecting what they have discovered about these
challenges to their own lives.

The use of film has also been shown to improve marriages. A recent study found that couples
who watched movies together communicated more effectively and felt more positively toward
each other within five weeks. Simply watching one movie, assigned by a therapist, a week and
discussing it by answering twelve questions had an improving effect on the marriages of the
couples in the study. Increased levels of healthy communication decreased the divorce risk for
these couples by 50%.

Movie therapy is used by a wide range of therapists from different orientations and modalities.
One study found that 67% of therapists surveyed used movies for clinical purposes. Although
many therapists integrate movies into their clinical work without any specific training on how to
do so, there are continuing education courses therapists can take in order to become more
proficient in movie therapy. Films are typically used as a supplement to treatment rather than as
the main method of treatment.

Movies can also be used, without the guidance of a therapist, as a form of self-help. Just as books
can help people to learn and integrate therapeutic tools, so can films, and watching movies may
often lead to growth and positive change. However, when significant psychological issues are
present, movie therapy may be better used with the guidance of a therapist trained in the
implementation of movie therapy.

Many clinicians believe that movies have therapeutic value. In some cases, an assigned film may
have little effect. An individual might also find particular aspects of a film to be troubling or
triggering, and a trained therapist will generally exercise care when considering which movies
may be effective for certain concerns.

Some individuals may not have enough time to watch an assigned movie. Others may be unable
to watch movies at home because they do not have a television or computer. Thus, this form of
therapy may not be accessible to some people.

Despite the wide use of film in therapy, there is still limited research about the efficacy of movie
therapy and its application. However, it is not known to be harmful, and further practice of this
type of therapy is likely to generate wider knowledge about its efficacy.

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 REVIEW OF LITERATURE

Authors : Philippa Strong,George Lotter

Year : March 2015

Study Name : Reel help for real life- Film therapy and beyond

In this article the background, development, therapeutic value and praxis of film therapy in
Christian counselling will be addressed. The second part of the article shows what the scenery
beyond film therapy may look like and how this form of therapy may extend to other areas of
digital and electronic media in the current counselling and pastoral care praxis. Postmodernity, as
the context within which the society finds itself, is discussed, as well as the place of films in
postmodernity. The important use and application of narratives in the postmodern era is
discussed. Film therapy’s development as an outgrowth of bibliotherapy is explained. It is further
shown how film therapy as a tool in the praxis of therapy may provide the ideal atmosphere for
learning, enjoyment and edification. The scope of the article also reaches beyond the current use
of film therapy by suggesting the use of other social and electronic media in a therapeutic way as
an ever-increasing possibility. The article ends with some pointers in the use of film therapy.
Read online: Scan this QR code with your smartphone or mobile device to read online.

Introduction In the 70 years of its existence, HTS Teologiese Studies (HTS) has addressed many
facets of theology and related disciplines and the journal and all the contributors throughout
these years should be remembered and commended for the major contribution to academic
research. A new phase was inaugurated when the Journal of Practical Theology in South Africa
was moved under the wings of HTS and it broadened the scope of HTS with regard to practical
theology. Also for this bold move HTS should be congratulated. This article falls within this new
horizon which was created by HTS to publish online and the authors are grateful for it and
congratulate HTS for this landmark. The focus of the article is the Christian therapeutic value of

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film therapy – the process of using movies made for the big screen or television for therapeutic
purposes – and how it can be enhanced and extended by related digital media within the context
of postmodernity. By using film therapy as a tool in therapy the ideal atmosphere for learning is
created where enjoyment and edification are combined. As Albert Einstein advised in 1915 in a
letter to his 11 year old son, Hans Albert: ‘That is the way to learn the most, that when you are
doing something with such enjoyment that you don’t notice that the time passes’ (Popova
2014).Movies transcend all barriers and differences, whether these barriers are culture, language,
religion, geographic borders, or belief systems (Niemiec & Wedding 2014:3). Semiotics is
described by Tomaselli and McLennan-Dodd (2005:224) as the examination of how signs,
including words, pictures, gestures, sounds, shapes, colours, things, artefacts, smells,
performance and so on, come to have meaning. One could say that semiotics is the international
language of movies.

PostmodernityThe 21st century is characterised as the postmodern era (Anon 2013; Olthuis
1999:141; Olthuis 2012:3). According to Johnston (2004:33), ‘What has popularly been labelled
the move from late modernity to postmodernity in Western culture has brought with it
fundamental changes in how we view reality’. In postmodernity the observer’s experience
(presuppositions which work unconsciously) is extremely important in the development of
knowledge (Du Toit 2000:54; Olthuis 1999:144). People living in the modern age were focused
on rules, facts and the grand narrative, whilst in Postmodernity the question is asked about
significance (Freedman & Combs 1996:22). According to Tak (2008:iii) postmodernism may be
the phenomenon related to the spirit of the times, the mental structure, and the world view of the
late 20th century, including the literature, art, and culture. Many believe postmodernism is the
most profound societal change since the Enlightenment (Jones 2001:14) and undergirds all
philosophical trends in the current era. The North American philosopher, James Olthuis
(1999:140) states that the postmodern era not only opened doors towards a post-secular
discussion on faith, love and God, but it also encouraged new and integrated forms of practical
spirituality. Regardless of believing that one is a postmodernist, one lives in the period of
postmodernism and is affected by it on every level, whether one gives into its demands or not.
Postmodernism is simply the water in which we swim now (Jones 2001:231). In order to
communicate, live and breathe in this ongoing world, it’s crucial to obtain a grip on postmodern
cultural patterns and thought processes (Jones 2001:26). As Romanowski (2007:15) strongly
argues, ‘The realm of popular culture can be seen as an arena for argument or debate in which
different ideas and perspectives find voice in stories, videos, songs, and pictures’. Furthermore,
contemporary technology is in itself value-laden (Painter-Morland & Pistorius 2007:136)

Place of films in postmodernity

Christians have lately become more intentional about their engagement with popular culture
(Dyrness 2001:13). In modernity the focus was very much on the cognitive, where rational
thinking and logic had precedence, whereas in postmodernity, creativity and imagination are

9
preferred. Narrative and the use of metaphors became dominant (Brunsdon 2010:2). Dyrness
(2001:129) writes that the triumph of visual art is now widely recognised and that postmodern art
represents almost in every respect the visual component and especially moving images. It is
therefore clear that in the contemporary social, political, intellectual, emotional and spiritual
spheres, growing practices and development are needed to adjust to the ever-changing milieu (cf.
Olthuis 1999:140).The narrative approach and story-tellingbecame prominent themes in most of
postmodernity’s activities and metaphors for personal identity, relationships, and the process of
healing in therapy(Brunsdon 2010:5; Olthuis 1999:144). Except for the different metaphors
within postmodernity, there is also, ‘...the context of the Christian story and the Christian
community’ (Carter 2006:60). The use of inter aliafilm therapy in counselling and other
therapeutic activities, fits neatly within postmodernity where a movie or a film is also a story or a
narrative which can be used in therapy(Johnston 2006:95). Pecca (2011) also links film therapy
with the ancient art of using stories as a teaching tool and indicates that stories were used to
teach and inspire since the dawn of humankind and cave paintings.Morbey (1995:66) takes this
position even further by adding, ‘Both photography and electronically-based imagery, little
considered in the deliberations of Modern Art, have taken a central position in contemporary
Western culture, a culture often categorised as postmodern’. In the same vein Johnston (2006:90)
states ‘...movie going and the subsequent conversation it engenders – one of our common
practises of everyday life – has become an important alternate source for spiritual (italics by
authors) exploration’. Romanowski (2007:17) remarks that, although movies can be fun,
delightful, and entertaining, they can also communicate perspectives that deserve our careful
consideration. A fascinating feature of film therapy is that it stimulates both sides of the brain
(Joseph 1992:45, 61–63, 116; Strong 2001:35).It has already been indicated back in 2001 by
Strong (2001:104) that films can be used effectively in Christian counselling. This article
provides a fresh take on the use of film therapy as a tool in therapy within a Christian context. It
also explores the possibilities beyond film therapy – which involves the use of films in other
forms of electronic social media. Film therapy serves in an excellent way the postmodern era we
find ourselves in. As it includes both sensorical pleasure and spiritual healing and
transformation, it embraces the principle, expressed by the Latin phrase utile dulci (the enjoyable
is combined with the edifying). Olthuis (2012) aptly describes postmodernism and this is why
the authors mean it provides a good space for film therapy: Postmodernism attends to and makes
room for the invisible, the unconscious, the emotional, all the non-rational ways of knowing; not
as second-rate, subservient, irrational forces to be repressed, feared or discounted, but as
necessary, indispensable co-contributors in the multidimensional process of human development
(p. 7)In this respect it ‘fulfils’ the need mentioned by Olthuis (1999:140) earlier for a fresh
approach in spiritual practices which can be helpful for Christian counselling.

