a comprehensive technical toolkit for the auteur
a new podcast and forthcoming five-volume book by gabriel gettman
introduction
A film is, or should be, more like music than fiction - Kubrick
The Practical Psychology of Cinema is a body of work at the intersection of analytical psychology, film theory, dramatic theory, narrative criticism, screenplay technique, film aesthetics, visual semiotics, acting methodologies, biomechanics, and dance notation that ambitiously unites these diverse fields to create a complete understanding of cinema, both technical and practical, for the actor, writer, director, cinematographer and cinematic auteur.
The ‘golden key’ to this work is Psychophysical Analysis, a unique language for specifically quantifying character and the phenomenological impulses of being ‘in character’. In this way, Psychophysical Analysis links a map of human psychology to predictable physical expressions, at a level sufficiently complex to be mimetic for an audience yet sufficiently simple to be practical for the actor. Its ultimate ambition is to be able to ‘score’ a dramatic performance with the same absolute precision as a musical performance.
Psychophysical Analysis was developed at revolutionary conservatoire acting school Drama Centre London by Yat Malmgren, drawing on the prior work of Rudolf Laban, William Carpenter, Carl Jung and Konstantin Stanislavski. The work’s interpretation of Psychophysical Analysis draws on a 700-page PhD by former Principal of Drama Centre Vladimir Mirodan and a substantial manuscript by Drama Centre co-founder Christopher Fettes. While admirable for their depth, these few written texts on the subject remain obscure to the uninitiated, and now that Drama Centre London has closed, few remain qualified to teach Psychophysical Analysis in its original conception. For the first time outside of the Drama Centre classroom, The Practical Psychology of Cinema attempts to provide an accessible introduction to Psychophysical Analysis and make its gifts more public.
Going further, The Practical Psychology of Cinema extends Psychophysical Analysis to more broadly describe the multi-faceted totality of cinema, necessarily integrating it with other post-Jungians such as Joseph Campbell and Erich Neumann, and other dramatic thinkers such as Aristotle and Lajos Egri, as well as many more. These disparate sources are synthesised through the author’s own original thought, his professional experience of directing, and his ongoing twice-weekly personal analysis with one of the world’s pre-eminent Jungian analysts.
On an academic basis, The Practical Psychology of Cinema offers new insights and clarity even on well-discussed topics. Transcending academia, its true aim is to offer an unprecedentedly comprehensive practical toolkit to the auteur, that allows them to ‘score’ and ‘conduct’ the multi-faceted ‘orchestra’ of cinema as precisely as a musical symphony. Finally, as cinema is fundamentally a medium for representing consciousness in reality, the work offers utility for understanding our real lives through a Jungian framework, including discussions of the individual, politics, metaphysics and spirituality.
After five years of development, The Practical Psychology of Cinema now exists as a substantial body of notes, around 100,000 words. In its final form across five volumes, it is expected to exceed 2,000,000 words, a decades-long project to complete in full prose for publication.
In advance of this, the author’s current project is to introduce, distill and clarify the work in an ongoing podcast. Each episode covers a single chapter of the forthcoming book in an informal discussion with two guests: Peter Clements, a working actor trained at Drama Centre London, and Joshua Lipworth, a professional director of music videos and commercials. Both guests are also currently undergoing Jungian Analysis, and bring the richness of their personal lives to the room. Listeners are invited to join the guests on their ongoing journey into the work, as the podcast gradually builds into an unprecedentedly comprehensive 150-hour course in cinema.
how do I start?
If you are trained in Psychophysical Analysis, also known as Movement Psychology, Yat’s Work, Character Analysis etc, then feel free to skip Chapter 0.1, which is a brief introduction to familiar terms.
If you are new to Psychophysical Analysis, we recommend downloading the introduction PDF and then listening to Chapter 0.1 and its sub-chapters, which take you through the PDF step-by-step. It may also be useful to keep the PDF on hand for reference while listening to later discussions, particularly Volume 3.
