This chapter argues that Will Hunting represents a crisis of working-class masculinity in the 1990s — emotionally repressed, physically aggressive, yet intellectually superior. It contrasts Will’s emotional development with that of his friend Chuckie and therapist Sean.
Critical pedagogy, sociology of education, ideology critique. 5. “It’s Not Your Fault: Trauma, Forgiveness, and Relational Healing in Good Will Hunting” Author: David M. Kaplan Chapter in: Screen Stories and Moral Healing (Oxford University Press, 2018)
Kaplan uses the famous “It’s not your fault” scene to explore how cinema can model moral and psychological healing from childhood abuse. He connects the film to narrative therapy and theories of forgiveness. good will hunting videa
“Will’s reluctance to embrace his intellectual gifts is not laziness, but a protective identity formed in response to abuse and abandonment.” Use for: Psychology of giftedness, character analysis, trauma-informed readings. 2. “Therapy in Cinema: Good Will Hunting” Author: Glen O. Gabbard (in The Psychology of the Sopranos: Love, Death, Desire and Betrayal in Television’s Greatest Drama — but also a standalone essay in Academic Psychiatry )
Film and psychotherapy, realism vs. dramatization of therapy, the role of attachment and transference. 3. “Masculinity, Class, and Emotion in Good Will Hunting” Author: Hannah Hamad Chapter in: Masculinity in Contemporary Hollywood Film (Routledge, 2013) This chapter argues that Will Hunting represents a
Here are several highly regarded scholarly papers and book chapters that analyze Good Will Hunting from different angles (psychology, education, masculinity, and film studies). I’ve included a summary of each so you can find the most useful one for your needs. Author: Tracy L. Cross Journal: Journal for the Education of the Gifted (1999)
It sounds like you’re looking for a useful academic paper or analytical article related to the film Good Will Hunting — possibly with “video” as a typo for “video analysis” or “film studies.” He connects the film to narrative therapy and
Gabbard, a prominent psychoanalyst, examines the Sean Maguire–Will Hunting therapy sessions as a model of psychodynamic therapy. He contrasts Hollywood’s portrayal of therapeutic breakthroughs with real clinical practice.