Film therapySince the focus of this article is on film therapy, the following quote from
Romanowski (2007) captures the essence of what this kind of therapy is about: Movies,
television, music, and videos provide a common experience for many people by addressing
widespread concerns, fears, and prejudices and nurturing aspirations. ... and get us to look at

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things in new and different ways. They might explore challenging political, moral, economic, or
religious issues by questioning gender relations or pointing a finger at sexism, racism, elitism,
homophobia, and social or economic injustices. (p. 15; cf. also Johnston 2006:90)In short Zhe
Wu (2008:6) describes cinema therapy as a creative, therapeutic intervention in which a therapist
uses a film as a metaphorical tool to promote self-exploration, personal healing and
transformation (cf. also Pecca 2011).Perhaps in the remark by Niemiec and Wedding (2014:3)
that movies are more than a commentary on society, and that they actually inform us of the
human condition, lies the truth of the immense value the use of films in therapy can have. Peter
Weir calls himself first of all a storyteller, not a movie maker. He believes that fiction, ‘can give
you a truth within its own set of lies’ (cf. Johnston 2006:182) with which the authors agree
wholeheartedly. Gary Solomon, author of The motion picture prescription and Reel therapy,
often uses lectures at prisons to help inmates learn to use movies as therapy to see what they
have done to land them into their current predicament and to learn from it (Mann 2007).Strong
(2001:86–88) gives examples of specific movies and how they may be used in certain
circumstances to encourage the pastoral counselling process. A good example of the impact of
watching a movie clip and the effect it can have on a viewer has been illustrated by Beattie,Sale
and McGuire (2011:121–124) where selected extracts from the film An inconvenient truth have
been shown. A significant effect on the mood state as well ason the explicit social attitudes and
cognitions of the people who watched these clips, was reported.

How all arts are constituted, including filmArt does not reproduce the visible; rather it makes
visible. (Paul Klee [1879–1940], world renowned modern art painter)The understanding of how
all forms of art are constituted, and, in this case, how films relate to other arts, is important.
Begbie (2006:15–16) describes the three terms which constitute art, namely, Form, Inhalt and
Gehalt as described by German-American theologian and philosopher, Paul Tillich (1886–1965)
in his important work on the philosophy of art. Form has been described as the result of the
artist’s skill in mastering a particular artistic medium into a work of art. When one refers to a
piece of art as a painting, one is referring to the form of the artwork. Inhalt denotes the
subject-matter of the art work. Gehalt entails the unconditioned meaning presupposed – even if
not intentionally – in the work of art, giving the art work its ultimate meaning or significance.
Gehalt refers to the ‘religious’ element in art. Furthermore it is important to note that Form,
Inhalt and Gehalt which constitute an artwork, are not of equal importance, e.g. the Inhalt of an
art work is irrelevant in determining the extent to which Gehaltis revealed. In Tillich’s (1959:22)
words, translated by John P. Clayton (1980:20), ‘Inhalt is the contingent element, Gehalt the
essential one and Form the mediating agent’. Regarding the Gehalt of an artwork it is of utmost
importance to note that an artwork can be ‘religious’ irrespective of its Inhalt. On the other hand
specifically religious themes or motives (e.g. the cross, scenes of life of Jesus) do not guarantee
the disclosure of the ‘religious’ element of art (Begbie 2006:16). Dyreness (2001:140) stresses
the ‘religious’ element (Gehalt) of art when he says that when we trivialise art, we fail to
appreciate the power that our exposure to art inevitably holds, resulting in the fact that we
overlook a vital area of potential Christian growth and witness. Johnston (2006:91) agrees when

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he remarks that the focal point of art – being the journey of discovery towards the meaning of
life – remained the same throughout the ages. Begbie (2006) boldly states:Art is truly religious
not when it employs traditional religious subjects, still less when it seeks a photographic
depiction of reality, but when it probes beneath the surface of the finite and brings to light the
ultimate meaning which lies beyond and beneath all things.(p. 20)Films, which is art in own
right, often have a powerful Gehalt element which contributes to the understanding of the
meaning of life from a religious perspective. Perhaps the anecdote of Peter Weir (movie maker)
rings true where he said: I belong to that tradition of entertainer or storyteller. There’s this
cartoon up on my wall of an old lady at a ticket box window, ‘I want my sense of wonder back.’
I like that idea. It’s a desire to feel the sense of not knowing, that sense of danger and potential
interlocked. It’s very difficult to achieve, but the screen is one of the few places where it is
possible (emphasis by authors).

Films as popular art

Popular art can be described as any dance, literature, music, theatre or other artform intended to
be received and appreciated by ordinary people in a literate, technologically advanced society
dominated by urban culture (Dyrness 2014). It further states that motion pictures may be an
important medium of popular art, but in contrast to television, it can more often attain the same
enduring appeal and significance as artworks belonging to the fine arts category.Already in 1916
the Italian, F.T. Marinetti,the founder of futurism, in his manifest on film, said: A new art, much
more agile and vast than any other, yet, except for certain films on travel, hunting, wars,
film-makers have done no more than inflict on us the most backward-looking drama, great and
small. The cinema is an autonomous art. The cinema must therefore never copy the stage
(emphasis by authors). (cf. Parkinson 1995:51)Even in the modern age motion pictures became
influential and a relevant form of art, with a television set found in almost every house and
almost everyone exposed to the medium of film (Oliver 1998:25; cf. Johnston 2006:90). At the
beginning of the 21st century the printed media developed towards the moving picture and we
find ourselves in a society which is dominated by visual stimulation. ‘Picture motion’ (moving
pictures) captivates more senses than only seeing and hearing (Johnston 2006:95). Studies have
shown that learning may happen multi-sensory, in the sense that we rely heavily on our senses in
processing information when we are learning. Thus, the more senses are engaged in a teaching
situation, the easier it is to process information, and the more is learned (Pitts 2012). Watching a
movie is a multi-story experience, making film therapy an ideal tool not only in being more
effective in teaching people new skills and concepts, but also in using it as a catalyst in leading
these people into catharsis. Detenber, Simons and Bennett (Jr)(1998:124) correctly observe that
generally films enlarge the ‘arousal level’, the emotional experience, both on psychological- and
subjective levels, and enhance the attention span of the audience.Film as a visual form of art has
the ability to entertain, becoming one of the main sources of entertainment during the twentieth
century (Dockney & Tomaselli 2012:103–104). As a form of art, film has more to offer than only
entertainment; for instance an aesthetic experience which, in relation to other arts, is accessible

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and at the same time extremely relevant. According to Botha (1994:193) the re-evaluating of this
form of art may also be more representative and currently applicable (cf. also Randall 2001:130).
Film often impacts on the viewer because of the human factor which is a central characteristic of
this form of art (Botha 1994:167; cf. Schultze et al. 1991:292). Johnston (2006) refers to Casty
(1971) who reported the following: The techniques and forms of the film are particularly
appropriate to the way we are today, to the way we look at life, to what we see, hear, feel, and
know when we look at ourselves and at life around us. The structures of cinematic form are thus
particularly appropriate to the structure of feeling in our lives (emphasis by authors). (p. 91)Film
usually evokes emotional, rather than intellectual responses from the viewer, and can lead to a
catharsis where the viewer allows his or her emotions and internal conflicts to surface to the
conscious mind (Randall 2001:131; cf. Louw 1997:314). Ironically people often watch movies in
order to escape from the ordinary reality of life, resulting in finding themselves in the movies as
‘an illusion of reality’(Strong 2001:86). The widespread accessibility of the content of movies
and the intensity of experiences of movie-goers lead to the fact that movies are experienced as
‘illusions of reality’ (Noel & Seeley 2013:53). Moreover, it is said that the movie-going
experience often departs from the ordinary experience, which enables movies to be a convincing
power (Noel & Seeley 2013:53; cf. Niemiec & Wedding 2014:3).As Johnston (2006:93) aptly
remarks, ‘Movies might not portray reality in a superficial sense, but they have the capacity to
reveal life at a more central region - to show us our deepest selves’ (emphasis by authors) (cf.
also Gire 2000:44; Schultze et al. 1991:292) A variety of artistic media like music, words, dance,
drama, pictures, architecture, and more, is used to communicate with the viewer (Johnston
2006:95). Film is a complex form of art which has the ability to create or recreate an
all-encompassing environment, whilst it has the unique capability to interpret the full experience,
as it has the ability to express a wide variety of artistic nuances by internalising sounds, forms,
images and words (Johnston 2006:96). Recently movie theatres have added 4D cinema to their
experience list. This 4D cinema format allows cinema viewers to experience moving seats,
strobe lighting, bubbles floating from the ceiling and 1000 different scents (Widdall 2013).
Starting with Iron Man 3, the first 4D cinema in Japan, located in Nagoya, started screening 12
movies a year in 4D on 12 April 2013. People generally absorb images, lyrics, music, rhythm,
stories and other sensory information and weave this data into their own dreams and
relationships and thereby connect socially. Facebook, Twitter and other electronic media (as will
be indicated later in the article) are increasingly popular for connecting.Films and the above
mentioned electronic media can help people to develop their own identity, friendships and to
better comprehend the significance of life. Already in 1991 Schultze et al. (pp. 292–293) claimed
that popular art has an advantage over the usual institutions of education, and also a bigger and
more effective way of influence on the youth than parents and teachers. Although the authors
agree with them on the big influence that popular art has on youth, they disagree that it is more
powerful than the influence that parents have on their youth. Films – as popular art – can be used
effectively by parents to impart certain values to their children, or, on the other hand, used as a
tool to caution their children against certain influences. As Mitchell Stevens (1998) aptly

13
remarks about the power of film: Moving images can cut in, cut away, dance around,
superimpose, switch tone or otherwise change perspective, without losing their audience’s
attention; they can encompass computerized graphics, even words. Seeing, consequently, can
become a more complex activity; we might see from more perspectives. For when video is cut
fast, it allows the interchanging and juxtaposition not just of actions within a scene, not just of
angels upon a scene, but of entire scenes themselves – dozens of them. Printed words risk their
believability and entertainment value when they attempt such maneuvers.

