Sybil

Dissociative Identity Disorder is termed as such, deviating from its former name of Multiple Personality Disorder, because rather than having several different identities inhabit one body, the disorder is understood to encompass one multi-faceted personality with parts that are not yet "functioning together in a smooth, coordinated and flexible way” (Boon et al, 2011)". In my opinion this was portrayed accurately by Sally Field as we see personalities ranging from the calm and collected Vicky to the infantile Ruthie surface in varying situations. Indeed, these "personalities" are autonomous and identify themselves as distinct from Sybil, sometimes in terms of age and even gender, which is consistent with real life accounts of this disorder. To the film's credit, they also managed to capture the cause of the disorder quite accurately as DID is almost exclusively caused by repeated childhood trauma, as seen by Sybil's mother's horrific abuse of her daughter. In the absence of appropriate parental support, much like the way Sybil's father refused to even acknowledge his wife's abusive behaviour, the dissociative identities arise as a method of coping with the trauma. As we saw in the film, this was not a lifestyle choice for Sybil, despite her singular attempt to convince Dr Wilbur that their sessions together were nothing more than a staged act. The contemporary explanation for DID is that the individual personality is "experienced in a disconnected way via separate 'parts' or 'alters'" due to an inability to reconcile the various aspects of personality, memory, identity, behaviour, and feelings (Spring, 2012). Going by this, one could postulate that the "identity" of Vicky is a projection of Sybil's ideal self, whereby she is sophisticated and dignified where Sybil is not. Mary, the identity that arose after the death of Sybil's grandmother, could be a way for Sybil to keep the memory of her grandmother alive, as the latter was possibly the only person who Sybil felt loved her. Even Dr Wilbur mentioned that Sybil's different "personalities" were there to protect her and take action when she herself could not.

According to the DSM-V, the criteria for an individual to be diagnosed with DID (Tracy, 2016) includes:
1. Two or more distinct identities or personality states are present, each with its own relatively enduring pattern of perceiving, relating to and thinking about the environment and self.
2. Amnesia must occur, defined as gaps in the recall of everyday events, important personal information and/or traumatic events.
3. The person must be distressed by the disorder or have trouble functioning in one or more major life areas because of the disorder.
4. The disturbance is not part of normal cultural or religious practices.
5. The symptoms are not due to the direct physiological effects of a substance (such as blackouts or chaotic behavior during alcohol intoxication) or a general medical condition (such as complex partial seizures).

Based on the events that transpired in the film, it is safe to conclude that the portrayal of Sybil as a woman afflicted with DID as she clearly meets the first three criteria. It is also assumed that her condition was not a result of religious practices or a certain substance. Indeed, we see marked impairment in Sybil's daily functioning as her dissociative episodes caused her to lose her job, which understandably results in distress.

However, the movie also depicted several ethical violations in terms of the client-therapist relationship, which I believe no qualified mental health practitioner should ever commit in real life. Dr Wilbur adopted a psychodynamic approach in order to uncover the root of Sybil's disorder, although some recommend that therapy involve cognitive behavioral therapy (CBT) instead (Gillig, 2009). In spite of this, the real issue lies with Dr Wilbur's conduct as a psychiatrist. Even though she is warned by her colleague not to become emotionally attached to Sybil, we can almost see a personal investment as she continues to treat Sybil. Additionally, we see her commit a breach of confidentiality by informing Richard about Sybil's disorder when Marcia attempted to kill herself. As a mental health professional, safeguarding a client's information is of utmost importance considering the level of trust established during sessions and the stigma surrounding mental health problems that still pervade society. Understandably, the situation warranted drastic measures in order to ensure Sybil's safety, but one cannot help but wonder if Richard and Sybil's relationship would have turned out differently had she found the right time to tell him about her disorder on her own terms. Other than that, a mental health professional should only provide services within the boundaries of their own competence (APA, n.d.), but we see Dr Wilbur struggle to decide on a course of action when Sybil regresses into Ruthie. She took a step in the right direction by contacting a colleague for help, but the problem resolved itself when Sybil resurfaced, but did nothing to address the problem of Dr Wilbur's professional capabilities in dealing with some of Sybil's more challenging alters.

