Notes
Portions of this article were presented at the American Psychoanalytic Association Meetings Symposium, Films of Ingmar Bergman, New York, January 19, 2005.
I have been privileged to be supported and inspired by a number of colleagues working in the area of film and psychoanalysis. I especially want to express my gratitude to the following colleagues whose critical reading of this article improved it immeasurably: Harriet Wrye, Rita Frankiel, Alexander Stein, Andrea Sabbadini, and Lissa Weinstein.