Film therapy as an outgrowth of bibliotherapy

Cinema therapy has emerged as an outgrowth of bibliotherapy using films or movies as metaphor
to create indirect but powerful therapeutic interventions in marriage and family counselling (Zhe
Wu 2008:2; cf. also Pecca 2011). Bibliotherapy on its own merits can be defined as the use of
reading materials for promotion of mental health, help in solving personal problems or for
psychiatric therapy (cf. Jeon 1992:16; Hesley 2000:55; Merriam-Webster Online Dictionary
2014).Apparently Sir Walter Galt already catalogued fiction in 1840, as well as non-fiction
literature, as advised by psychiatrists to use as a tool to help in religious as well as moral support
and education of hospitalised psychiatric patients (Healey & Healey 1998:5). This initial
endeavour developed into bibliotherapy as it is now known (Hesley & Hesley 1998:5–6; cf.
Pecca 2011). In 1981 Halsted identified four stages in bibliotherapy, namely, identification,
catharsis, insight and universalisation (see Halsted 2009: 111–112; cf. Jeon 1992:16).
Identification is where the viewers see similarities between themselves and the characters in the
story. Catharsis is the point where the client allows his emotions and internal conflicts to surface
to the conscious mind. Insight is when the client makes a connection between him or herself and
the character. Lastly, universalisation,where clients understand that their problems are not unique
and that they are capable of searching for different and effective methods to deal with their
problems. Universalisation also has the positive result that clients now feel able to handle their
problems, whereas in the past it could have had powerlessness as a consequence. Newton names
these four stages as the common grounds between bibliotherapy and film therapy (cf. Newton
1995:15). In a certain sense film therapy and bibliotherapy share the same advantages,
limitations and objectives (cf. Hesley & Hesley 1998:7). The most prominent difference between
film therapy and bibliotherapy is that the former uses fiction whilst the latter today uses
non-fiction more dominantly (Hesley & Hesley 1998:6–7). Nowadays fictional books are used in
bibliotherapy especially to help children overcome emotional problems (Anon 2013; Barancik
2014). It is necessary to mention that inspirational DVDs can be used in film therapy to teach a
client certain life skills. However, in bibliotherapy non-fictional self-help resources are mostly
used to provide guidelines for correct behaviour through providing scenarios taken from real life
situations. In contrast with this, in film therapy films portray everyday life and may lead clients
in their specific situations to serve as catalyser (used as a tool to initiate the counselling
procedure) in the process of catharsis (a Greek term, where the viewers allow their emotions and
internal conflicts to surface to the conscious mind)(Eldridge 2006:42; Louw 1997:314; Randall

14
2001:131). According to Eldridge (2006:42), ‘Aristotle goes on to make it clear that in the case
of tragic drama, in particular the point of artistic representation – is the catharsis of emotions’
(emphasis by authors). Films provide a wide series of events which can be easily connected to
the specific context of the client, whereby the therapist helps the client to connect his or her own
life with the story of the film. In terms of strategy, film therapy also differs from bibliotherapy
(Hesley & Hesley 1998:7). In bibliotherapy the client discovers his own application by reading
mainly non-fiction self-help literature, whereas in film therapy, film can be used to practically
confirm that which had been discussed earlier in therapy (cf. Hesley & Hesley 1998:7). More
recently, Mann (2007), in discussing ‘evocative cinema therapy’ suggested one should ask
whether there were any characters in the movie who modelled behaviour that you would like to
emulate and in which way one could imitate ‘reel’ in real life. In film therapy film is mainly used
as a tool to uncover the issue, leading the client to catharsis, describing and understanding the
problem: it does not in most circumstances provide the application but rather uncover and
describe the problem.A good application can be when someone watches a movie alone (or with
someone else), and then identify his or her frame of reference which had not been recognised
before, or a wound that has long been covered and had not been dealt with in therapeutic context.
From another point of view, Heidegger’s observation of human capacity for resolution
(Entschlossenheit) and releasement (Gelassenheit) can be understood in the method of film
therapy. Resolution can be described as when one bravely faces up to the limits of existence,
recollecting the past and anticipating the future, whereby, in releasement one reaches out and
expand to what is beyond and rely on it to be safe enough to surrender oneself to it (cf. Van
Deurzen 2012).Some of the advantages of movies are that it is fun to watch movies (and other
media on any screen) and takes little time, while most people are involved in these activities as
part of their daily routine. Following Stuart Fischoff, already in 2001, Randal (2001:130)
suggested that films replaced books and reading as the lingua franca of contemporary society.
People are, therefore, keener to watch movies (in any form) which will address their problems
than for instance reading a book (cf. Hesley & Hesley 1998:9). Logically, therefore, ‘homework’
that is given in film therapy by the counsellor to the counsellor is carried out more regularly and
enthusiastically than ‘homework’ that is given in a bibliotherapy setting. This is as a result of
humans’ inherent laziness and also people’s addiction to the media in any form, which is in its
extreme form described by Lotter (2006:2) as cyberaddiction. However film therapy uses the
love of movies as an advantage for therapeutic purposes and does not in any way encourage
cyber addiction.Bearing these factors in mind, combined with the entertaining value and
attractiveness of media of any kind, makes film therapy, and other related media, in service of
caring for people in a more structured way, excellent tools. Strong had already indicated 13 years
ago that film therapy may be used successfully as a therapeutic tool in a counselling context
(Strong 2001:19–20). In research on the use of movies in therapy, Mann (2007) states the
following:An increasing number of therapists prescribe movies to help their patients explore
their psyches. And while few therapists have actually gone so far as to package their practices

15
around cinema therapy, movies – like art, books, and music – are becoming one more tool to help
those in therapy achieve their goals and overcome their hurdles (n.p.).

Beyond film therapy

With the growth of the internet and the increasing development of all kinds of media available on
different devices, the possibility of using the social and electronic media in a variety of ways for
therapeutic purposes, is ever expanding.Some of these are Twitter, YouTube, LinkedIn, Tumblr,
Reddit, and Vine. Pinterest, Instagram and Facebook remain the dominant social networking
platforms (Duggan & Smith 2013). As was indicated above, other forms of media may also be
used for therapeutic purposes; however caution should be taken in selecting the specific method
to be used. The reasons for taking proper measures are: • The possibility of Internet addiction,
which is the term used to describe excessive and problematic use of the Internet. It can also be
defined as an uncontrollable and damaging use of the Internet which is recognised as a
compulsive-impulsive disorder (cf. Grohol 2013).The possibility of cyberaddiction also exists as
described by Lottery (2006:2), which may include addiction to any kind of media. • Often these
kinds of social media cannot be controlled in a context of therapy.• Poor people skills could be
the reason why people are addicted to the Internet. Parental Alienation Disorder, concerning
which the authors agree wholeheartedly with Grohol (2013) who regards it as not being a
disorder but a relationship problem – but which exists because of poor parent-child relationships.
Many times these young people hide behind the Internet or other social media instead of facing
their relationship with their parents.• Dangers of using inter alia chat rooms – which can lead to
enlargement of current problems or expose the person to more unhealthy features.Social media
can also be incorporated in a positive way in therapy. Pinterest (named earlier as one of the most
dominant social networking platforms) has a pin board called ‘School Counselling Videos’
which also includes YouTube videos which can be used in therapy (Savvy School Counselor –
Vanessa 2014). This is a highly demonstrative way of how film therapy can be used effectively in
combination with the social media which are used intertwined, in this case Pinterest and
YouTube.Other examples of the possibilities in using the vast electronic media, are e-mentoring
(Lotter 2010:4), e-coaching and e-counselling, which per se have its own advantages and
disadvantages. In the same vein Fourie (2005:141) shows the ability of television and the internet
as dominant forms of mass communication media of our times. Although film therapy in some
ways developed out of bibliotherapy, it is a unique practice and has, for most people, many more
exciting characteristics, and provides new possibilities, mainly because it stimulates more senses.

Film therapyFilm therapy can easily be used as a tool in connection with other therapies, in the
same way as art therapy is used as a tool. Niemiec and Wedding (2014:3) directly connect
positive psychology and the use of films with each other, whilst already in 2001 Strong proposed
film therapy from a theological perspective, indicating the positive characteristics of film being
used as a tool in pastoral counselling (Strong 2001:114). Gary Oliver (1998) confirmed the value
of films being used as a tool in counselling, when he says: A well-chosen video can help our

16
clients learn ‘reel’ life lessons from their world. They can watch the characters develop, destroy,
and rebuild relationships; exercise problem solving (and in some cases problem causing) skills;
pursue different solutions based on a variety of values; and experience the short-term and
long-term consequences of their choices.