Ultimately, I think the film did its best to portray DID in a realistic light whilst remaining within the realm of good story-telling. As a psychologist, however, some of Dr Wilbur's actions were questionable at best, and I would not condone them in a professional setting as it could impact a client's recovery.

References
American Psychological Association. (n.d.). Ethical Principles of Psychologists and Code of Conduct. Retrieved from http://www.apa.org/ethics/code/
Boon, S., Steele, K., & van der Hart, O. (2011). Coping with Trauma-Related Dissociation: Skills Training for Patients and Therapists. Retrieved from https://books.google.com.my/books?id=raGhAQAAQBAJ&printsec=frontcover#v=onepage&q&f=false
Gillig, P. M. (2009). Dissociative Identity Disorder: A Controversial Diagnosis. Psychiatry (Edgmont), 6(3), 24–29.
Tracy, N. (2016). Dissociative Identity Disorder (DID) DSM-V criteria. Retrieved from http://www.healthyplace.com/abuse/dissociative-identity-disorder/dissociative-identity-disorder-did-dsm-5-criteria/

Schindler's List

Schindler's List is the movie adaptation of the novel Schindler's Ark, revolving around the life of Oskar Schindler and the events in his life leading to his saving of over a thousand Polish-Jews by employing them in his factories.

One of the things that was intriguing to see in the film was the cognitive dissonance between Amon Goth's attraction for his maid Helen Hirsch and his prejudice against the Jews. While he believes that Jews are vermin and beneath him, he struggles with generalizing these beliefs onto Helen, hence why she has remained alive for so long. He tells her he wishes to reach out and touch her, but tells her she is not exactly a person in the same breath. His dilemma peaks when accuses her of seducing him, but berates himself and turns aggressive on her.

After the war ended and the Jews were liberated, many of them ended up experiencing survivor's guilt, whereby they struggled to find meaning with their continued existence while others were killed. In some instances this has been coupled with major depressive disorder, although this was not highlighted in the movie. Of course, some Jews were depicted as as saddened and down, but in my opinion this should have been something the filmmakers addressed, as it was indicative of the experience of the Jewish during the war.

Post-Traumatic Stress Disorder is an anxiety disorder characterized by haunting memories, nightmares, social withdrawal, jumpy anxiety, and insomnia which continues for four or more weeks. Many of the survivors were diagnosed with PTSD due to their symptoms in broad categories such as Death Imprint, the image of death is constantly in their mind since they were confronted with death in such a vivid way. Many of the Jews dealt with these symptoms for forty to fifty years but felt too vulnerable to ask for help. The movie indirectly shows PTSD with many Jews not being able to sleep and remembering what happened to their friends who were killed before them. However, it does not show them having any social withdrawal, in fact when they are freed, they stay together and go to a nearby town for food.

One of the things I enjoyed about the movie was the rare instances that something would be show in colour in order to draw attention to it in a film that otherwise plays out in black and white. For instance, the little girl in the red coat was shown first during the liquidation of the ghetto and again alongside other corpses. It is interesting to consider the girl as symbolism for the innocence of the Jews, who were made scapegoats during the tenuous political climate in the war.

Furthermore, Schindler's motives are of interest for analysis because after the setup of his enamelware factory, he was successful enough that he would never want for anything again. However, he chose to help save the Jews from persecution, even at the cost of his wealth. Therefore, one would argue that his motives go beyond prosocial behaviour and are more akin to acts of altruism.
“The only thing necessary for the triumph of evil is for good men to do nothing.” -Edmund Burke

Hunt for the Wilderpeople

Hunt for the Wilderpeople revolves around the life of Ricky Baker, a young, overweight, orphaned juvenile offender who idealizes hip hop and uses haikus as a means to express himself in emotional situations. As Ricky ends up in a farm with his newest pair of foster parents, the film highlights the realities of New Zealand’s subpar youth welfare system. We learn that Ricky has a number of offences under his belt, and that his placement with Bella and Hector is his last chance at finding a family, failing which will see him sent to juvenile prison. Things begin looking up for Ricky as he and his “Aunt Bella” grow closer, right until she passes away. Unwilling to be returned to state care, Ricky runs away into the bush, not for the first time, and is found by Hector, which is where the story really begins.

