The discovery of Jungian archetypes in Alejandro Jodorowsky's cinema

Carl Gustav Jung defines archetypes as universal symbols, themes, and figures residing in the collective unconscious. According to Jung, these archetypes lie deep within the human mind and exist as fundamental images shared by all people, independent of cultural influences. Jung's theory of archetypes emphasizes the universal themes within human experience, offering a more comprehensive understanding of the individual's inner world and contributing to the individual's sense of identity, emotional structure, and life experiences. This study examines the films of Chilean director Alejandro Jodorowsky—specifically "El Topo," "Santa Sangre," and "The Holy Mountain"—within the framework of Jung's archetype theory. In Jodorowsky's narratives, archetypes appear not only as symbols but also as concrete figures that guide, challenge, or transform the hero throughout their journey. These archetypes take on various roles within the director's artistic universe, such as guide, enemy, or shadow, adding depth to the characters' transformative processes. Jodorowsky's films, through the use of symbolism and visual metaphors, along with objects, characters, and scenes, present a cinematic narrative closely linked with Jung's theory of archetypes. This research aims to analyze all these elements within Jodorowsky's works from the perspective of Jung's collective unconscious and universal archetypes, seeking to interpret Jodorowsky's symbolic narrative within the framework of Jungian theory. The findings reveal that the symbolism and mythological elements in Jodorowsky's films are directly related to Jung's theory of archetypes. These findings highlight the psychological dimension in Jodorowsky's cinema and contribute to a better understanding of the interaction between cinema and psychology.