Gabbard G O, Gabbard K
C. F. Menninger Hospital.
J Am Psychoanal Assoc. 1989;37(4):1031-49. doi: 10.1177/000306518903700408.
The last five decades of the American cinema have produced a remarkably consistent stereotype of the female analyst. In films such as Spellbound (1945), Knock on Wood (1954), Sex and the Single Girl (1964), They Might be Giants (1971), and The Man Who Loved Women (1983), women analysts are swept away by countertransference love that leads them to become sexually or romantically involved with their male patients. In stark contrast to the data from studies of patient-therapist sexual involvement, there are more than twice as many films portraying unethical sexual behavior on the part of a female analyst as there are films depicting similar countertransference acting out by a male analyst. Moreover, a stable relationship with a man and a successful analytic practice never coexist for any woman analyst in the cinema. Neither does a female analyst ever successfully treat a male patient in the American cinema unless she falls in love with him. On the contrary, the male patient is more likely to cure his female analyst. Clinical reports from cross-gender analyses are useful in understanding these cinematic myths.
美国电影在过去五十年里塑造了一种相当一致的女性分析师刻板印象。在《爱德华大夫》（1945年）、《鸿运当头》（1954年）、《性与单身女孩》（1964年）、《他们可能是巨人》（1971年）以及《爱上女人们的男人》（1983年）等影片中，女性分析师被反移情之爱冲昏头脑，进而与男性患者陷入性或浪漫的纠葛。与关于患者与治疗师发生性接触的研究数据形成鲜明对比的是，描绘女性分析师存在不道德性行为的电影数量，是刻画男性分析师有类似反移情行为的电影数量的两倍多。此外，在电影中，没有一位女性分析师能同时拥有与男性的稳定关系和成功的分析实践。在美国电影里，女性分析师若不爱上男性患者，就从未成功治疗过男性患者。相反，男性患者更有可能治愈他的女性分析师。跨性别分析的临床报告有助于理解这些电影中的荒诞观念。
