Film therapy, the therapeutic use of movies in psychological therapies, is a growing area of interest to therapists and researchers. This paper presents the MOVIE model of film therapy, a widely applicable, trauma-informed framework for working with film imagery and themes in individual or group therapy, counsellor education and self-help. Film or cinema therapy is a highly accessible and relatable method for many diverse client and student groups with benefits that include, catharsis and emotional processing, greater ease of dialogue around issues, increased empathy, and interpersonal learning, engaging with new perspectives and learning skills. Following the model clients mindfully observe and voice their emotional and psychological responses to movie watching, identify how the imagery, characters, themes, and narrative symbolise personal experience and consider any new possibilities that emerged through re-authoring personal narratives. The model is informed by a practice focused review of literature.

The research is devoted to the acute problem of cinema influence on the young audience. With the continuous development of mass media, cinema is still one of the most popular leisure activities, remaining an influential tool on the picture of the world, values, stereotypes, the behavior of viewers, etc. The paper studies the effects of the cinema on young viewers in relation to their ideas about the elderly. Using a psychosemantic technique that includes 25 scales designed specifically to identify the content of representation of older people, respondents evaluated their various characteristics before and after watching the film. It should be noted that after watching a film about the elderly, the respondents changed their representations of motivational and regulatory, cognitive and emotional characteristics of the older people. However, the changes were not similar in different groups of young people: students seemed to have more negative representation, graduate students’ assessment, on the contrary, changed for a better one. The discovered opposite effects of the cinema influence can be explained by a number of reasons starting from age, personal experience of the respondents, the formation of ideas to the special features of the film itself. In this regard, the contribution of individual factors to the efficiency of the cinema impact and the prediction of its specific effects requires further study.

The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the World and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text andproduction-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.