Freud Museum London
Listed house in Hampstead where Sigmund Freud and his family lived after fleeing the Nazis in 1938. The Museum was founded in 1986. It has featured in numerous films and TV broadcasts and hosts regular exhibitions and events. It is available for hire for filming and evening functions.
Senior Citizens: £4.50
Concs: £3.00 (with valid student ID card, children aged 12-16, unemployed persons, disabled persons)
Under 12s: Free
- Museums Association
Our library, study and research facilities are open by appointment only.
Sigmund Freud's large collection of Egyptian, Greek, Roman and Oriental antiquities and his library. His study with the psychoanalytic couch preserve his working environment. A reference library, archive and picture library document the history of psychoanalysis.
Archaeology, Archives, Costume and Textiles, Decorative and Applied Art, Fine Art, Personalities, Social History
Key artists and exhibits
- Freud's couch; Dali portrait of Freud; Brouillet print of Charcot; Abu Simbel print; photographs of Yvette Guilbert, Princess Marie Bonaparte, Lou Andreas-Salome, Charcot, Freud family.
PROJECTIONS: David Lynch's blurred identity trilogy
- 3 September 2016 10-5:30am
Beloved American director David Lynch captivates and mystifies audiences with luxurious cinematic dreamscapes, creating glorious puzzles for the mind and heart of film fans. Three titles in particular (Lost Highway, Mulholland Drive and Inland Empire) form his unofficially named 'blurred identity trilogy' featuring surrealistic representations of characters embarking on perplexing paths in search of lost selves. In her PROJECTIONS course, MARY WILD will deconstruct and interpret the unforgettable Lynchian triptych from a psychoanalytic perspective, the central thesis being that in each instalment a psychogenic fugue follows the unconscious trauma of unrequited love. The framework of study will include Sigmund Freud's hydraulic model of the mind, Jacques Lacan's linguistic theory, and Carl Jung's concepts of persona/shadow to illuminate Lynch's iconic dream-logic, which is disturbing and beguiling in equal measure.
Advance viewing is optional, select scenes and montages will be shown during weekly sessions:
Session 1 - Lost Highway (1997): A jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a another man and begins a new life
Session 2 - Mulholland Drive (2001): An amnesiac woman and an aspiring actress search for answers across Los Angeles in a twisting venture beyond dreams and reality
Session 3 - Inland Empire (2006): As an actress begins to adopt the persona of her character in a film, her world starts to become nightmarish and surreal
10am - open
10.30am - first session
12.30pm - lunch
1.15pm - second session
3.15pm - tea break
3.30 - third session
5.30pm - finish
PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.
Full priced £60/£48 students/concessions (£5 reduction for Friends of the Freud Museum)
Book online here >
Susie Orbach in conversation with filmmakers' Carol Mavor and Megan Powell
- 12 September 2016 6-8:30pm
Ivo prefers not to talk. Ivo prefers not to eat. After the birth of a new baby brother, ten-year-old Ivo, on the edge of impending adolescence, does not want to grow. Carol Mavor and Megan Powell’s black-and-white film is a cine-poem, chock-full of still photography and cinematic scenes: cocoons, sprouting mushrooms, a bowl of over-spilling milk, a field planted with two hospital beds, an empty nest being torn in two, an anxious mother, a quiet father and a tight-lipped boy. With an emphasis on a mother who loves too much, a father who is shut out and a boy’s unstoppable willpower, the viewer is taken through the drama and terror of Ivo’s anorexia.
Carol Mavor’s lyrical narrative fits the film essay genre like a glove. Megan Powell's stills and close-ups hold the viewer in a tight embrace, evoking an anxious proximity to the mother’s body. The symptomatic consequences of that fullness are felt not only by the child, who refuses to eat, but also by the narrator herself, who is reticent to relinquish the maternal femininity that brings her own mother closer in ‘being like her. FULL maneuvers skillfully through this space– close, still, tight, too full of meaning, and then with a single gesture, at the end of the film, lets go, leaving the viewer with a palpable sense of relief and a quiet place for reflection on a remarkable journey.
Artist Mary Kelly, creator of Post-partum Document
Susie Orbach is a psychotherapist and writer. She’s the author of numerous books, including her first, Fat is a Feminist Issue, which had a new Introduction written this year, and Hunger Strike. Her forthcoming book In Therapy is due for publication in November, when a new series of the same name will be broadcast on Radio 4. She lectures widely in the UK, Europe and North America. She continues to work with many individuals and couples from her practice in London.
Carol Mavor calls herself an artist-historian. Mavor has published five books. The most recent monograph Blue Mythologies: Reflections on a Colour (Reaktion Books, 2013, translated into Turkish in 2016, Chinese 2016), ‘coaxes us into having a less complacent attitude…even when it comes to something as apparently innocuous as a color’ (Los Angeles Review of Books). Her Reading Boyishly was named by Turner-Prize winner Grayson Perry in The Guardian as his 2008 'Book of the Year.' Her newest visual-culture project, Aurelia: Art and Literature Through the Eyes and Mouth of the Fairy Tale, is forthcoming from Reaktion in 2017.
Megan Powell is a photographer and filmmaker who received her MA from the Royal College of Art. For her eye for seeing the unseen, she was honoured with a residency at Winterbourne House and Gardens, where she completed a 2014 project (photography and film) on the individual bee’s relation to the hive entitled Bee. In 2015, Powell received and Arts Council Grant and an Artists Benevolent Fund for a large-scale eighteenth-month project entitled After Bees. Informed by beekeepers, ecologists and sustainability experts, After Bees is an affecting story of bees told through film, photography, writing and collage. The work will be shown in its entirety during 2016-17 at the Manchester Museum.
