Anonymous. (1933). Dual personality. The Voice of Experience, 278-285. doi: 10.1037/13329-039

Carroll, N. (1990). The Philosophy of Horror, or Paradoxes of the Heart. New York: Routledge.

Cocks, G. (2003). Stanley kubrick’s dream machine: Psychoanalysis, film, and history. Psychology and Behavioral Sciences Collection31, 35-45.

D’amato, B. (2005). Jekyll and hyde: A literary forerunner to freud’s discovery of the unconscious. Modern Psychoanalysis30(1), 92-106.

Enckell, M. (1984). “A study in scarlet”: Film and psychoanalysis. The Scandinavian Psychoanalytic Review, 7 (1), 71-89.

Fearing, F. (1948). Review of From caligari to hitler: A psychological history of the german film. Psychological Bulletin, 45(2), 173-175. doi: 10.1037/h0050171

Francis, D., A. (2002). Age period cohort model. Encyclopedia of aging

Gish, N. (2007). Jekyll and hyde: The psychology of dissociation. International Journal of Scottish Literature, (2), 1-10.

Hoeckner, B., & Wyatt, E. W., & Decety, J., & Nusbaum, H. (2011). Film music influences how viewers relate to movie characters. Psychology of Aesthetics, Creativity, and The Arts5(2), 146-153. doi: 10.1037/a0021544

Hunter, S. W. (1928). Abnormal psychology. Human Behavior, 102-124. doi:10.1037/11205-003

Kavaler-Adler, S. (2009). Object relations perspectives on “phantom of the opera” and its demon lover theme: The modern film. The American Journal of Psychoanalysis69(2), 150-166. doi: 10.1057/ajp.2009.5

Mitchell, W. E. (2004). Culpability for inducing mental states: The insanity defense of dr. jekyll. Journal of the American Academy of Psychiatry and the Law, 32(1), 63-69.

Smith, M. (2000). Making a monster? nineteenth-century british horror novels and their relevance to the counselling process. Psychodynamic Counselling6(3), 319-337. doi: 10.1080/13533330050132107



Leave a Reply