Abstract

The purpose of this research is to discuss the therapeutic potential of videotaping in non-directive art therapy. The usage of the camera was unusual in that the children exercised complete control over if, when, what and how to film the session. Secondly, videotaping was used within the context of art therapy sessions, the purpose being neither to document neutrally nor to record a performance, although both were simultaneously presupposed. Thirdly, contrary to the most common forms of therapeutic usage of video technology, filmed material was seldom played back. The influence of videotaping conducted as described above is examined in two domains: (1) the nature and boundaries of the transitional space (Winnicott, 1971) in which expression can take place; and (2) the client's relationship with transitional objects, i.e.: the therapist and the camera. My hypothesis is that the camera elicited transferences that found roots in the manner in which the subject's mother (or main care giver) mirrored and shaped the subjects' core senses of Self during early infancy. I believe that the capacity of the camera to elicit feelings of being "recognised" for what one truly is played an important role in modifying historical conceptions of the nature of their true selves. The camera's inherent capacity to create a space simultaneously real and illusionary facilitated the clients' investment into deep transference dynamics and the playing out of therapeutic processes.