table of contents
0. Introduction
● 0.1 BRIEF INTRODUCTION TO PSYCHOPHYSICAL ANALYSIS
○ 0.1.1. Psychophysical Contacts
○ 0.1.2. Psychological Factors
0.1.2A Sensing
0.1.2B Thinking
0.1.2C Intuiting
0.1.D Feeling
○ 0.1.3. Physical Factors
0.1.3A Weight
0.1.3B Space
0.1.3C Time
0.1.3D Flow
○ 0.1.4. Psychophysical Factors
0.1.4A Sensing-Weight
0.1.4B Thinking-Space
0.1.4C Intuiting-Time
0.1.4D Feeling-Flow
○ 0.1.5 Psychophysical Attitudes
○ 0.1.6 Psychophysical Tempi
○ 0.1.7 Physical Induction Actions
○ 0.1.8 Combined Psychophysical Tempi in Performance
○ 0.1.9 Shorthand terms for Combined Psychophysical Tempi
● 0.2 INTRODUCTION TO NARRATIVE STRUCTURE
Volume 1: Narrative Text
● 1.1 TEXTUAL EVENTS
o 1.1.1 DRAMATIC EVENTS
o 1.1.2 CIRCUMSTANTIAL EVENTS
● 1.2 STRUCTURAL ELEMENTS
● 1.3 SELECTION OF EVENTS
● 1.4 TEXTUAL PLOTS
● 1.5 DIALOGUE
Volume 2: Narrative Subtext
● 2.1 SUBTEXTUAL PLOT aka PREMISE
● 2.2 TONE
o 2.2.1 CLASSICAL TONES
▪ 2.2.1A Epic
▪ 2.2.1B Comic
▪ 2.2.1C Mythic
▪ 2.2.1D Tragic
o 2.2.2 MODERN TONES
▪ 2.2.2A Sentimental
▪ 2.2.2B Dark
▪ 2.2.2C Black
▪ 2.2.2D Bleak
● 2.3 EMPATHY AND ENGAGEMENT
● 2.4 PROTAGONIST
Volume 3: Character as Narrative Subtext
3.1 PSYCHOPHYSICAL ANALYSIS IN DEPTH
● 3.1.1. PSYCHOPHYSICAL ATTITUDES IN DEPTH
o 3.1.1A Adream
o 3.1.1B Awake
o 3.1.1C Mobile
o 3.1.1D Stable
o 3.1.1E Remote
o 3.1.1F Near
● 3.1.2 SPECIAL QUALITIES FROM ABSENT PSYCHOPHYSICAL FUNCTIONS
● 3.1.3. PSYCHOPHYSICAL TEMPI IN DEPTH
o 3.1.3A Near
o 3.1.3B Remote
o 3.1.3C Adream
o 3.1.3D Awake
o 3.1.3E Stable
o 3.1.3F Mobile
3.2 SUBJECTIVE CHARACTER
● 3.2.1 SUBJECTIVE DIMENSIONALITY
● 3.2.2 CHARACTER IDENTIFICATION
● 3.2.3 CHARACTER REVELATION
● 3.2.4 CHARACTER RELATIONSHIPS
● 3.2.5 CHARACTER CHANGE
● 3.2.6 REHEARSAL
3.3 OBJECTIVE CHARACTER
● 3.3.1 CHARACTER OF AUTHOR
● 3.3.2 CHARACTER OF WORLD
o 3.1.2A DIVIDED WORLDS
o 3.1.2B FAMILIAR vs UNFAMILIAR WORLDS
Volume 4: Archetypal Material as Subtext
4.0 INTRODUCTION
4.1 THE ARCHETYPAL CYCLES
● 4.1.1 ARCHETYPAL SUBJECTIVITY
● 4.1.2 ARCHETYPAL OBJECTIVITY
● 4.1.3 ARCHETYPAL SUBJECTIVE MATURATION CYCLE
o 4.1.3A STAGE 1 – CIRCUMSCRIBED NEAR
o 4.1.3B STAGE 2 – ADREAM
o 4.1.3C STAGE 3 – STABLE
o 4.1.3D STAGE 4 - REMOTE
● 4.1.4 ARCHETYPAL OBJECTIVE MATURATION CYCLE
● 4.1.5 TEMPORAL SCALE IN USE OF ARCHETYPAL CYCLES
4.2 THE ARCHETYPAL ROLES
● 4.2.1 HERO
o 4.2.1A HUMAN HEROES
o 4.2.1B DIVINE HEROES
o 4.2.1C SAINTS
● 4.2.2 SUPPORTING ARCHETYPES
o 4.2.2A LIGHT FORMS
▪ 4.2.2AA ANIMA/HEROINE
▪ 4.2.2AB GOOD KING/QUEEN
▪ 4.2.2AC MENTORS
▪ 4.2.2AD LIGHT ALLIES
▪ 4.2.2AE THE CHILD
o 4.2.2B DARK FORMS
▪ 4.2.2BA THE DARK FATHER
▪ 4.2.2BB DARK RIVALS
▪ 4.2.2BC THE TEMPTRESS
▪ 4.2.2BD THE DARK MOTHER
▪ 4.2.2BE THE TEMPTER
● 4.2.3 HYBRID FUNCTIONS
o 4.2.3A TRICKSTER
o 4.2.3B HERALD
o 4.2.3C THRESHOLD GUARDIANS
4.3 ARCHETYPAL WORLD FEATURES
● 4.3.1 PLACES AND OBJECTS
o 4.3.1A THE INNER CAVE
