Reality & Playing No.3 – Looking For Sarah

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Reality & Playing No.3 – Looking For Sarah

Michal Heiman’s work, Reality and Playing No. 3- Looking for Sarah – A proposal for a Visual Reconstruction of a D. W Winnicott Cae Study, reflects the artist’s continuous preoccupation with the interface between psychoanalysis and art. Her film refers to psychoanalyst and prediatricain Donald Winnicott’s text, “Interview with an Adolescent: ATherapeutic Consultation,” published in his last book, Playing and Reality (1971). During the interview, Winnicott invited Sarah, a sixteen-year-old girl, to join him in a “squiggle game,” a technique he invented for communicating with children through drawing. In his book, Winnicott depicts and verbalizes all the stages of squiggling without showing the drawings themselves. Their absence, contends Heiman, does not allow her (a reader for whom the visual aspect is an important tool) to have a critical and more complex look at Winnicott’s interpretations of Sarah’s drawings and dreams. Moreover, the therapist decison to omit them from the book erases an essential part of the joint process. “Was there a Sarah?”

Director: Michal Heiman

Producer: Chen Scheinberg, Ben Hagari

Production Company: The New Fund for Cinema and TV, Noga Communivation - Logi Channel

Film Name in Hebrew: מציאות ומשחק מס. 3 – מחפשות את שרה

Michal Heiman’s work, Reality and Playing No. 3- Looking for Sarah – A proposal for a Visual Reconstruction of a D. W Winnicott Cae Study, reflects the artist’s continuous preoccupation with the interface between psychoanalysis and art. Her film refers to psychoanalyst and prediatricain Donald Winnicott’s text, “Interview with an Adolescent: ATherapeutic Consultation,” published in his last book, Playing and Reality (1971). During the interview, Winnicott invited Sarah, a sixteen-year-old girl, to join him in a “squiggle game,” a technique he invented for communicating with children through drawing. In his book, Winnicott depicts and verbalizes all the stages of squiggling without showing the drawings themselves. Their absence, contends Heiman, does not allow her (a reader for whom the visual aspect is an important tool) to have a critical and more complex look at Winnicott’s interpretations of Sarah’s drawings and dreams. Moreover, the therapist decison to omit them from the book erases an essential part of the joint process. “Was there a Sarah?”

 

Director: Michal Heiman

Producer: Chen Scheinberg, Ben Hagari

Production Company: The New Fund for Cinema and TV, Noga Communivation - Logi Channel

Film Name in Hebrew: מציאות ומשחק מס. 3 – מחפשות את שרה

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