By Lawrence C. Rubin
With a Foreword via Danny Fingeroth, former workforce Editor of Marvel's Spiderman comics line during the inter-related forces of mass creation, international advertising and the net, the culmination of pop culture penetrate into shops, dwelling rooms, and daily stories within the type of catchphrases, toys, iconography, celebrities, and indelible photos. Psychotherapists and counselors who can faucet into the robust pictures of pop culture have at their disposal a vast universe of assets for progress, swap, and therapeutic. utilizing real-world case examples and sound mental thought, this ebook demonstrates how one can comprise pop culture icons and pictures - tune, videos, literature, and activities - into your counseling or treatment. during this manner, this booklet might help raise your skill to behavior scientific interviews with consumers of every age with a large choice of scientific difficulties.
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Additional resources for Popular Culture in Counseling, Psychotherapy, and Play-Based Intervention
Part V, entitled “Television,” positions the reader in front of the small screen for a discussion of the therapeutic role of several popular TV shows. Chapter 12, by Lawrence C. Rubin, entitled “Big Heroes on the Small Screen: Naruto and the Struggle Within,” demonstrates the effectiveness of bringing anime into the therapeutic playroom for children and teens coping with anger and disruptive family circumstances. Chapter 13, “Marcia, Marcia, Marcia: The Use and Impact of Television Themes, Characters, and Images in Psychotherapy,” by Loretta Gallo-Lopez, explores the case of a 6-year-old cancer patient within the context of her identification with fictional television icon Marcia Brady of the Brady Bunch.
These characters express thoughts, feelings, and ideas that resonate within the client, although he may not be Metaphors, Analogies, and Myths, Oh My! 11 able to articulate this connection. As in real life, the answers don’t come easily and the protagonist often struggles to overcome the challenge or problem and find answers. The other characters can help when needed, but the main character is the leader who makes decisions. The story typically ends with the main character talking about what he went through and what he learned.
He may represent fear of the unknown, uncertainty, doing the right thing in the face of fear, false bravado, or defense mechanisms. As the characters venture closer to danger, they travel through the Haunted Forest. In the view of psychoanalytic symbolism, forests represent “the place in which inner darkness is confronted and worked through; where uncertainty is resolved about who one is; and where one begins to understand who one wants to be” (Bettelheim, 1976, p. 93). I tend to view the movie as a metaphor of the human condition.