o 4.3.1B THRESHOLDS
o 4.3.1C BOONS
o 4.3.1D ASSORTED OTHERS
● 4.3.2 NUMBERS AND COLOURS
4.4 THE ARCHETYPAL NARRATIVES
● 4.4.1 THE HERO’S JOURNEY
o 4.4.1A ACT 1 – CALL, DECISION and DEPARTURE
▪ 4.4.1AA SEQUENCE 1 – SET UP
▪ 4.4.1AB SEQUENCE 2 – INCITING INCIDENT
▪ 4.4.1AC SEQUENCE 3 – REFUSAL
▪ 4.4.1AD SEQUENCE 4 – MOTIVATION
▪ 4.4.1AE SEQUENCE 5 – CROSSING THE FIRST THRESHOLD
o 4.4.1B ACT 2 – SUBJECTIVE MATURATION
▪ 4.4.1BA SEQUENCE 1+2 – DREAM STAGE+EXILE
▪ 4.4.1BB SEQUENCE 3+4+5 – ROAD OF INITIATIONS
▪ 4.4.1BC SEQUENCE 6 – APPROACH TO THE SECOND THRESHOLD
▪ 4.4.1BD SEQUENCE 7 – CENTRAL CRISIS
o 4.4.1C ACT 3 – OBJECTIVE MATURATION
▪ 4.4.1CA SEQUENCE 1 – REFLECTION AND RECUPERATION
▪ 4.4.1CB SEQUENCE 2-5 – NIGHTMARE STAGE
▪ 4.4.1CC SEQUENCE 6 – CLIMAX
▪ 4.4.1CD SEQUENCE 7 – CLIMACTIC ACTION
▪ 4.4.1CE SEQUENCE 8 – HAPPY ENDING
▪ 4.4.1CF SEQUENCE 9 – FINAL BEAT
● 4.4.2 THE INVERTED HERO’S JOURNEY
o 4.4.2A ACT 1
▪ 4.4.2AA SEQUENCE 1 – INVERTED SET-UP
▪ 4.4.2AB SEQUENCE 2 – INVERTED INCITING INCIDENT
▪ 4.4.2AC SEQUENCE 3 – INVERTED REFUSAL
▪ 4.4.2AD SEQUENCE 4 – INVERTED MOTIVATION
▪ 4.4.2AE SEQUENCE 5 – CROSSING THE FIRST DARK THRESHOLD
o 4.4.2B ACT 2
▪ 4.4.2BA SEQUENCE 1+2 – DARK DREAM STAGE + EXILE
▪ 4.4.2BB SEQUENCE 3+4+5 – ROAD OF DARK INITIATIONS
▪ 4.4.2BC SEQUENCE 6 – APPROACH TO THE SECOND DARK THRESHOLD
▪ 4.4.2BD SEQUENCE 7 – CENTRAL CRISIS
o 4.4.2C ACT 3
▪ 4.4.2CA SEQUENCE 1 – REFLECTION AND RECUPERATION
▪ 4.4.2CB SEQUENCE 2+3+4 – NIGHTMARE as TEMPTER
▪ 4.4.2CC SEQUENCE 5 – NIGHTMARE as MONSTER/CHILD
▪ 4.4.2CD SEQUENCE 6 – CLIMAX
▪ 4.4.2CE SEQUENCE 7 – CLIMACTIC ACTION
▪ 4.4.2CF SEQUENCE 8 – HAPPY ENDING
Volume 5: Visual and Aural communication of Narrative Text and Subtext
5.1 TEXT AND SUBTEXT ON SCREEN
· 5.1.1 TEXT
· 5.1.2 SUBTEXT
· 5.1.3 SURTEXT
5.2 BLOCKING
· 5.2.1 MULTI-DIRECTIONAL STAGING
o 5.2.1A MUTUAL CONFRONTATION
o 5.2.1B ONE-SIDED CONFRONTATION
· 5.2.2 UNI-DIRECTIONAL STAGING
o 5.2.2A FLIRATIOUS
o 5.2.2B INDIFFERENT
o 5.2.2C POWER IMBALANCE
5.3 SIZE OF ACTOR ON Z-AXIS
5.4 ORIENTATION VARIABLES
● 5.4.1 ORIENTATION OF ACTOR TO X + Z AXIS OF FRAME
● 5.4.2 ORIENTATION OF ACTOR TO Y AXIS OF FRAME
● 5.4.3 ORIENTATION OF BACKGROUND TO X + Z + Y AXIS
● 5.4.4 ORIENTATION OF HORIZON LINE TO X AXIS
5.5 FRAMING VARIABLES
● 5.5.1 POSITION OF EYES ON X AXIS
● 5.5.2 POSITION OF EYES ON Y AXIS
● 5.5.3 Z AXIS COMPRESSION THROUGH LENS CHOICE
● 5.5.4 Z AXIS SELECTIVITY THROUGH APERTURE CHOICE
● 5.5.5 Z AXIS SATURATION THROUGH EXTRANEOUS ELEMENTS
5.6 GRIP AS CHARACTER EXPRESSION
5.7 DIRECTIONAL MOVEMENT AS ACTION
5.8 SELECTION VARIABLES
● 5.8.1 COHERENCE OF DIEGETIC SPACE
● 5.8.2 CUTTING TEMPO + LINKING MOVEMENT
● 5.8.3 ENERGY ACROSS CUT
5.9 ACCOMPANYING VARIABLES
● 5.9.1 LIGHT ACROSS FACE
● 5.9.2 ACCOMPANYING SOUND
● 5.9.3 VOICE-OVER
5.10 DRAMATIC SHOT STRUCTURE ON SCREEN
5.11 PRACTICAL SHOOTING