Movies and mental illness : using films to understand psychopathology

475 Pages·2014·9.501 MB·English

by  Ryan M. Niemiec, Danny Wedding, Ovid Technologies, Inc., Hogrefe Publishing.

DANNY WEDDING· • RYAN M. NIEMIEC

E S TH
V I
O
M
4
a l
M e n t
&
I l l n e s s Edition
USING FILMS TO UNDERSTAND PSYCHOPATHOLOGY
Movies and Mental Illness
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Dedication
For Lester R. Bryant, MD, ScD,
who continues to be a great mentor, model, scholar, and friend.
DW
For my newborn, Ryland Zander,
who inspired the revamping of Chapter 2, and elicits the goodness in me each day.
RMN
About the Authors
Danny Wedding, PhD, MPH, is associate dean for management and international programs at the Cali-
fornia School of Professional Psychology, Alliant International University. He is the editor of PsycCRI-
TIQUES: Contemporary Psychology – APA Review of Books, the senior editor for Hogrefe’s book series
on Advances in Psychotherapy: Evidence-Based Practice, and the coauthor of Positive Psychology at the
Movies: Using Films to Build Virtues and Character Strengths. Wedding lectures widely on international
psychology and the portrayal of mental illness in contemporary cinema.
Ryan M. Niemiec, PsyD, is education director of the VIA Institute on Character, a global nonprofit orga-
nization that advances the science and practice of character strengths. He is a licensed psychologist, ad-
junct professor at Xavier University, and an international speaker. He is author of Mindfulness and Char-
acter Strengths: A Practical Guide to Flourishing and coauthor of Positive Psychology at the Movies:
Using Films to Build Character Strengths and Well-Being, and a number of articles and book chapters on
films. He is film editor of PsycCRITIQUES and received a specialization in film studies from Michigan
State University. His website is www.ryanniemiec.com
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Movies and Mental
Illness
Using Films to Understand
Psychopathology
4th edition
Danny Wedding
California School of Professional Psychology
Alliant International University
San Francisco, CA
Ryan M. Niemiec
VIA Institute on Character
Cincinnati, OH
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Library of Congress Cataloging information for the print version of this book is available via the Library of Congress
Marc Database
National Library of Canada Cataloguing in Publication
Wedding, Danny, author
Movies and mental illness : using films to understand psychopathology / Danny Wedding, California School of Profes-
sional Psychology, Alliant International University, San Francisco, CA, Ryan M. Niemiec, VIA Institute on Character, Cin-
cinnati, OH. -- 4th edition.
Includes bibliographical references and index.
Issued in print and electronic formats.
ISBN 978-0-88937-461-4 (pbk.).--ISBN 978-1-61676-461-6 (pdf).--
ISBN 978-1-61334-461-3 (epub)
1. Psychology, Pathological--Study and teaching--Audio-visual aids.
2. Mental illness in motion pictures. I. Niemiec, Ryan M., author II. Title.
RC459.W43 2014 616.89 C2014-902339-1
C2014-902340-5
© 2014 by Hogrefe Publishing
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From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Foreword to the Fourth Edition
I have been a fan of the Movies and Mental Illness dience can be enjoyable, educational, active and
from the first edition, so I am delighted to write this creative” (Pritzker, 2007).
Foreword with Ruth Richards. Prior to becoming a An example of the emotional power of film to
psychologist, I worked for over 20 years in Holly- influence the viewer was described to me by a Say-
wood as a television writer and producer. I saw first- brook University Creativity Studies doctoral stu-
hand how powerful TV and of course, movies, can dent. He said that he was watching a scene in the
be in impacting viewers. movie Good Will Hunting in which Will Hunting
I was lucky enough to work as a writer on The (Matt Damon) is talking to his psychologist (Robin
Mary Tyler Moore show, which was seen by many Williams) about Will’s foster father coming up the
women as a breakthrough depiction of a woman stairs to beat him. His psychologist repeatedly tells
who “could make it on … [her] own.” I also worked him: “It’s not your fault, it’s not your fault, it’s not
on Room 222, an Emmy-winning show, where some your fault …” until Will finally breaks down and
episodes I wrote were used in schools of education cries. The student who told me this story found
for teaching. An episode of Silver Spoons I wrote himself crying as he connected the scene to his
about a child who was being physically abused by mother coming up the stairs to beat him with a belt,
his father triggered thousands of calls to a hotline and he realized for the first time it really was not
by abused children. his fault.
