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From ‘The Freud Squad’ to ‘The Good Freud Guide’ 31 Journal Title: Free Associations: Psychoanalysis and Culture, Media, Groups, Politics Number 62, September 2011 ISSN: 2047-0622 URL: www.freeassociations.org.uk FROM ‘THE FREUD SQUAD’ TO ‘THE GOOD FREUD GUIDE’: A GENEALOGY OF MEDIA IMAGES OF PSYCHOANALYSIS AND REFLECTIONS ON THEIR ROLE IN THE PUBLIC IMAGINATION CAROLINE BAINBRIDGE Abstract: Since Jeffrey Masson published The Assault on Truth (1984) some twenty-seven years ago, popular media representations of psychoanalysis and psychotherapy have taken on a number of guises. These encompass a full spectrum of perspectives on the values and pitfalls of psychoanalysis as both a mode of therapeutic intervention and a tool for the scrutiny of the self. Such representations include both those premised on profound suspicion (seen, for example, in print media coverage of ‘false or repressed memory’ debates) and others grounded in a mode of reification (for example, the idealised images of therapy seen in TV dramas such as The Sopranos [HBO, 1999-2007]). This article considers the shifting cultural contexts surrounding the emergence of such representations of psychotherapy in order to offer a genealogy of its popular media images. It draws on the work of D.W. Winnicott to explore what such a genealogy suggests about the role of psychoanalysis in shaping the emergence of a culture of feeling in this period. It considers debates about notions of ‘therapy culture’ and discusses the overarching preoccupation with matters of emotion that appears to dominate media images on the contemporary Western cultural scene. How are such cultural developments linked to the rise of ‘mediatisation’ and its impact on notions of selfhood and subjectivity? Arguing that the media have now come to function as objects of our internal worlds, this article explores what can be learnt from object relations psychoanalysis in attempting to grapple with such shifts in experience, and it deploys a psycho-cultural approach to the ideas that emerge when such questions are posed. Since the publication of Jeffrey Masson’s book, The Assault on Truth (1984), some 27 years ago, and following on from that, Frederick Crews’ The Memory Wars (1995), popular media representations of psychoanalysis and psychotherapy have taken on a number of guises. In part, the shifting fortunes of psychoanalysis and psychotherapy in the media eye can be understood as pertaining to the dominant cultural disposition. During the period that has elapsed since the ‘Freud Wars’ that ensued on the back of the Masson/Crews debates, the notion that we now reside in a ‘therapy culture’ has come to the fore, marking out the past Free Associations: Psychoanalysis and Culture, Media, Groups, Politics Number 62, September 2011 From ‘The Freud Squad’ to ‘The Good Freud Guide’ 32 two decades as particularly interesting in terms of understanding what has been at stake in shaping our notions of therapeutic culture and their relationship to popular media perceptions of psychoanalysis as an intellectual force (Furedi, 2004; Giddens, 1992; Lunt and Stenner, 2005; Richards and Brown, 2002).1 This article sets out to chart the ways in which such media representations have shifted in shape during the last two decades. It contextualises this in relation to the now widely accepted commonplace that ours is indeed a culture where notions of emotional correctness and well-being dominate the media landscape of identity. How are media images of psychoanalysis related to the cultural reception of its theoretical ideas and cultural currency? To what extent can it be argued that psychoanalysis has become a central object of struggle in the formation of newly emergent subjectivities that are grounded in emotional concerns and endeavours? The broad-based acceptance that we live in a mediatised age has impacted on ideas about identity so that it is now assumed that these are intimately bound up with our encounters with mediated forms of experience. Given the widespread emotional inflection that dominates many media platforms in contemporary popular culture, the aim of this article is to make sense of the changing media attitudes to psychoanalysis and psychotherapy during the period in which ‘therapy culture’ has become entrenched in the mediatisation of everyday life. In order to explore the questions this poses, I will offer a case study of representations of British psychoanalytic positions in the UK national press and also make references to its representations in TV drama.2 To this end, the article draws on some 400 newspaper articles published between 1989 and 2009.3 In setting out this case study, my focus is on tracing the discourses around ideas related to psychoanalysis and psychotherapy in the press and on making use of psychoanalytic insights to explore the relationship between the media and the inner world. In particular, the case study will be used to show how press images impact upon media consumers, demonstrating the ever closer imbrication of mediatisation and everyday life and raising a number of