3 The reader interested in these qualities in films may wish to see how I have suggested we talk about them in a series of essays, published and unpublished: “Jung/Sign/Symbol/Film, Part One,” Quarterly Review of Film Studies, 4:2 (Spring 1979); “Jung/Sign/Symbol/Film, Part Two,” Quarterly Review of Film Studies, 5:4 (Fall 1980); “Two Aspects of a Jungian Perspectives upon Film,” Journal of the University Film Association, 32:1-2 (Winter-Spring 1980); “Bar Yohai,” Visual Anthropology, 3:1 (1990); “Imaginal Criticism: Its Aims and Contexts,” Film Studies: Proceedings of the Purdue University Sixth Annual Conference on Film (West Lafayette: Purdue University, 1982);“The Relationship Between Filmmaking and Dreaming: Larry Jordan’s ‘Patricia Gives Birth to a Dream in a Doorway’,” an unpublished 1993 conference paper; “Fellini Gives Birth to a Film in a Doorway: Film and Dream in Liminality,” an unpublished 1995 conference paper; “The Utility of the Notion of Liminality in Critical Interpretation and in an Understanding of Creativity in Filmmaking,” an unpublished 1996 conference paper; and “Why Should We Take Jungian Screen Studies Seriously?,” an unpublished 2000 conference paper. A longer version of the 1996 essay, titled “Liminal Cinema,” will appear in Chris Hauke and Ian Alister, eds., Jung on Film (London: Routledge, forthcoming in 2001).