Grief and Bereavement
The events of the film following its exposition mainly take place in the immediacy of Bella’s death. Although they have different experiences regarding this, both Ricky and Hector are affected by the loss of Bella, and this can be explained through the dual process model of bereavement. According to Stroebe and Schut (2010), bereavement manifests itself in two kinds of tasks, loss-oriented and restoration-oriented. Loss-oriented activities and stressors are those directly related to the death, including crying, yearning, experiencing sadness, denial, or anger, dwelling on the circumstances of the death, and avoiding restoration activities. On the other hand, restoration-oriented activities and stressors are associated with secondary losses with regard to lifestyle, routine, and relationships. These include adapting to a new role, managing changes, developing new ways of connecting with family and friends, and cultivating a new way of life.

Ricky and Hector’s life in the bush can be seen as a restoration-oriented activity as they adopt new lifestyles and roles towards each other following Bella’s passing, but we also see them engage in loss-oriented activities, such as when Hector cried over Bella’s body. Though less obvious, we also see Ricky display loss-oriented activities as he maintains the use of his hot water bottle. Originally given to him by Bella to provide warmth in the cold New Zealand night, it is possible that the water bottle came to symbolize her kindness and a sense of love or family to Ricky. It clearly meant enough to him that he would bring it along with him as he escaped into the bush, leading to the idea that the warmth of the hot water bottle was a way for Ricky to grieve and to keep the memory of Bella alive. Ricky and Hector’s actions which demonstrated both methods of coping support Stroebe and Schut’s (2010) theory that people will invariably oscillate between the two processes.

Psychosocial Stages of Development

The big age difference between Ricky and Hector also highlights the disparity in their place in life. According to Erikson’s stages of psychosocial development, 13-year old Ricky is in the Identity vs. Role Confusion stage, whereas Hector could possibly be in the Generativity vs. Stagnation stage. The Identity vs. Role Confusion stage is marked by questions of who an adolescent is and what they can be, but Ricky has the added burden of dealing with the effects of being shuffled through the foster care system for a majority of his life. Some of the effects of this is his penchant for expressing himself through haikus and his familiarity with psychological jargon, like when he says, “You’re still processing”. We are also presented with Ricky’s love for hip hop culture, which is a big part of his identity and self-concept. Conversely, Hector’s gradual acceptance and care for Ricky could be due to the Generativity vs. Stagnation stage, as individuals in this point of their lives are concerned with guiding the next generation. During their time in the bush, Hector teaches Ricky the skills needed to survive in the great unknown, thus avoiding feelings of stagnation or dissatisfaction with his lack of productivity.

Final Thoughts

Despite being interspersed with comedic relief, the subject of the film was not lost on the audience, and our hearts still felt for Ricky and Hector as the attempt to navigate their way through a new dynamic without Bella. The film manages to blend humour and character study so well that the story feels as real as it does funny.

References

Stroebe, M., & Schut, H. (2010). The dual process model of coping with bereavement: A decade on. Journal of Death And Dying, 61(4), 273-289. doi:10.2190/om.61.4.b

Experimenter

Experimenter recounts the life and work of social psychologist, Stanley Milgram, highlighting his more prominent research and providing viewers with thought-provoking questions about the limits of human nature.

Much of the film depicts reenactments of Milgram’s obedience experiments, as a “teacher” moves through the shock levels, despite audible protest from the learner, all the way to the maximum of 450 volts. As the number of participants increased, so did the number of teachers who progressed to the maximum voltage. Although I felt as if the pacing of the movie could have been improved, it is this slow, relentless and seemingly inevitable progression towards the lethal endpoint of the shock generator that constitutes the core drama of the film. The participants, Milgram’s fellow psychologists, and even the audience, are forced to accept that time and time again, each variation of the study still saw a majority of people proceed all the way to the maximum. Despite the controversy and criticism surrounding the Milgram obedience experiments, why then, do people still turn to them for understanding whenever new stories about the horrors man is able to perform arise? Why are these experiments still covered in almost every, if not all, introductory psychology textbooks? Regardless of the intellectual and ethical fallout following the publishing of these studies, their findings do have to be somewhat representative of the human experience for them to have stood the test of time and public disdain.

