Carl Jung's Model of Mind
Jung Model
Jung Model
CARL GUSTAV JUNG:
Consciousness, Jung says, is like a surface of a skin upon a vast unconscious area of unknown extent. The area of consciousness is a restricted field of momentary vision, a point of contact, a relation between what we consider “I” (ego) and what we consider not-“I”. Consciousness is in that view the product of our perception and orientation in the world outside us. It is important to realize that our ego, in Jung’s view, is our consciousnesses point of reference; nothing can be conscious without an ego.
So Jung defines the ego as our center of consciousness; a complex of psychic facts; constituted by general awareness (of body and existence) and by memory data (recorded past awareness?). “The ego is only a bit of consciousness which floats upon the ocean of the dark things” (the inner things), Jung says.
Jung distinguishes a number of functions that enable consciousness to become oriented in its relationship with facts and data coming in from the environment (ectopsychic facts) and those “popping up” from the unconscious (endopsychic facts).
The ectopsychic functions are (according to Jung):
1. Sensation; the sum-total of awareness of external facts I perceive through the function of my senses – something is
2. Thinking is perception and judgment; it tells me what a thing is
3. Feeling in Jung’s terms is the rational, differentiated function of giving value, the worth of this thing for me
4. Intuition is a not-exactly (Jung’s word)-sensory perception of subliminal data that enable me to look around a corner (beyond the time/space I am in).
These psychological functions have their specific energy and are usually controlled by our will; we can use, not use or suppress them with any chosen intensity and we can ideally direct them by our willpower (intention).
But they also can function involuntarily or even unconsciously.
Jung Model of Mind
Hero's Journey - hero archetype
Archetypes
Archetypes abound in contemporary films and literature as they have in creative works of the past, being unconscious projections of the collective unconscious that serve to embody central societal and developmental struggles in a media that entertain as well as instruct. Films are a contemporary form of mythmaking, reflecting our response to ourselves and the mysteries and wonders of our existence
Contemporary cinema is a rich source of archetypal images, most commonly evidenced for instance in the hero archetype: the one who saves the day and is young and naive, like Luke Skywalker in Star Wars, or older and cynical, like Rick Blaine in Casablanca.
The mentor archetype is a common character in all types of films. They can appear and disappear as needed, usually helping the hero in the beginning, and then letting them do the hard part on their own. The mentor helps train, prepare, encourage and guide the hero. They are obvious in some films: Mr. Miyagiin in The Karate Kid, Gandalf in The Lord of the Rings, Jiminy Cricket in Pinocchio, Obi-Wan, and later Yoda in the original Star Wars trilogy
The Shadow, one's darker side, often associated with the villain of numerous films and books, but can be internal as in Dr. Jekyll and Mr. Hyde. The shape-shifter is the person who misleads the hero or who changes frequently and can be depicted quite literally e.g. The T-1000 robot in Terminator II. The Trickster creates disruptions of the status quo, maybe childlike and help us see the absurdity in situations, provide comic relief; e.g. Yoda in The Empire Strikes Back, Bugs Bunny and Brer Rabbit. The Child often innocent; could be someone childlike who needs protecting but may be imbued with special powers e.g. E.T. The Bad Father - often seen as a dictator type, or evil & cruel e.g. Darth Vader in Star Wars. The Bad Mother e.g. Mommie Dearest, along with evil stepmothers & wicked witches. The Bad Child; e.g. The Bad Seed, The Omen.
Jung Model