Pointers for the use of film therapy

As was indicated earlier in this article, film therapy is proposed as a tool in the therapeutic
process by the counsellor in the counselling of someone. The following pointers of how to
incorporate films or film snippets effectively in counselling are suggested.Movies do not replace
the guidance of the counsellor:It is important to note that film therapy in no way implies that the
therapeutic process – where a counsellor guides a counsellee – is replaced by the watching of a
prescribed movie. One allows the movie, which works as a tool in relating to the problem which
is directly applicable to the life of the counsellee. It could lead the counsellee into a position of
catharsis, proceeding into possible understanding, even a solution to the problem of bad
communication in, for instance, a father-daughter relationship. Movies should be used as tools in
therapy: Movies or certain themes in a movie can serve as a metaphor, enabling the client to
understand his or her life better from an ‘observing’ perspective.Collect a variety of
well-selected movies or snippets of movies, which cover different themes: An inspirational
movie rated for all ages would be ideal; however, if the counsellor wishes to use an age restricted
movie which includes sex, violence or bad language, it may do so. In such a case, it is important
to discuss these aspects with the counsellee, making your stance as counsellor clear pertaining to
bad language, etc., in movies and also sketching the guidelines of the Bible towards these
aspects. The counsellee should never gain the idea that the counsellor supports bad language,
nudity, and so forth, or in some way agrees with the negative use of it in movies. Sometimes
these aspects in a movie may bring to the surface the relevant issues to deal with in the life of the
counsellee. Many times movies include a variety of themes and sub-themes, as well as positive
and negative depictions of the same theme (Strong 2001:101). The father-daughter relationship
in the movie, The big wedding(2013), portrays an excellent example of a father-daughter
relationship that turned sour and was eventually restored. This movie also contains other themes
which can be used in different counselling situations. Allow the client to watch the movie or clip
unrestricted:The authors disagree with Niemic and Wedding (2014:4) when they say that they
believe that in all cases reading and learning about a movie before seeing it, enriches the
cinematic experience. The authors’ point of view is that the most effective way for a person to
understand the Aha Erlebnis is to watch the movie or clip unrestricted, without any prescribed
precautions and prescriptions. Allowing the client to watch the movie for pure enjoyment, have
the result of the movie staying in the entertainment category and the art to play its ‘magic’ on the
counsellee. Movies are a popular art and should be allowed, like any other art, to be interpreted
freely and without any prescription to the viewer, since it is a privilege of art to ‘speak’ to every
viewer in its own unique way. Sometimes people need to loose themselves in order to find
themselves, and movies allow one to do just that (Noel & Seeley 2013:53). Movies can help the

17
counsellor to obtain the picture from the client’s perspective:Movies can also be very helpful in
assisting a counsellee to describe to a counsellor the position, dilemma or frame of mind in
which he or she finds herself. The animation movie, Justin and the Knights of Valour (2013),
provides such an example, where Justin in a state of frustration describes to his grandmother that
his father wants him to go to law school, but he desires to be a knight.Fictional, inspirational,
animation films and motivational DVDs may be prescribed as homework in therapy: The use of
motivational DVDs can specifically be used effectively in the learning of new skills and lifestyle
development; the DVDs of Dr Wayne W. Dyer are an excellent example. Using movies in this
way in therapy is identically to the developmental stage of bibliotherapy (identified by Halsted in
1981 [see Halsted 2009]), where books are prescribed especially to kids to facilitate their normal
personal development and self-actualisation (cf. also Jeon 1992). Old and new movies can be
used in film therapy: As movies are a form of art, their power will stay the same, whether it is 2
months or 20 years old. Although the movie Life is beautiful was released in 1997, it is a classic
example of the timeless application of movies. Every time this movie is watched, it enthrals
audiences with an appreciation of life. The recent movie, Noah (2014), although controversial,
for instance caused people to go back to reading the original biblical narrative. These pointers are
not complete, but they aim to give a broad guideline of how film therapy can be practically
implemented in a therapeutical situation.

Conclusion

In the article it has been indicated that the postmodern era creates the possibility and space for
film therapy. According to the literature, film therapy may be used in all kinds of therapy. This is
because of the characteristics of this kind of media, using a variety of arts to communicate and
therefore being ideal for ‘real help’ and supporting people in using films and other media to
reach a catharsis and identifying themselves with what they see and experience. The expansion
of the digital media broadening the already available possibilities of film therapy opened even
larger horizons in the therapeutic use and help of people. Developments in social media not only
enlarged the exposure to narrative ways of helping people who need counselling, but are also
easily available for anyone in an entertaining way. The dangers of social media are briefly
discussed and positive ways of incorporating social media together with film therapy are
provided, whilst, finally, pointers are given how film therapy may be used. It is clearly evident
that film therapy – which nowadays may also be used intertwined with other electronic social
media – has developed into an independent therapy which can be used successfully as an
exciting and effective tool for a variety of therapeutic and learning outcomes. Film therapy is a
cutting edge tool in this regard. It fits neatly into the cultural context of a story hungry society,
providing both the therapist and the client or learner with pure enjoyment.

Acknowledgements

18
Competing interests The authors declare that they have no financial or personal relationships
which may have inappropriately influenced them in writing this article.

Authors’ contributions The authors each contributed equally towards the finalisation of the
article. It is based on the master’s thesis of R.S. (North-West University) with G.L. (North-West
University) as her supervisor.

Author: Amy Vallarelli, Judy Kuriansky, Jamie Delbuono, Jeremy Ortman

Year: October 2010

Study Name: Cinematherapy- Using Movie Metaphors to explore real relationships

Abstract

In this chapter, “cinematherapy” is reviewed and evaluated as a tool and technique in therapy,
counseling, and coaching to help individuals and couples become aware of and cope with
real-life problems. In using this approach, film characters and scenarios present metaphors, or
archetypes, which can serve as triggers for reflection and discussion. Specific details about the
method of using this technique are presented, as well as case examples of assigning viewing of
particu- lar films for specific situations, for example, when facing dating, divorce, or abuse.
Special issues are explored, including application of the technique in particular settings and with
new client populations. Cautions in using the technique, and the need for systematic research, are
also discussed.

Introduction

Individuals and couples face many problems in their relationships which present roadblocks to
forming a deep and lasting bond. Often they pick inappropriate partners, perpetuate unhealthy
patterns, or cannot communicate about personal or interpersonal issues in order to reach
resolutions. Such issues are commonly pre- sented in therapy, counseling, and coaching and are

19
also often depicted in major motion pictures, making the use of commercial films as a tool in
therapy potentially useful and increasingly popular. This chapter describes this practice —
commonly referred to as “cinematherapy” — and its theoretical underpinnings. Examples are
given of major motion pictures, which can be helpful for types of relationship issues presented in
therapeutic sessions by individual clients and couples, partic- ularly in cases which represent new
trends in contemporary society. Case histories and new variations using techniques of
cinematherapy are presented, and their value discussed in terms of facilitating healthy
relationships (Kuriansky, 2002). The process of cinematherapy offers valuable opportunities for
research to validate the techniques and establish their effectiveness.

Background

Motion pictures became a major part of the media culture in the 1920s, and since then have been
considered to be a source of not only entertainment but also educa- tion for professionals and the
public (Toman & Rak, 2000; Orchowski, Spickard, & McNamara, 2006). Movies have been
used to educate and supervise counselors (Toman & Rak, 2000) as well as to teach topics like
psychiatry and the law (Anderson, 1992) and clinical pharmacology (Koren, 1993). With the
syn- ergistic impact of images, music, dialogue, lighting, camera angles, and special effects,
films elicit powerful reactions which engage viewers emotionally, physi- cally, and cognitively
(Tyson, Foster, & Jones, 2000). Films and film clips have been used in educational settings and
classrooms, to demonstrate various issues relevant to course material (Wolz, 2004). Courses also
specifically target this topic. For example, in one elective course given by two family medicine
physicians on Movies and Medicine: Using Film to Reflect on The Patient, The Familj and
Illness, students watch selected films to discuss and learn how patients and their families are
affected by illness (University of Connecticut, 2008).

The use of commercial films as lessons for patients in a therapeutic setting dates back to an early
journal submission on the topic (Fritz & Pope, 1979). This approach began drawing increasing
interest in the past two decades, with practitioners selecting commercial films for clients to view
individually or with others as a means of therapeutic gain (Duncan, Beck, & Granum, 1986;
Berg-Cross, Jennings, & Baruch, 1990). The modality has become increasingly popular and is
now generally called “cinematherapy” both in the professional literature and in the popular
culture (Sharp, Smith, & Cole, 2002; www.cinematherapy.com). The term is used in this
chapter, given its ease of understanding and wide use; however, the word has been criticized
since cinematherapy is more a tool than a therapeutic modality (Portadin, 2006). As a result,
other names have been offered. For example, since the technique involves a form of mass
communication (like art and music), it has been described as a “popular culture intervention”
(Dermer & Hutchings, 2000). The process has also been called “video work” (Hesley & Hesley,
2001), “reel therapy” (Solomon, 2001), and more recently an “e-motion picture” path to healing
and transformation (Wolz, 2005). Several journal articles and mass market books have been
written about the process of cinematherapy, including a description of the process and lists of

20
films which address particular life issues (Wedding & Boyd, 1999, Hesley & Hesley, 2001; Ulus,
2003). In using this process, the practitioner carefully selects a film for the client to see which
relates to core issues being dealt with in ongoing therapeutic interchanges.

Cinematherapy

The fiIm is then assigned to the client to view as “homework” between sessions and later used as
a stimulus for discussion in therapy sessions. Mass market books have also suggested this
technique for use not only by the professionals but also by the public, who select their own films
for further exploration of an issue (Sturdevant & Gedron, 1998; Solomon, 2001; Teague, 2000;
Wolz, 2005; Grace, 2005, Hendricks & Simon, 2005).

Uses of Cinematherapy

In its use of motion pictures produced by Hollywood production companies or inde- to› pendent
producers, cinematherapy is distinct from the use of educational films in io treatment, as the
latter have a more direct message and are produced in an instructional manner. A major reason
that major movie pictures are becoming a tool in therapy is their typically universal appeal and
versatility in exploring such issues as culture, class, gender, power, and sexual orientation
(Dermer & Hutchings 2000). Further, the film viewing can be integrated into any therapy
modality and with varied w populations, e.g., individuals, couples, and/or families. It has been
noted that there are different levels of intensity in using films for therapeutic change (Mann,
2004). Specifically, “popcorn cinema therapy” involves watching a movie for a needed
emotional release; “evocative cinema therapy” involves using films to help people learn about
themselves in more profound ways based on how they respond to different characters and scenes;
and “cathartic cinema therapy” serves as a precursor or first stage in psychotherapy to open up
different levels of emotions and the psyche.

