All the events in this project have been very good, but this one was particularly original, courageous and imaginative, I thought. And it's all been so well organised, and thoughtful. The cumulative effect of the series confirms that Candida Yates and Caroline Bainbridge have really delivered what they promised. I hope this is fully recognised by the AHRC and their own institutions, when it is all over.

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Here - http://talesoftherapy.wordpress.com/2010/07/07/blogging-therapy-tales-11/

and 'Couch Fiction' by Philippa Perry (artist Grayson Perry's wife) is great - http://www.amazon.co.uk/Couch-Fiction-Graphic-Tale-Psychotherapy/dp/0230252036

See you tomorrow!

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while not strictly media related i thought this exhibition may be of interest http://www.artangel.org.uk//news/tickets_now_on_sale_for_the_concise_dictionary_of_dress

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By Jackey Ashley, here:

http://www.guardian.co.uk/commentisfree/2010/feb/14/advertising-consumption-waste-brands

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Hi Folks
Firstly, I'd like to extend a warm thank you to Candy Yates and Galit Ferguson for a thoroughly enjoyable MIW Symposium at the Psychosocial Studies Network Conference (28th/29th January). I have yet to attend my first MIW event, and am very much looking forward to meeting more of you at the next one!
In my (extra-curricular) capacity as a musician, I think it would be a great idea to organise a future event based around the role of music in the media/popular culture with discussions, perhaps, to involve thoughts about the psychosocial dynamics of performance and/or audience interaction/response?
I'd very much like to chat with any interested parties, so please do feel free to contact me here or, alternatively, by email at JonesR54@Cardiff.ac.uk.

Cheers!
Rachel

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On campus today, I was given a leaflet promoting the new BBC Headroom campaign and its focus on food and mood. There is a GrubClub set up to help students (and presumably others) to learn the importance of moderation in alcohol intake and the sustenance that can come from good food. All of this is couched in terms of 'mental wellbeing' - perfect timing for the next MiW event!

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This is a really useful overview of work that has been done in film studies drawing on Winnicott in particular. The blog also links to our community, so it would be great to see any comments/contributions from members of MiW too!

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I'm not sure how this works or where to leave a message but I just wanted to thank the organisers and speakers for last Saturday's event. I am looking forward to the next one. I was too shy to say anything at the time but I wondered if anyone else thought about these points - that the clip of Gene Kelly in Singing in the Rain was satirised by Kubrick in A Clockwork Orange, an interesting irony considering the very polarised emotions evoked. Also, my viewing of A Clockwork Orange was forever changed when I learned that the most shocking part of the film was based on an experience of Burgess and his wife during a blackout in 1943: drunken American soldiers gone AWOL invaded their home, attacked Burgess and gang-raped his wife. Since learning this I have not been able to watch the film again and I wonder how others have coped emotionally with this information. I would be very interested to hear other people's views whether you attended on Saturday or not. Thanks again for a fantastic two hours. Very best wishes, Deborah

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There is an interesting editorial in the May 09 issue of Sight and Sound which picks up on this question of private cinema but in the context of the micro-screen of the ipod, etc. I had been struck by the increasing ubiquity of various kinds of digital devices, all of which enable commuters to watch film and television as they journey to and from work. What I find especially interesting is not only the way that this repositions cinema but how it also represents a private mode of viewing but in a public space. Nick James, in Sight and Sound, wonders whether a 'third aesthetic' might be developed for these micro-screens that suits both the technical limitations of these tiny screens but also 'the solipsist, the lone viewer' (Sight and Sound, 19.5, 5). I wonder what the emotional work of cinema is in these kind of viewing contexts: what kinds of emotional experiences occur for the spectator, what motivates this type of private/public spectatorship, etc. At one level the micro-screen begins to function much like the novel, a connection that James makes in his editorial by citing Bazin, writing on the novel: 'its intimate effect on the isolated reader is not the same as that of a film on the crowd in a darkened cinema' (ibid). I have been teaching a module this term entitled 'Forms of Cinema', which explored two key questions: what is cinema? where is cinema? both of which are central to the rise of the micro-screen...

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