This research asked in what ways is psychoanalysis useful as a strategy of reading filmic texts? Are there different ways of approaching a film psychoanalytically, and if yes, what are the advantages and disadvantages of different approaches? The article uses psychoanalytic theory in an original way, arguing that the psychoanalytic 'reading' of films ? and other cultural objects ? should at all times be aware not just of the conscious and unconscious meanings present in those films, but also of the way that the unconscious thoughts of the person who is 'reading' the film may influence or re-direct any straightforward interpretation. While most writers will consider how they might analyse a text, it asks in what ways a text might also be analysing its readers; i.e. what unconscious meanings does a film send to those who watch and interpret it. Many of the ideas for this paper have come from the writings of Jean Laplanche. In the editorial of this issue, the editors describe the article as 'groundbreaking', especially in its questioning of the subject/object relationship between critic and text. RAE_import_type : Journal article RAE_uoa_type : LICA