Study Directions

The study of cinema as a tool in psychotherapy has taken several directions, includ- ing what
movies reveal about cultural myths and collective fantasies; how they depict the practice of
psychotherapy; and how they can be used in a clinical setting (Gabbard & Gabbard, 1999;
Gabbard, 2001). Some psychologists even give courses about the psychological impact of film
(Fischoff, n.d.). In cinematherapy, movies are used to familiarize clients with emotional
problems they might have difficulty identifying in themselves but can spot more easily in filin
characters. By viewing a story similar to their own lives, clients may better be able to learn about
and cope with their issues in aii objective manner (Rizza, 1997). The film presents an
opportunity for change, by revealing issues in a nonthreatening way within the safety of distance,
so that difficult material and alternate ideas and behaviors can be processed indirectly at first,
and then more directly processed. In this way, therapists can use movies to externalize problems
so that clients can deal with problems from a safe distance (Dermer & Hutchings 2000).

21
Value of Cinematherapy

Movies further offer a shared language and experience for clients and therapists, which help
solidify the therapeutic alliance (Berg-Cross et al., 1990). In addition, cinematherapy gives the
client permission to talk about a particular issue, by providing validation that others have
been through similar experiences and emotions. Furthermore, watching films provides the client
with a powerful means of observa- tional learning with opportunities to choose among different
attitudes and behaviors. As such, the movie characters can plant seeds for growth, reframe
problems, and i« model healthy problem-solving behaviors that clients may implement in their
own i« lives (Newton, 1995). Cinematherapy can be seen as an extension or continuation of the
more estab- in lished technique of bibliotherapy, whereby the client is assigned reading material
i‹› which reveals characters dealing with similar conflicts and issues, in an effort to help io the
client better understand and cope with difficulties (Newton, 1995). The approach of
bibliotherapy has been noted as applicable to other media, with the use of films i,z offering
advantages by providing stimulation on additional sensate levels (visual and auditory), making
movies more impactful on people than other art forms (Wedding AQ3 & Boyd, 1997). Other
advantages include increasing client compliance with a 2 hour movie assignment compared to
reading lengthy written material, building on an activity people in popular culture already do
frequently, making material accessible to people regardless of educational background or
literacy level, and reaching clients difficult to reach emotionally because suspending problems
while watching o› the film bypasses ordinary defensiveness (Dermer & Hutchings, 2000).

The Process and Dynamics of Cinematherapy

The therapeutic technique of cinematherapy uses the experience of processing content and
character in films to help clients change negative beliefs, manage destructive emotions, raise
insight, develop self-esteem, and rediscover strengths (Dermer & Hutchings, 2000).
Through discussing the film, clients can reframe issues and explore alternative
solutions to problems, guided by meaningful pro- to cessing with the therapist (Newton,
1995). It has been pointed out that television run viewers can recognize and learn about
their personality style from characters with whom they identify (Young, 1987). The
practitioner’s steps in using films for counseling or coaching have been identified as involving
three stages: assessment (of the client and of goals in therapy), implementation (assigning
the film), and debriefing (discussing the impact of the film in subsequent sessions) (Caron,
2005). Watching a film has been described as a dissociative state in which reality is
temporarily suspended and viewers perceive events as though they are inside the movie
surrounded by the characters in the film (Wedding & Boyd, 1997). Through identification with
characters, individuals project themselves into the action. The draws the client into the
viewing experience and at the same time affords a unique opportunity to retain a perspective
outside the experience. As such, the film can help clients better understand their lives, provide
catharsis or perspective, and suggest corrective thinking and feeling.

22
Watching characters in a film becomes a form of vicarious learning for the viewer, as described
in social learning theory whereby the viewer models behavior after the characters (Bandura,
1977). In this context, the viewer’s process has been described in three steps: projection,
identification, and introjection (Ulus, 2003). In the projection phase, the viewer’s thoughts,
affects, and beliefs are triggered by the events and characters in the film. In the identification
phase, the viewer accepts or rejects the characters as relating to oneself, feeling like the character
in the film with- out necessarily conscious awareness. In the introjection phase, the viewer
adopts the experiences in the film into his/her own world. Within the therapeutic sessions, the
therapist can help the patient work through lessons from each of these stages and resolve issues
to help decrease painful emotions (depression or anger) or incorporate positive experiences
(self-confidence, self-esteem, empowerment) evoked by these processes. The plot of the film
may not exactly represent the client’s life but can serve as a metaphor for an important aspect.
Metaphors have been used in psychotherapy for decades to convey meaning to the symbolic,
creative parts of the brain while bypassing more analytic and logical parts (Groth-Marnat, 1992).
In cases where clients or resist messages and interpretations by intellectualizing or denial,
metaphors provide a valuable less direct form of communication which speaks to more receptive
parts of the personality and allows more open discussion.

Directions for Cinematherapy

It is helpful to ask the client to take notes when watching the film, in order to capture their
impressions, and be able to recall them for processing in the coaching or therapy session.
Recommendations for viewing films are to stay comfortable and pay attention to the body and
breathing, to release tension, and to experience personal reactions without preconceived thoughts
or ideas (Wolz, 2005). After the movie is over, self-questioning can address questions like, ‘did
my breath change when I watched the film?” “What did I like or dislike?” “Which characters did
I identify with?” and “What scenes were appealing or upsetting?”

Film Selection

Practitioners using commercial films as therapeutic tools would have to become familiar with a
wide variety of films. Background research can be done by reading books on the Films can be
self-selected by the client or couple or identified by the practitioner. Since films are chosen to
provide greater self-understanding, insight, or functioning for the client, the therapist must make
a thorough assessment of the client’s problems and situation to tailor the choice to the client’s
situation, problem, needs, and goals, in the same way as with any aspect of counseling or any
homework assignment. Other major considerations are diversity issues (the client’s background
and culture) and the client’s interest in films. To achieve proper selection, the therapist must have
previewed the film and be thoroughly familiar with its content. A judgment must be made
about whether to assign a film which serves as an example of a severe situation (like
drug abuse or domestic violence) or provides positive role models, shows problem-solving,

23
offers hope and encouragement. Not all films used in cinematherapy need to be relevant in
literal content to the patient’s situation, as they may have metaphorical implications (Dermer
& Hutchings, 2000). Some films may also have inappropriate content, like profan- ity, violence,
or other content potentially offensive to the client or contradictory to the goals of therapy. These
may not exclude the film but should require extensive explanation and processing (Dermer &
Hutchings, 2000).subject, searching the worldwide web for sites on cinematherapy and on
particular films, and asking for recommendations from colleagues interested in films or already
using them in their practice (Calisch, 2001). For example, the book See and the Cinema
(Krzywinska, 2006) analyzes the cultural context of sexually themed films, discussing movies
like The Story of 0 (Jaekin, 1975), Eminanuelle (1974), Secretary (Shainberg, 2002), and
Eyes Wide Shut (Kubrick, 1999) which starred then-married Tom Cruise and Nicole
Kidman. Sex in the Movies (Frank, 1989) is an in-depth presentation of over 200 films and
how they treat sexual themes like infidelity, role reversals, swinging, kinky practices, teen
exploitation, and sex- ual violence. Among the movies analyzed are Body Double (de Palma,
1984). Body Heat (Kasdin, 1981), Dressed to Kill (Nell/dePalma, 1940/1980), Tootsie (Pollack,
1982), Last Tango In Paris (Bertolucci, 1972), Behind the Green Door (Mitchell & Mitchell,
1972), and La Cage aux Folles (The BirdCage', Molinara/Nichols; 1978/1996 . Over 1,000
movies are considered in the book Positive Psychology at the Movies (Niemiec & Wedding,
2008) with regard to how they address core strengths and virtues (like courage, justice, and
humanity) identified by leading psy- chologists in the emerging field of positive psychology.
Counselors and coaches wanting to incorporate cinematherapy into their practice can make good
use of the research-based suggested questions for discussion, and the extensive appendices on the
top inspirational films and web resources. One survey of 37 family therapists’ suggestions of
movies to use in therapy led to a list of movies useful to therapists who see couples and
families (Dermer & Hutchings, 2000). The list presents films that address major issues in
therapy, the rationale for assigning it, and for whom it is useful. For example, related to the
subject of “infidelity,” the film Something to Talk About (Hallstrom, 1995) is recommended for
couples as a useful demonstration of how affairs often emanate out of low marital satisfaction.
To address the subject of “conflict resolution and communication,” the film War of the Roses
(de Vito, 1989) is listed as recommended for couples since it demonstrates the end result of
dysfunctional processes. The film Bye, Bye Love (Weisman, 1995) is recommended for
divorced or divorcing parents since it presents three examples of that situation. Films
recommended for clients with “intimacy issues in relationships” include Crimes and
MisdemeanorS (Allen, 1989) for its exploration of the complexity of love relationships and
efforts in current relationships to repair the past; Crossing Delancey (Silver, 1988) for its
exploration of the problems of being single and pressured to get married; and How to Make an
American Quilt (Moorhouse, 1995) for its examples of confronting intimacy fears and
committing to adulthood. For couples with marital problems, Four Seasons (Alda, 1981) was
recommended for its demonstration of marital struggles and Forget Paris (Crystal, 1995) was
noted for showing how a couple having difficulty making time for each other fail and succeed in

24
their relationship.