Based on my experience both professionally and What is interesting about the hundreds of films
personally, I suggested the concept of audience flow in Movies and Mental Illness is the pervasive fasci-
could apply to watching television and movies. Au- nation with psychopathology. It is a testament to
dience flow is defined as watching “in an active and how deeply mental illness touches almost every-
mentally engaged state that may allow insights and body’s life in one form or another. Screenwriters
new perspectives to develop. … A ‘conversation’ and psychologists have a great deal in common in
develops between the viewer and the work that is trying to understand the dynamics of mental illness,
so engaging that all sense of time is lost. This cog- which is a positive development because under-
nitive engagement means that being part of an au- standing can lead to compassion.
Steven R. Pritzker, PhD
Professor and Director, Creativity Studies Specialization
Saybrook University
President, Division of Aesthetics, Creativity, & the Arts
American Psychological Association
Co-Editor-in-Chief, Encyclopedia of Creativity
Steve and I teach together at Saybrook University in “flow” with the movies, as an active and aware
and started one of the first graduate programs in observer, can also fit our criteria for creativity, in-
psychology with a specialization in creativity, of- cluding originality and usefulness. Creativity can
fering certificates and MA and PhD degrees. We do be good for us – and for society as well.
not offer these just for fun (although it often is fun), I am a psychiatrist as well as educational psy-
but because we truly believe that the process of cre- chologist and professor, and have studied issues of
ating can change lives. It can bring us more fully creativity and mental health for quite a few years –
into the present moment, aware, open, flexible, and in schools, clinics, and in our spiritual lives. I am
adaptive – more in tune with life, its richness, cheered by how much people can learn about psy-
beauty, and potential, and with our many life op- chopathology at the movies – and how the best
tions. Creative process, all else being equal, tends movies can even change how culture views certain
to be healthy and good for us. As Steve notes, being disorders and treatments. Take, for instance, Silver
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
vi Movies and Mental Illness
Linings Playbook, with Jennifer Lawrence winning sons falling on the bipolar spectrum than among
Best Actress for 2013 for both the Oscars (7 other control participants.
nominations) and Golden Globes (3 other nomina- Yet this is in connection with higher function (not
tions). The film received 5 out of 5 stars in Movies with greater illness). The chance of creativity is en-
and Mental Health. Most people would never curl hanced with milder compared with the more severe
up on Saturday night with a diagnostic and treat- bipolar spectrum disorders (e.g., the milder cyclo-
ment manual, yet they might well say, “let’s go to thymic disorder compared with full manic-depres-
the movies – what was that new Oscar winner …?” sive syndrome, again on average), or for a particular
Every person and every experience is different, person during better functioning states, compared
yet in Silver Linings, I was immediately struck by with very ill states (e.g., mild hypomania versus
the authenticity of the characters. A well-done film mania). We see this last difference in Silver Linings.
can give a real three-dimensional flavor of the lived It is important that treatment may not only re-
experience of a psychiatric disorder, along with the duce terrible suffering, but also potentially free a
distinguishing central features. Meanwhile it can hindered potential, toward a richer life and more
show real people, their lives, and their individual productive contributions to society. Yet how many
patterns and challenges – along with hopes and people at risk for bipolar disorder think it is a mat-
ways of coping. This one touched a great many of ter of “the sicker, the better” with regard to creativ-
those bases – as do selected others receiving high ity – a serious misunderstanding. Some even refuse
ratings in Movies and Mental Illness. treatment. This can be dangerous. Please note these
In Silver Linings, Bradley Cooper played a young findings potentially generalize to millions of peo-
man with bipolar disorder, type I (manic-depressive ple.