Much like the elephant in the room, would that which we refuse to address be that we are not as independent in our thinking as we believe ourselves to be?

Furthermore, the film acknowledges that the backlash to the findings of the obedience studies was centered not around the idea that the participants experienced lasting psychological damage, but more that they were unable to reconcile themselves as being capable of performing heinous acts under duress. This weakens arguments that claim ethicality as a reason to reject the findings of these studies. Milgram’s research on obedience holds up a mirror that reveals depths of the human soul that prompts a second look, even when we would rather not.

Arguably one of the most interesting aspects of the film was its artistic set pieces. In order to match Milgram’s character’s frequent breaking of the fourth wall and omniscient nature, the film occasionally features scenes set against photographic backgrounds that are clearly fake. This gives these scenes a sort of dreamlike or artificial feel, which perfectly matches the film’s experimental subject matter. I felt as if these visuals were engaging in a way that kept the movie from becoming too mundane and ordinary.

Although most variations and reproductions of the obedience studies still reveal a majority who display obedience to authority, the existence of the minority who refused to obey proves to be hopeful. As the film itself educates audiences on the downsides to blind obedience, perhaps future samples will reflect more resistance to authority figures, emphasizing that we need not always do as we are told.

"Disobedience is the true foundation of liberty. The obedient must be slaves." -Henry David Thoreau

Amadeus

Amadeus is a fictional account of the life of Mozart, one of history's most renowned composers. Although the title suggests Mozart to be the protagonist, it is really Salieri and not Mozart who occupies the centre of the stage and whose mind we are invited to enter. It was interesting to see the life of this musical genius through the eyes of Salieri, who arguably had less talent but invested more effort. I believe that Salieri's distress is something we can all relate to, as it is not a novel experience to feel inferior in the face of someone gifted with natural abilities. Throughout the course of Salieri's fixation with besting Mozart in the musical scene, perhaps nothing will ever feel as tragic as the moments in the asylum when Salieri plays his compositions with no recognition from the priest's end, only to have the clergyman successfully identify one of Mozart's pieces. 

In a society that values perfection, mediocrity is possibly the worst curse an individual can bear. Hence, I do not think that the greed and envy that drove Salieri to the brink of insanity was so far-fetched after all. Salieri's conflicting emotions over his disdain of Mozart's childish tendencies and his grudging admiring of Mozart's independence was interesting to watch, and although it would have cheapened the story, a happy ending would have been satisfying to watch.

Whale Rider

Whale Rider tells the tale of Paikea Apirana as she attempts to overcome resistance to take her place as the next chief of the Maori people in her village. The film encompasses a number of themes, including the tensions between customary culture and the modern condition, mythology and origin stories, post-colonial race and indigenous politics in the Pacific, whilst also shining a light on gender, tradition and change.

"My name is Paikea Apirana, and I come from a long line of chiefs stretching all the way back to the whale rider."

Dissonance, Thou Art A Cruel Mistress

A major portion of the film sees the characters struggle to reconcile their actions with their beliefs and motivations. According to Festinger’s (1962) theory of cognitive dissonance, an individual experiences psychological discomfort when they possess contradictory beliefs, when they act in a way that contradicts their beliefs, or when they are presented with new information that contradicts their existing beliefs. In order to reduce the resulting discomfort, people tend to reject new information and situations that are likely to increase their dissonance. This is most clearly illustrated through Koro’s actions. Although he believes that a male heir is necessary for the continuation of their people, there are instances in which his affection for Paikea is displayed.