Assigning “Homework”

The use of homework assignments has been validated as a useful technique in therapy
(Kazantzis, Deane, Ronan, & L’Abate, 2002). Assigning major motion pictures homework can
be well received since watching movies is perceived as a pleasurable activity, and viewing can be
done alone or together as a couple or in a group. When working with a couple, the counselor or
coach should make it clear whether the couple should discuss their reactions to the film together
afterward or write their reactions down for discussion together at a defined time and bring such
notes to the session for discussion.

9 Case Example of Cinematherapy

The following is a case history which provides an example of how a film was used in therapy
with a patient. In Love with Mr. Wrong: when Harry Met Sally Many women come to therapy
complaining about persistent attraction to men who treat them poorly. These women usually have
a history of choosing men who fit the profile of being emotionally unavailable but meeting the
women’s “eligibility criteria'' for being physically handsome, financially well-off, and socially
well-connected (Kuriansky, 2002). At the same time, these women commonly are pursued by,
but reject, suitors who treat them well but do not fit their eligibility criteria.

The example of the case of Stephanie. An example of the type of women with re the above
problems is a 25-year-old female client, Stephanie. Early in her therapy, Stephanie was assigned
to view the film, then Harry Met Sally (Reiner, 1989). In this film, the young single female
character Sally Albright played by Meg Ryan is dating a typical Mr. Wrong — a man who
treats her poorly to the point where she is constantly feeling miserable and badly about herself
— and develops a close friendship with a good-matured but somewhat neurotic male Harry
Burns (played by Billy Crystal). Their relationship deepens as they share extended phone con-
versations, intimate confessions and tender consolations, and spend holiday time together —
essentially acting like a traditional couple. Yet Sally resists their romance since Harry hardly fits
her “eligibility criteria,” in that he is not handsome, suave, or hard to get. The film addresses
common issues in real people’s lives as to whether a male and female can be friends without
having sex (Harry insists sex has to happen, Sally maintains it doesn’t) and also whether a
woman can accept the “nice guy” who makes her happy as opposed to the “player” she desires
but suffers.

In the post-viewing therapy session, Stephanie admitted that she readily identified with the Meg
Ryan character and wished she could similarly accept a “nice guy.” Therapy ensued with steps
toward accomplishing this goal (Kuriansky, 1990), which include demystifying attraction;
determining and changing your checklist for what you are looking for in a partner; evaluating
self-deceptions involved in search- ing for the idealistic “dream lovefi’; recognizing emotional

25
traps, inner messages, and lifelong patterns traced to relationships with parents and early dating
partners which lead to compulsively making dysfunctional choices; resisting impulses based on
lust and atnaction to money, power, or sex; and building self-esteem to be freer to make healthier
partner choices resulting in being treated well. Taking these steps, the client can be encouraged
that good friendship is an important foundation for a loving romantic partnership. A helpful
exercise for these women — and men since males can suffer a corollary syndrome — is to
make a specific list of their “love criteria” — the qualities they feel they must have in a
partner — to reevaluate those (Kuriansky, 2004a).

As Stephanie enjoyed watching movies, she was assigned another film that fur- ther explores
mate criteria. In Crossing Delancey (Silver, 1985), a single woman at first resists the advances of
a suitor, discounting him as ineligible because of his job as a pickle-maker, but then becomes
more open to him because of his caring character.

Modeling Sexual Responses

Even in contemporary times when women’s sexuality is addressed openly and many books are
available about women’s sexual pleasure, a considerable number 350 of women still have trouble
having orgasm. This is “anorgasmia,” referring to the meaning of the state “before” a woman has
had such a release. Assigning the film When Harry Met Sally (Reiner, 1989) is also helpful in
these cases, when accompanied by instructions to pay particular attention to the famous “orgasm
scene.” In that scene, while eating in a deli restaurant with her Harry, Sally mimics the
experience of having an orgasm. As other diners look on and listen in, Meg makes movements
and emits loud sounds of ecstasy, to the point where an older woman looks on with envy and
announces, “I’ll have what she’s having” (a comment which evokes laughter). Stephanie’s
discussion of the humor in that scene is expected and allows for more comfortable exploration of
the sensitive issues of women’s orgasmic response.

As Stephanie explained in a post-viewing session, “It was hysterical the way she really did that
in public, but it was so extreme, I don’t think that's real.” This response facilitated the therapist’s
offering of corrective thinking about women’s orgasm: That such “extreme” reactions
displayed in the film can occur in some women; that all women’s responses are individual;
and that sexual responses can vary for any one woman over time. MoSt Importantly, it was
pointed out that while faking an orgasm is not recommended during sex with a partner (because
it takes the woman out of the experience of relating to her partner), such faking offers an
excellent opportunity to become more comfortable with a full range of sexual responses and
is an important step in therapies to teach women to have orgasm (Barbach,1976; O’Connor,
1986). Mimicking during self-stimulation what the woman thinks is an orgasm further helps
the woman get in touch with her expectations and experience the full range of releasing her
physical and emotional responses (essentially “faking it until you make it”). Such a practice is
substantiated by social learning theory as described above, which emphasizes the importance of

26
observing and modeling behaviors, attitudes, and emotional reactions of others, and maintains
that the highest level of observational learning is achieved by organizing and rehearsing
the modeled behavior symbolically and then enacting it overtly (Miller & Dollard, 1941;
Bandura, 1977, 1994). As a follow-up and further reinforcement of the lessons from the
film-viewing homework, clients like Stephanie can be assigned bibliotherapy
homework. In Stephanie’s case, she was assigned to read the book, For Yourself. The
Fulfillment of Female Sexuality, which even decades after its release effectively describes
women’s orgasm and the steps to achieve this response (Barbach, 1976).

Application to Real Relationship Problems

Fear of Commitment

One of the most common problems in relationships today is fear of commitment - the
inability to be intimate with one person. The classic commitment-phobic male with “cold
feet” recounts in therapy how he dates many eligible women but always breaks up with them
without knowing why. Issues to explore which perpetuate this problem include an attachment to
mother, anger toward women, and early experiences of having been either suffocated or
abandoned. A film which demonstrates such a character with the “Peter Pan syndrome”
(inability to grow up and form a mature relationship) is Failure to Launch (Dey, 2006) where a
35-year-old commitment-phobic male moves in with his parents to be taken care of while he
perpetuates Romeo-like behavior. Commitment-phobes benefit from seeing their actions played
out on screen, providing an objective view of their own behavior. Married men can suffer as
much as single men and can also benefit from seeing this film, to face underlying fears of
commitment and vulnerability that sabotage their emotional connection and sexual performance
with their partner.

Cross-gender identification with film characters is also possible. Women who see this film can be
guided to view themselves as commitment-phobic similar to the male character. The therapist
can point out how women in real life complain about not finding an eligible partner when in
reality they are choosing unavailable men to “hide” behind complaining about the man without
owning their own resistance. These women suffer from the female corollary to the “madonna
prostitute” syn- drome in men (where the male splits women into the doting wife and mother
figure while directing his erotic interest to another woman) and demonstrate the “daddy- Don
Juan” syndi ome where the woman disconnects her erotic desire from the man once he becomes
her stable partner and father of her children. The film Runaway Bride (Marshall, 1999) is a good
example of such female Peter Pans, chronicling the antics of Maggie Carpenter, played by Julia
Roberts, who leaves her grooms at the altar. The therapist can also point out how life imitates art,
as the actress herself (Roberts) broke off with a fiancé right before the wedding and had a
short-lived marriage. A happy ending can also be explored, as Roberts has since found
commitment with her present husband with whom she has three children.

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Sex, Love, Commitment, and Marriage

Perhaps in no one film are there as many examples of issues related to sex, love, commitment,
and marriage as in the long-awaited film Sex and the City (King, 2008) based on the
long-running popular television series of the same name. This is an ideal film to recommend for
many clients with relationship issues, as it is fun viewing as well as presents examples of
relationships to discuss with key phrases mentioned in the movie, either as narration or as
script, which can be reviewed. Men as well as women can benefit from following the
relationship dynamics and patterns experienced by the main male character as well as by the
female characters, and by the sharing of the four female friends, who represent stereotypes of
real women. The classic lesson of the film is the value of the female support system evident
in the friendship of the four friends, who are always “there” for each other, especially in
emotional emergencies. Many other very relevant issues are presented. Fear of commitment,
as mentioned above, is dramatically portrayed in this film, where not only Mr. Big (played by
Chris Noth as the longtime love of the main character of Carrie Bradshaw, played by Sarah
Jessica Parker) has cold feet and leaves her at the altar but the female character of Samantha
Jones (played by Kim Cattrall) presents an example of female commitment-phobes.
Samantha continues to focus on sex (and salivate at fit male bodies) instead of settling down
even with the handsome younger lover Smith Jerrod (played by Jason Lewis) who never falters
in his desire for her. Her situation highlights important issues often overlooked in counseling
with women, where they project their own commitment fears onto the men they complain
about. Despite in the fact that her younger lover treats her well, Samantha says, “I can’t
believe that my life revolves around a man” and bemoans that commitment signals an unpleasant
state where, “ .. it’s all about the other person .. ” and where you “ ... lose yourself ” While
the movie character seems to have control of her life, women in real life exhibit codependency in
losing themselves when they are in a relation- ship — a valuable issue to explore in counseling.
Samantha ultimately breaks up with her young lover, admitting her problem, that she loves him
but loves herself more. Some real-life women, to the chagrin of their male partners, walk out on
their union, like Samantha, “in search of themselves.” Using the example of Samantha’s distress
that her lover bought her a gift she admired because she wanted to buy it for herself, can be a
trigger to discuss this drive (possibly an over-reaction) for independence, sometimes called
counterdependency. The dilemma of another of the girlfriends, Charlotte York (played by Kristin
Davis), also provides fodder for real-life counseling, in that she acknowledges that she has a
“perfect” life — wonderful husband, adorable adopted daughter, and new baby on the way —
she is afraid to be so happy since “nobody gets it all.” Indeed, some real-life couples sabotage
their relationship for just this reason, fear that it is too good and therefore bound to be ruined.
Yet, in a poignant scene — valuable to point out to a client for positive modeling — Charlotte
kisses her husband Harry Goldenblatt (played by Evan Handler) in bed and says, “Thank you for
being you.” By the opposite token, Miranda Hobbs (played by Cynthia Nixon) becomes sour on
marriage when her husband Steve Brady (played by David Eisenberg) admits having a sexual
fling, explaining his frustration that they have not had sex in a long time. Her choice can raise