illness), and Ms. Lawrence's character suffered from Before leaving this example, let us be careful to
her own challenges. We see disruption of lives, why note that there are many routes to creativity, and not
medications can make a huge difference (and what just ones linked to personal or familial psychiatric
happens without them), the magic of a good thera- disorder. It is human to be creative.
pist (meds don’t do everything!), major influences Meanwhile what an important chance the mov-
of (and effects on) family and friends, and on the ies have to lower the stigma of mental disorders, in
larger community, and even the value of – and be- general, to raise self-esteem, and to share accurate
havioral benefits, resilient coping, and triumph pos- information, including information about treatment,
sible from – creative work. Talk about overcoming and renew hope in life. Movies and Mental Illness
adversity; how marvelous when this young and cre- helps us find just those films of the greatest value.
ative couple … well you need to see it for yourself. I was privileged to speak on the topic of the arts
As Steve suggests, we can learn not only by liv- and self-expression in mental health at the Carter
ing our own challenges, but by living them through Presidential Center in Atlanta, for the Mental Health
the lives of others, by entering the magic of film and Program chaired by Former First Lady Rosalynn
imagination, and enlarging our experience, con- Carter. This Carter Center program has related ob-
sciously as well as vicariously. Our “empathetic” jectives for improving how mental illness is under-
mirror neurons jump right in to know that mood stood, viewed by, and treated in society, goals that
swing, that awkwardness or desperate fear of loss; resonate with the objectives of Movies and Mental
suddenly the pain becomes our own. Illness.
Film can meanwhile impart vital information – Finally, while we moviegoers can learn bitter
and perhaps even save lives. For instance, it turns truths about mental illness, and see how people
out that enhanced everyday creativity (originality learn to cope with their painful symptoms, do we
of everyday life) can be found associated with cer- not also want to see how people triumph and over-
tain forms of psychopathology – yet the message is come, how they build on their strengths, passions,
relatively more about health than illness – as I, with and positive qualities? Do we not wonder how suf-
Dennis Kinney and other colleagues at McLean fering individuals try to find meaning in life, per-
Hospital and Harvard Medical School, among oth- haps a greater good, or even transcendence? Un-
ers, have shown (see Kinney & Richards, 2011). fortunately, individuals’ strengths sometimes get
The results of these studies do support a higher rate overlooked by well-meaning mental health profes-
of everyday creativity, on the average, among per- sionals who are more focused on what has “gone
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Foreword to the Fourth Edition vii
wrong” than what could “go right.” It seems enough often found in the movies. We in the audience can
to some clinicians to reverse the depression, psy- again live the drama, this time ascending to a higher
chosis, loss and heartbreak, substance abuse, stress, human promise. We can imagine, experience, and
or crippling anxiety. Yet who needs the hope more sometimes soar. For the person in pain, and for
than the struggling patient? friends and family – which is to say, for pretty much
As can be seen in the companion book Positive all of us – here is the chance not only to regain one’s
Psychology at the Movies 2 by the same authors, life vicariously, but also to discover what one is liv-
themes of resilience, resurrection, and renewal are ing for.
Ruth Richards, MD, PhD
Professor, Saybrook University
Lecturer, Dept. of Psychiatry, Harvard Medical School
Member-At-Large, Division of Aesthetics, Creativity, and the Arts
American Psychological Association
Editor, Everyday Creativity and New Views of Human Nature
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Foreword to the Third Edition
You know a book is valuable when it enters multi- films. Whether it’s called cinematherapy, movie
ple editions in tumultuous economic times. Such is treatment, or reel therapy, the goal is to enhance
certainly the case for Movies and Mental Illness, health and happiness.