A moment of displayed affection before Paikea is to leave with Porourangi

Festinger’s theory postulates that this creates a sense of mental distress within himself which people seek to alleviate through one of four ways: 1. Changing one’s behaviour or attitudes, 2. Changing their conflicting attitudes to justify their behaviour, 3. Introducing new attitudes to justify their behaviour, 4. Ignoring information that contradicts their existing attitudes.  In the film, Koro initially reduces his cognitive dissonance by distancing himself from Paikea after she decides not to leave with her father and choosing not to recognize her strengths and capability as the next leader. When she bests Hemi with the taiaha, Koro does not praise her hard work or talent at the skill, instead reacting negatively, reflecting the fourth method of reducing dissonance. Towards the end, however, we see a change overcome Koro as he accepts that Paikea is worthy of becoming the next chief, thus abandoning his patriarchal views on leadership and succession. He ultimately changed his attitudes in order to attain psychological consistency.

Gender Roles

Another concept that was present in the film was gender roles, which Coleman (2009) defined as a set of behaviours, attitudes, and traits deemed to be masculine or feminine within a certain culture. The movie depicts Maori culture as being strongly patriarchal, with Koro being a staunch believer that a first-born male is required in order for their people to have a capable leader. Koro can be seen as someone who adheres strictly to gender roles. However, Paikea defies the traditional stereotype of what a girl should be, what with her mastery with ropes and knots, and her skill with the taiaha. She also rejects practices which she does not agrees with, such as when she was told to move to the back during the opening of the boys’ training school.

Final Thoughts

Whale Rider is an empowering movie for women and young girls as it depicts Paikea overcoming gendered expectations in order to realize her true potential. While all the actors portrayed the personalities and emotions of the characters extremely well, a special mention goes out to Keisha Castle-Hughes, who was even nominated for an Academy Award for her moving performance as Paikea. Interspersed with scenes from the Whangara coastline, the movie also beautifully captured sights such as the sweep of the bay and the lush of the island. It was also interesting to discover that the film was adapted from a book of the same name, as I am partial to books in a way that I am not with film. While I haven’t yet finished it, I would recommend looking it up if only for the prose, seen here through an excerpt from the prologue:

In the old days, in the years that have gone before us, the land and sea felt a great emptiness, a yearning. The mountains were like a stairway to heaven, and the lush green rainforest was a rippling cloak of many colours. The sky was iridescent, swirling with the patterns of wind and clouds; sometimes it reflected the prisms of rainbow or southern aurora. The sea was ever-changing, shimmering and seamless to the sky. This was the well at the bottom of the world and when you looked into it you felt you could see to the end of forever.

References

Festinger, L. (1962). Cognitive dissonance. Scientific American. 207(4), 93–107. doi:10.1038/scientificamerican1062-93

Forget Paris

The story goes something like this: boy meets girl, boy falls in love with girl, boy and girl inevitably encounter conflicts in their budding romance, conveniently resolve all their problems, reunite, and live “happily ever after”. We see this formula to success for any love story repeated in everything from Hollywood blockbusters to children’s books. The notion that happiness can be attained upon finding The One is one that many have entertained, but what happens after “happily ever after”? Sometimes, you end up learning to live with your father-in-law.

Not your usual picture of marital bliss

The rocky road to romance begins with a basketball referee, Mickey, who travels to France to oversee the burial of his late father. In an unexpected turn of events, his airline manages to misplace the casket, leaving Mickey stranded at an airport whilst he awaits the return of his father’s remains. Enter Ellen, the airline representative tasked with smoothing his ruffled feathers. After her attendance at his father’s “funeral”, they grow closer still as they explore the Parisian sights. Mickey ultimately returns to the United States, but Ellen follows soon after and they marry. What follows is a series of events depicting the highs and lows of their union, as told through the eyes of their friends.

This movie illustrates the idea that the perceived rewards and costs of being in a relationship determines an individual’s satisfaction and willingness to remain in the relationship. Initially, Ellen decided that the risk of leaving her job in Paris to be with Mickey was worth the happiness she would have by being together with him, but in truth, she could barely be with him at all, as we always travelling for his job. From a social exchange perspective, the interdependence theory states that people tend to want to maximize the rewards gained from a relationship while also minimizing the costs they must bear (Sprecher, 1998). When Ellen, and later Mickey leave their jobs, they incur what is termed opportunity costs in favour of the emotional rewards of staying together. However, as the theory explains, they remain unhappy in the relationship as the reality does not match their expectations for their relationship. Such expectations are referred to as a comparison level, whereby one is happy when the actual outcome exceeds their expectations but is distressed when the converse is true.