28
debatable issues in real-life counseling, including

Samantha’s advice to her friend to forgive her husband’s infidelity since “Anyone can slip.”
Discussing the “violation of trust” which Miranda says “is killing me,” can help clients explore
their own deep wounds from betrayals in their own life. Despite her husbands’ protests that the
fling meant nothing, Miranda refuses to take him back and even tells Mr. Big on the eve of his
nuptials that “Marriage ruins everything.” The impact of sexual infidelity is rich for discussion,
comparing reactions based on the nature of the indiscretion (a one-time fling or a long-term
affair) and possible options (breaking up or resolving the hurt). Samantha’s life also pro- vides
food for the proverbial therapeutic couch, as she gains weight at one point in the film,
explaining that she “Eats so [she] will not ‘cheat.”’ In more positive cop- ing, Miranda and
Steve go to therapy and reconcile. Their experience shows how couples can recover from affairs,
by exploring feelings and making new agreements (Kuriansky, 2002). Several stereotypes are
revealed in the fi1m, which can be explored in counseling. For example, when two of the
girlfriends shop for costumes for one’s little daughter, the other observes that the outfits are “all
either a witch or a sexy kitten,” reflecting two stereotypic female roles: women as a nagging wife
or an erotic lover. Another comment made by one of the women — that “Good guys screw you,
bad guys screw you, and some don’t screw you” — can be triggered by talking about the theme
of women feeling victimized by men and the possibilities of becoming empow- ered instead.
Another of the film’s themes actually breaks gender stereotypes, as Miranda, a female
lawyer, is portrayed as the one who avoids emotions, while her husband Steve is approachable
and emotional (what can be considered a modern day “emo-man” signaling his capacity to
express emotion). In the end, Miranda learns to express her feelings. Miranda’s withdrawal from
sex, as the reason for Steve’s infidelity provides further material for therapeutic discussion about
how sexual needs impact infidelity. Despite problems, love wins out in the film, as Carrie’s
assistant (played by Jennifer Hudson) reconnects with — and marries — her old flame, and as
Mr. Big or finally succumbs to exchange vows with Carrie. While the narration says at one point
that relationships can’t be “all about being happy,” love does matter, and happy endings happen
— which itself can be reality tested in real-life sessions.

Sustaining a Long-Term Relationship

Problems like those expressed by Miranda and Steve in Sex and the City (King, 2008) are
coriuiion in real life, whereby couples stop having sex and drift apart. Many films show this
dilemma and reflect real-life situations where couples come to therapy complaining of boredom
and wanting to spice up their love life. An inter- esting trend these days to solve these problems
is to guide the couple in ancient techniques of tantric connection and tantric sex in order to
achieve deeper intimacy through breathing exercises and directing energy (Kuriansky, 2004b).
Simple practices can be taught where couples set aside special evenings to be together, look
deeply into each other’s eyes, and breathe deeply, sending love energy into the other person.
Tantric sex practices are presented briefly — and humorously — in American Pie 2 (Rodgers,

29
2001) but are explored in great detail in the film Bliss (Lawrence, 1985), which is a useful
assignment for couples, to see how the technique works to encourage a more sacred and joyful
union when a couple seeks to revive the games of passion in their relationship by exploring this
path. (Along the way, the female partner in the couple also uncovers sexual abuse in her past,
which is another com- mon real-life phenomenon that must be healed in order to stop sabotaging
couple’s intimacy.)

Affairs

With surveys showing shockingly high numbers of men and women having had an affair during
the course of an otherwise committed relationship, many individu- als and couples seek
counseling for infidelity as either the presenting complaint or a major issue. Topics which need
to be explored include reasons for the infidelity, e.g., personal problems like fear of commitment;
social circumstances like a drunken evening on an out-of-town work trip; or relationship
problems like resentment, or anger, or sexual frustration. A woman's 4-day intensive affair —
and rediscovery of her passion — in her husband’s absence is poignantly portrayed in Bridges of
Madison County (Eastwood, 1995). While the therapist must emphasize that assign- ing this film
is not an endorsement of having an affair, the assignment can serve as a trigger to explore the
increasing phenomenon of female infidelity. While couples can recover from an affair if they
understand their needs, are able to forgive and to make a renewed commitment to each other,
some individuals will not stop philandering. The film Alfie (Gilbert, 1966/Shyer, 2004) can
be a good example for a woman addicted to womanizers to dissuade her from craving such men
and a good example for philandering men of the pain of such behavior.

Betrayal from Affairs

Almost everyone has been rejected in relationships at some point in his/her life.Many patients
come to therapy after a troublesome breakup resulting in emotional devastation. Past and present
pain from these experiences cause people maladjustment in all aspects of their present life and
also lead to various extremes of fear of commitment and intimacy (Firestone & Catlett, 1999). A
useful film which por- trays reactions to rejection and coping mechanisms is The First
WivesClub (Wilson,1996). In the film, four female friends have been abandoned by their
partners for a younger mate. One of the women is so distraught that she plunges over her
balcony, committing suicide. The remaining three friends (Bette Midler who plays Brenda,
Goldie Hawn as Elise, and Diane Keaton as Annie whose husband has an affair with their
marriage counselor) meet after the funeral, review their unhappy marriages and heartbreaks, and
plot their revenge. They form a club called The First Wives Chi (Wilson, 1996) and decide to
blackmail their husbands and retrieve financial resources they feel are rightfully theirs. Cleverly,
they convince their ex-husbands to fund a nonprofit charity in their dead friend’s name to help
support mistreated women. The movie’s plot offers an excellent opportunity for a counselor to
address common reactions of rejection with a client, including the narcissistic injury which

30
erodes self-esteem (Rice & Rice, 1986) by referring to reactions of the film characters. For
example, Brenda reacts with cynicism and Annie becomes insecure. Common phases of
denial, depression, and anger can be discussed, as well as positive coping strategies, like
securing support from friends — a strategy which has been proven in real life to be sustaining.
Clients will inevitably react to the memorable line from the hlm uttered by Ivana Trump
(playing herself) who announces at the after-party of the grand opening of the charity, the
line she is well-known for: “Don’t get mad, get everything!” Clients will also likely raise another
memorable scene, which has become popular on YouTube, where the three friends sing the
popular 1960s Lesley Gore tune, You Don’t s OwnMe. The lyrics, “I’m free, and I love to be
free, to live my life the way that I want, to say and do whatever I please. No you don’t own me!”
can offer motivation to a client to assert a similar sense of empowerment. Specific questions
that facilitate this transition from powerlessness to empowerment in a post-viewing debriefing
session include ‘talk about the characters in the movie”; “How did the women feel about being
rejected?” “Which character do you most relate to?” “What do you think about how the women
reacted to their husbands’ unfaithfulness and rejection?” “What are constructive and destructive
ways to deal with rejection?” and “How does seeing this film make you feel differently about
your coping in your situation?”

Another commercial film addressing rejection is Under the Tuscan Sun (Wells, 2003). After the
female main character in the film discovers her husband’s affair and intentions to take their
shared assets, she moves to Italy where she discovers new relationships and renewed
self-esteem and joy in life. This adjustment is reas- on suring to patients in similar situations.
Another resourceful movie is Jfñy Did I Get Married? (Perry, 2007) where a woman (played by
Jill Scott) betrayed by an unfaithful husband (played by Richard T. Jones) finds forgiveness, new
self-worth, new love, and renewed strength and faith.

Control and Power Struggles

Great interest centered on the film Mr and Mrs. Smith (Liman, 2005) because its s• stars Brad
Pitt and Angelina Jolie play spouses suffering from the “5-year itch” — in boredom and waning
passion in their relationship — which is one of the most com- omon complaints of couples who
seek counseling. However, the characters in the zz film are both assassins who end up being
assigned to target each other, with result- s› ing tension between the two stimulating
excitements. The same excitement was v rumored to be the cause of the actors’ real-life
attraction, resulting in Pitt leaving his wife Jennifer Aniston for his co-star Angelina Jolie.
Assigning this film to a couple can be a stimulus for discussing how power struggles can be at
the source of their relationship problems and can also spark discussion about ways to restore the
spark. Competition between partners — as between the Pitt and Jolie characters — are in another
common issue in real-life couples. Usually in therapy, the male partner is not interested in
exploring these fantasies, with accouterments like whips and chains, although increasingly,
female partners express the desire to tie up the man or order him around. The film Secretary

31
where a young woman (played by Maggie Gyllenhal) just released from a mental hospital has
sexual sadomasochistic sex with her lawyer boss (played by James Spader) is a good example of
how such sex and power imbalance is addictive until the person develops self-esteem and feels
deserving of being loved instead of tortured. The film also raises an interesting question about
whether it is possible to have a sadomasochistic relationship that is “healthy” 61a and perhaps
even therapeutic where the two people can help each other heal from o control and power
conflicts (Kelleher, 2002).

