Sublime

In film, as in no other medium, we can actually see the behavior of the archetype; in life, we know her far more indirectly, as moods, impulses, symptoms, and as a shape-shifting personage in our dreams … In film, we can see the anima figure over time, in a more or less stable guise, at her strange task of mediating the fate of a protagonist.

This unconscious mass component is opposed to consciousness and the world of culture. It resists conscious development, is irrational and emotional, anti-individual and destructive. It corresponds mythologically to the negative aspect of the Great Mother—it is her murderous accomplice, the adversary and man-slaying boar. This negative, unconscious

The communications of “spirits” are statements about the unconscious psyche, provided that they are really spontaneous and are not cooked up by the conscious mind.35

As long as a woman is forced into believing she is powerless and/or is trained to not consciously register what she knows to be true, the feminine impulses and gifts of her psyche continue to be killed off.

Werke der Fiktion dienen als Fenster, durch die sich auf die Gefühle der handelnden Figuren blicken lässt, in denen sich ihrerseits Moralkodes und Sozialstrukturen niedergeschlagen haben und ausagiert werden. Erst durch diese Kodes wird die Psychologie der Figuren plausibel.

The knowledge of the heart is in no book and is not to be found in the mouth of any teacher, but grows out of you like the green seed from the dark earth. Scholarliness belongs to the spirit of this time, but this spirit in no way grasps the dream, since the soul is everywhere that scholarly knowledge is not.

What happens in the collective is also taking place within us.