£12/£8 concessions and Friends of the Museum
Introducing Freud at the Freud Museum
- 22 September — 8 December 2016
Tutor: Keith Barrett BA PhD
As Freud is so frequently referred to it is natural to assume that we already know everything about him, but the superficial manner in which his ideas are normally discussed – often intended to justify dismissing psychoanalysis out of hand – conceals the fact that his thinking is little understood, despite the controversy that has raged around his ideas since they first became internationally known. This course will offer the opportunity to engage directly with Freud’s writings, clarifying the meaning of his most important concepts and theories, as well as his views on the practice of psychoanalysis. We will place Freud accurately in his historical context – as well as bringing into focus the relevance of his work to debates that are taking place now. The course will be accessible to beginners but will also stimulate those who already have some knowledge of Freud and psychoanalysis. Each session will be based around selected passages from Freud’s writings (all the readings are taken from ‘The Freud Reader’ edited by Peter Gay).
Week 1: Introduction: The nature and status of psychoanalysis: perspectives and debates. (p3 – 17 & p783 – 796)
Week 2: Hysteria (1): What is (or was) ‘hysteria’? A ‘female malady’? The case of ‘Anna O’: dissociation, hypnosis and the ‘cathartic method’. Freud’s early practice as a psychotherapist. (p60 – 78)
Week 3: Hysteria (2): Symptoms and ‘defence’: from hypnosis to ‘free association’. From the ‘Lucy R’ case to the ‘seduction theory’. The reasons for Freud’s abandonment of the ‘seduction theory’ (p78 – 86 & p96 – 113)
Week 4: Dreams (1): The meaning of dreams and how Freud learned to interpret them. The dream of ‘Irma’s Injection’. Freud’s theory of dreams. (p129 – 172)
Week 5: Dreams (2): Freud’s use of his own dreams in his ‘self-analysis’. His reconstruction of his own early childhood. The limitations of self- analysis. The role of dreams in psychodynamic psychotherapy. (p111-126)
Week 6: Sexuality (1): The meaning of ‘Infantile sexuality’. Freud’s ‘stages’ of psychosexual development. The Oedipus complex. Freud on the sexual abuse of children. (p 239 – 293)
Week 7: Sexuality (2): Sexuality in adulthood. Perversion, heterosexuality and homosexuality. Freud’s view of ‘love’. His later theory of the neuroses. The nature and functions of human sexuality. (p387 – 400 & p443 – 481)
Week 8: The Principles of Psychoanalytic Psychotherapy: The ‘Dora’ case and the importance of ‘transference’. Freud’s ‘Papers on Technique’. (p172 – 239 & p356 – 387)
Week 9: Narcissism and the Death instinct. (p545 – 562 & p601 – 617)
Week 10: Mourning and the structure of the psyche. (p584 – 589 & 626 – 645)
Week 11: Freud’s later views on the difference between the sexes. (p670 – 678)
Week 12: Society and human happiness. (p 722 – 772)
Phillips, A. ‘Becoming Freud: the making of a psychoanalyst’ (Yale U.P. 2014)
Thurschwell, P. ‘Sigmund Freud ( 2nd edition)’ (Routledge 2009)
Frosh, S. ‘A brief introduction to psychoanalytic theory' (Palgrave Macmillan 2012)
Zaretsky, E. ‘Secrets of the soul: a social and cultural history of psychoanalysis’ (Knopf 2004)
Breger, L. ‘Freud: Darkness in the midst of vision’ (Wiley 2000)
Micale, M. ‘Hysterical men: the hidden history of male nervous illness’ (Harvard U. P. 2008)
Rabate, J-M. ‘Literature and Psychoanalysis’ (Cambridge U.P. 2014)
Appignanesi, L. ‘Freud’s Women’ (Penguin 1997) & Forrester
J Grosz, S. ‘The Examined Life: How We Lose and Find Ourselves’. (Vintage 2014)
Minsky, R. ‘Psychoanalysis and gender: an introductory reader’ (Routledge, 1996)
Bergman, M.,‘The anatomy of loving: The story of man’s quest to know what love is’ (Columbia U. P. 1987)
Malan, D. ‘Individual psychotherapy and the science of psychodynamics’ (Butterworths 1995)
Full price £180
Friend of the Freud Museum £155 - join today and receive 15 months membership for the price of 12 when you pay by annual Direct Debit.
Psychoanalysis after Freud
- 19 January — 6 April 2017
Tutor: Keith Barrett BA PhD
Psychoanalysis was initiated by Freud, then transformed by a series of powerful creative figures who both extended and deepened its range, opening new intellectual horizons as they applied its methods to new problems and new fields. We will focus on four leading innovators, carefully examining their criticisms of Freud and the manner in which they modified his theories and therapeutic practice. In this way, the course will give an overview of the development of psychoanalysis across its first century and into the beginning of its second. While intended to be accessible to beginners, it will also stimulate those who already have some knowledge of the field.
(The course is self-contained – as is ‘Introducing Freud at the Freud Museum’ which precedes it in the autumn term. The two courses can be taken in either order, or as ‘stand alone’ modules, but complete beginners wanting a thorough introduction to psychoanalysis should take ‘Introducing Freud’ first, then follow on with the present course.)
Full price - £190
Friend of the Freud Museum £160 - join before 15 December 2016 and receive 15 months membership for the price of 12 when you pay by annual Direct Debit.
Student/concession - £125
Freud Museum London
20 Maresfield Gardens
020 7435 2002
020 7431 5452