Divorce

Despite the increasing numbers of divorces diminishing the social taboo and shame of such
breakups, both members of a couple can still suffer severely, especially when children — and
custody battles — are involved. With more men fighting for custody of their children, the film
Kramer versus Kramer (Benton, 1979) is a good suggestion for men to view since it shows a man
(played by Dustin Hoffman) left by his wife (played by meryl Streep) adjusting to caring for
himself and wanting to hold on to his child (played by Justin Henry).

RESEARCH OBJECTIVES & METHODOLOGY

Research Objectives

Objectives are the goals you set out to attain in your study. Research objectives describe
concisely what the research is trying to obtain. They summarize the undertakings a researcher
wishes to achieve through the research and provides direction to the study. Before forming a
research objective, one should read about all the developments in the area of research and find
gaps in knowledge that need to be addressed. This helps the researcher to come up with suitable
objectives for the research project.

These objectives are the main thrust of this research:

● To study the use of cinema therapy as a therapeutic tool for self help.
● To study the impact of cinema therapy on the people’s mindset.
● To analyze the personal reflection by movies in provoking emotion and shaping
viewpoints of people.

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 H0 There is no significant relationship between therapy and cinema.

H0 There is no significant relationship between therapy and psychology

H1 There is a significant relationship between therapy and cinema

H1 There is a significant relationship between therapy and psychology

CHAPTER-2

INTRODUCTION

This includes the method employed to gather the data for the study. This includes research
design, population, sample size, sampling techniques, data collection methods and data
analysis used for the study.. From meaningful research, we gathered information on cinema
therapy.

RESEARCH DESIGN

Quantitative research technique was used to collect data from respondents. It was used
because we wanted to know the number of responses that fall under one category, and it also
examines the cause and effect of a relationship as to why they think a particular issue leads
to a problem. Under this approach, the emphasis was on the frequency at which something
occurs. The reasons where to find out how people feel about the user experience while
browsing the website.

Research design is designed on the basis of:

1. What is the study about?

To study the impact of cinema on psychology of people in terms of therapy.

2. Why is the study being made?

The study is being conducted in order to find out how cinema acts as a tool for therapeutic
purposes.

3. Where will the study be carried out?

The study will be carried out randomly in Delhi for everyone regardless of age and gender.

33
4. What type of data is required?

To carry out this study, primary data is to be collected using a survey method.

5. Where can the required data be found?

The required data will be collected from the random people regardless of age and gender from all
over Delhi.

6. What will be the sample design?

Sample Population: 100 people from all over Delhi

Sample Design: Random Sampling

7. What techniques of data collection will be used?

Survey methodology will be used to collect data. Under survey, questionnaires will be used as
the tool of data collection.

8. How will the data be analyzed?

The data will be analyzed by statistical tool called SPSS.

Research Problem

● Is Cinema and therapy related to each other

● Can cinema be used as a therapeutic tool
● Can people be therapised by a movie in any way

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 CHAPTER-3

DATA ANALYSIS TECHNIQUES

Data was analyzed, after the data collection forms had been scanned to make sure that the
questions and their responses followed a sequence. This followed by editing and coding that
made the data presentable to computer analyses. The final stage was the tabulations and
pictorial presentations. Percentages and pie charts were used to illustrate all the data. The
study also used narrations to analyze the data from the opinions of the respondents.

In the analysis of data and testing of hypothesis, the researcher shall make an effort to study
every available document. The statistical tool to be used for this study is contained in SPSS
(Statistical Package for Social Scientists) so as to adequately verify information collected for
this study. In order to analyze the data, the regression analysis was used to test the
hypothesis of the variables involved in the study.

Duration: Month of December

Tools of data collection: Primary Data Collection (Survey- Questionnaire, Schedule)

Questionnaire

● Name
● Age
● E-mail
● Gender
1. Female
2. Male
3. Prefer not to say
● Do you watch movies?

35
1. Never
2. Rarely
3. Sometimes
4. Often
5. Always
● How much time do you spend in a day watching movies?
1. 0-2 hours
2. 2-4 hours
3. 4-6 hours
4. More than 6 hours
● Do you believe in therapy?
1. Yes
2. No
3. Maybe
● Do you think there is a relation between cinema and therapy?
1. Strongly agree
2. Agree
3. Neutral
4. Disagree
5. Strongly disagree
● If you agree, then state the reason.
● What aspect do you like the most about movies?
1. Entertainment
2. Psychological
3. Emotional
4. Moral and ethical values
5. Other
● Can Cinema Therapy be taken seriously within this unusual world?
1. Yes
2. No
3. Maybe
● Mention any movie that has changed your mindset in a positive / negative way?
● Have you ever felt therapized by a movie that helped you in any way?
1. Yes
2. No
3. maybe
● Do you think you would ever be interested in undergoing cinema therapy, that is being
encouraged now-a-days?
1. Yes
2. No

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 3. Maybe
● Do you see Cinema as a Therapeutic tool?
1. Yes
2. No
3. Maybe

DATA PROCESSING

INTRODUCTION

This topic covers the findings and analysis of the study. It highlights how the researchers
conducted the research as to the collection of both primary and secondary data needed for the
attainment of the study’s objectives. The data collected are analyzed using statistical tools,
backed by graphs, charts and other diagrams as well as narrations. The main purpose for the
study was to come out with information as to the most desired and practical strategies to enhance
user experience.

Sources of Information/Data Collection

Information of the study was gathered from both primary and secondary sources. Primary data
was gathered for the study by distribution of questionnaires.

Secondary data was gathered for the study by taking references by various sources like journals
and books.

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38
39
40
41
Reliability Test

42
Chi-Square Test

43
44
45
46
 CHAPTER-4

SUMMARY

The given table infers that the survey is reliable and consistent and hence, the null hypothesis has
been rejected and the alternative hypothesis has been accepted. Thus, cinema and therapy are
related to each other, cinema can be used as a therapeutic tool for self help as people can be
therapised by a movie in both positive and negative ways. It involves the therapist-directed
viewing of movies for therapeutic purposes. The combination of thematic elements—music,
dialogue, lighting, and images—can often evoke deep feelings in viewers, both allowing for
personal reflection and providing a new perspective on external events. Movies might be used as
part of individual therapy, group therapy, or family therapy, but movie therapy has been shown to
be particularly beneficial as part of couples counseling. This research paper is in advocacy of
the use of movies, as movies are often easily integrated into therapy because they are
widely available and accessible to many people.

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 CHAPTER-5

CONCLUSION

Cinematherapy is a self help tool for therapeutic purposes. It has an impact on people’s mind. It
reflects on your mind, changes your perspective and its elements can be successfully used in the
education or therapy of people with an intellectual disability or mental disorders.:
"Cinematherapy is not so much a therapy in the strict sense of the word as an attractive
addition to proper therapy, prevention, combining pleasant with useful ways of relaxation
combined with self-fulfillment and development". The aim of therapy through film is to combine
entertainment and awareness. The viewer is supposed to watch or create a film on their own
while enjoying it. Under these conditions, the film can have a high therapeutic value. It is worth
taking advantage of one’s own experience of participating in culture. Creativity should have
educational functions because it makes the world a better place. Cinematherapy helps
understand the surrounding world and gain joy in life. To sum up, cinematherapy should play a
significant role in the process of development of all people. Cinematherapy and its elements can
be successfully used in the education or therapy of people with an intellectual disability or
mental disorders.

SUGGESTIONS

An increasing numbers of therapists prescribe movies to help their patients explore their psyches.
And while few therapists have actually gone so far as to package their practices around cinema
therapy, movies -- like art, books, and music -- are becoming one more tool to help those in
therapy achieve their goals and overcome their hurdles. Cinema therapy is very useful and
recommended even by professionals and could be made a part of this world for therapeutic
purposes and self help Since it can have a positive effect on most people.

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 LIMITATIONS

Many people believe that movies have therapeutic value. Be that as it may, some limitations

should be kept in mind. It must be stressed that film therapy is only an auxiliary method

supporting traditional methods of therapy.

In some cases, an assigned film may have little effect. An individual might also find particular

aspects of a film to be troubling or triggering, and a trained therapist will generally exercise care

when considering which movies may be effective for certain concerns.

Some individuals may not have enough time to watch an assigned movie. Others may be unable

to watch movies at home because they do not have a television or computer. Thus, this form of

therapy may not be accessible to some people.

Despite the wide use of film in therapy, there is still limited research about the efficacy of movie

therapy and its application. However, it is not known to be harmful, and further practice of this

type of therapy is likely to generate wider knowledge about its efficacy.

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 CHAPTER-6

BIBLIOGRAPHY

http://www.telegraph.co.uk/news/health/3330249/Movie-therapy-Do-you-believe-in-the-hhttp:/

/blog.chron.com/loveandrelationships/2015/08/can-movie-therapy-save-your-marriage

http://www.cinematherapy.com

http://www.zurinstitute.com/movietherapy.html

https://www.researchgate.net/publication/259953519_Cinematherapy_Using_Movie_Metaph

ors_to_Explore_Real_Relationships_in_Counseling_and_Coaching

https://www.goodtherapy.org/learn-about-therapy/types/movie-therapy

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APPENDIX

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