now entering its third edition as a classic resource Many of the movies featured in these pages por-
and an authoritative guide. tray healing stories. The best of them typically in-
Movies play a powerful and pervasive role in crease awareness about a disorder or treatment; As
our culture and, increasingly, in our classrooms. Good as It Gets springs to mind for its accurate and
Psychologist Ken Gergen (The Saturated Self, 1991, humorous depiction of obsessive-compulsive dis-
pp. 56–57) opined that movies have become one of order. The best movies also show flawed, yet effec-
the most influential rhetorical devices in the world: tive role models struggling realistically with prob-
“Films can catapult us rapidly and effectively into lems and ultimately triumphing; a case in point is
states of fear, anger, sadness, romance, lust, and aes- the inspiring film The Soloist about living well with
thetic ecstasy – often within the same two-hour pe- psychosis. Such films stir the soul as they generate
riod. It is undoubtedly true that for many people hope and offer a fresh perspective on ourselves and
film relationships provide the most emotionally our relationships.
wrenching experiences of the average week.” Like the very movies it recommends, Movies
If a picture is worth a thousand words, then a and Mental Illness is a powerful medium for teach-
movie is worth tens of thousands of words in even ing students, engaging patients, and educating the
the most engaging of textbooks. My students – all public. Wedding, Boyd, and Niemiec have produced
students – clamor for immediate, personal, and riv- an invaluable guide for all those committed to un-
eting examples of mental disorders and their treat- derstanding the human experience.
ment.
Movies can easily be integrated into education John C. Norcross, PhD
to illustrate psychopathology, but can also be used University of Scranton
for clinical purposes. The use of films for treatment Editor, Journal of Clinical Psychology
can be traced back to the 1930s, but more profes- 2009 President of the Society of Clinical
sionals are recommending or prescribing specific Psychology
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.
Foreword to the Second Edition
John Milton, in Paradise Lost, tells us that we must As a didactic tool, the work by Wedding, Boyd,
“strike the visual nerve, for we have much to see.” and Niemiec should have a salutary effect in engag-
So, too, in this present work, do Wedding, Boyd, ing the attention of the student, as well as in engag-
and Niemiec admonish us that there is much to ing the affective response of the student through a
learn by seeing with the mind’s eye what these vicarious identification with the film characters por-
well-chosen films, by turns sad and silly, offer us trayed, and hopefully, enhancing the learning pro-
in illuminating the psychopathologies set forth in cess of what otherwise tends to be a rather tedious
the Diagnostic and Statistical Manual of the Amer- pedagogical process for most students.
ican Psychiatric Association. The authors provide a lively expository style,
Ranging from such classics as the depiction of and the use of epigraphs for each chapter is a par-
alcoholism in The Lost Weekend, to relatively ob- ticularly happy device for setting a tone for each
scure films perhaps known only to the aficionado chapter and for capturing a pithy bit of dialogue that
of foreign films, Wedding, Boyd, and Niemiec have may cause the reader to engage in some cognitive
achieved a work which may itself become a classic restructuring, as when one of the characters says, “I
in this genre, particularly with respect to its intended recall every fall, every hook, every jab” in the chap-
purpose of teaching how the various psychopathol- ter on the dementias, a quote which instantly evokes
ogies might play themselves out in an approxima- an image of the prizefighter with organic brain dam-
tion of real-life, real-world situations of which these age. Other such examples abound and contribute
films are a simulacrum. significantly to the teaching potential of the work.
Wedding, Boyd, and Niemiec provide a brief On balance, this is a work that is likely to be-
synopsis of each film in relation to the major cate- come a classic of its type and a particularly useful
gory of psychopathology being covered in a chap- teaching tool for the diagnosis and understanding
ter, and they relate the manifest and latent content of the various psychopathologies for students of the
of the film to the various diagnostic symptoms helping professions. I commend it to the reader, be
within a category, such as childhood disorders, and the reader a student or professor.
further provide an illustrative case study to assist in
the process of generalizing from the film to actual Allan Barclay, PhD
diagnostic work. St. Louis, Missouri
This document is for personal use only. Reproduction or distribution is not permitted.
From D. Wedding & R. M. Niemiec: Movies and Mental Illness: Using Films to Understand Psychopathology (ISBN 9781616764616)
© 2014 Hogrefe Publishing.