important issues about the potential of psychoanalytic theory to illuminate what is at stake in such processes for notions of the self in contemporary popular culture. This article, together with the others in this special issue, emerges from the Media and the Inner World project4, which draws on object relations psychoanalysis as a framework for critical and theoretical thinking about emotion and popular culture. The project sets out to create new perspectives on processes of mediatisation and enculturation in contemporary life and pays attention to the fact that these are so frequently grounded in discourses of Free Associations: Psychoanalysis and Culture, Media, Groups, Politics Number 62, September 2011 From ‘The Freud Squad’ to ‘The Good Freud Guide’ 33 emotionality and feeling. A key aim of the project is to raise questions about the implications of such developments for the study of media, culture and politics.5 It thus makes a contribution to the emergence of a ‘psycho-cultural’ model of engaging with media and culture that harnesses ideas about the roles of relatedness, on the one hand, and both internal and external psychological objects on the other, in the shaping of ideas about culture, selfhood and the politics of identity. In this respect, it draws upon the work of scholars such as Barry Richards and Roger Silverstone who have each argued for the importance of a psychoanalytic approach to the study of media, culture and politics (Richards 2004, 2007; Silverstone 1994, 1999).6 Richards suggests that Psychoanalysis is a highly developed form of reflexivity, requiring as it does of both analyst and analysand a relentless self-scrutiny. … This takes us to a crucial point about psychoanalysis as a body of ideas and as a force in understanding society and its future. Its insistence on constantly interrogating the meanings we give to experiences, and on revealing the hiding places for unconscious motivation in rationalised explanations, means that one of its roles in social and cultural analysis is a deeply sceptical one. (2004: 152) Arguing for the importance of enabling a cultural turn toward the psychoanalytic analysis of popular culture and the mass-mediated public sphere, Richards further suggests that ‘what matters here in determining the outcome are things like media content and media consumption’ (2004: 154). In his own work, Richards turns to the theories of Melanie Klein, demonstrating how psychoanalytic ideas such as those of containment, projection and introjection can provide new strategies for media analysts to grapple with the complexity of emotional experience in contemporary culture. For Richards, then, Kleinian object relations theory provides a means of understanding the interpersonal passions that circulate via media platforms and through mediated politics. It also offers a means of comprehending the relationship of such social and cultural phenomena to forces of unreasonable power and their influence on everyday lives and emotions. The usefulness of a Kleinian perspective on culture stems from its ability to highlight the slipperiness or messiness of emotional investments which seek to present themselves as grounded in reason and yet which are clearly inflected and underpinned by unconscious phantasies such as those associated with Free Associations: Psychoanalysis and Culture, Media, Groups, Politics Number 62, September 2011 From ‘The Freud Squad’ to ‘The Good Freud Guide’ 34 aggression, paranoia and annihilation. Richards’ work on the cultural politics of the mediatisation of terror provides rich pickings in this regard (Richards 2007). A key facet of Richards’ argument here is that a clinically-rooted form of psychoanalytic engagement with culture and society allows for the useful preservation of a sense of complexity in terms of cultural politics and any subsequent fashioning of policy development that may arise. The significance of being able to hold onto (unconscious) negativity in the shaping of innovative interventions becomes crucial in Richards’ arguments and this has interesting consequences for the analysis of the press coverage I undertake in the case study below. How is such a capacity to tolerate negativity represented in the shifting images of psychoanalysis that emerge from this case study and what does this suggest about the role of the media as objects of our inner worlds? In a similar vein, the work of D. W. Winnicott also becomes important – his notions of the ‘true’ and ‘false selves’, potential space and the shaping of creativity through the processes involved in relationality offer similarly constructive perspectives on what is at stake in the processes of mediatisation for both media producers and consumers. As Roger Silverstone has suggested, ‘the constant media mastication of everyday culture’ (1999: 1) reflects the role of the media in relation to the social, cultural, political and economic dimensions of our lives, but it also highlights the need for media scholars to engage with notions of experience (1999: 5), something that was central to Winnicott’s engagement with psychoanalytic ideas (Abram, 2007: 5).