Not when you feel like you're making all the sacrifices in this relationship, it's not

One of the things that was interesting about the film was the way in which the developments in Mickey and Ellen’s relationship was revealed, i.e. through the retelling of the events by their friends. The different narratives added a personal touch to the tale, leaving the audience feeling as if this really was a story your friend was recounting to you over a meal. Through this, bits and pieces of the characters’ personalities were revealed as well. With their snippets of commentary, it was entertaining to see how the marriages of the other characters compared to that of Mickey and Ellen’s. However, it can also be said that as third parties who were only recounting their memories of the relationship, they might not have been privy to other occurrences that might have been important to the story. As different characters recounted specific occurrences regarding the turbulent relationship, it felt as if Liz and the movie’s audience were one and the same, with her reactions to the revelations mirroring that of our own. Much like the way Liz was invested in the outcome of their relationship, we too rejoiced when Ellen appeared during the final basketball game.  

"If someone does not tell me about this baby, asses will be kicked!" In which we were all Liz during this scene

Furthermore, the use of Paris as a metaphor is hardly a novel idea, but this film adopts a new angle to the approach by having their friends repeatedly tell Mickey and Ellen to “Forget Paris”. Their time together there was dazzling and special, but they needed to be able to make the relationship work once the rose-coloured lenses come off. Indeed, successful long-term relationships have seen feelings of love decrease, but measures of commitment increase (Meyers, 2007). It was important for Ellen and Mickey to understand that their relationship might never be as magical as it was at the beginning, and that they needed to live within reality. Of course, the issue is that Ellen and Mickey don’t live in reality; they live in a ‘90s romantic comedy.

Although the movie had a touch more realism than other romantic comedies, the ending felt slightly unsatisfying and anticlimatic. Mickey and Ellen’s reunion could realistically be justified; after all, rekindled romances have the potential to be more successful than the initial relationship (Goldhill, 2015). However, the on-again-off-again nature of their relationship left me feeling just as exasperated as their friends were, and by the time Ellen shows up at the basketball game, one could not help but feel grateful that the story was coming to a close. At times, the movie felt more akin to a documentary about refereeing NBA games, which, while Billy Crystal had actually intended, did not lend to the romanticism of the film. Ultimately, the film had deviations from the typical romantic comedy formula, and although the execution of certain elements could have been handled better, the cast managed to tell a touching story about relationships and what it takes to keep them alive.

(Though I will probably never be able to see Billy Crystal as the male lead in a romantic comedy.)

"Marriages don't work when one partner is happy and the other is miserable. Marriage is about both people being equally miserable." -Andy

References

Goldhill, O. (2015). The psychology of why rekindled romances are so intense. Retrieved from https://qz.com/578395/the-psychology-of-why-rekindled-romances-are-so-intense/

Meyers, L. (2007). The eternal question: Does love last? Monitor on Psychology, 38(2), 44.

Sprecher, S., (1998). Social exchange theories and sexuality. Journal of Sex Research, 35(1), 32–43.

Strictly Ballroom

Baz Luhrmann's Strictly Ballroom (1992) revolves around the lives of ballroom dancers Scott Hastings and his partner Fran as they make their journey to the Pan-Pacific Grand Prix, while trying to incorporate their personal styles of dancing. Several elements of this film can be explained through psychological paradigms.

Expressions of individuality vary from culture to culture; considering the film’s setting in an individualist country like Australia, self-expression is of particular importance (Kim & Sherman, 2007). The phrase “express yourself” is ubiquitous in Western culture; it is a theme that is present from advertisements to films. In this culture, self-expression is associated with positive outcomes, the most prominent of which is freedom. To be able to express oneself is to be free, and within these cultures it is not a privilege, but a right. In relation to that, dance has played an important role in the lives of millions of people throughout history. Whether for professional, recreational, or even religious reasons, dance has always been a medium for self-expression. However, the film sees the world of ballroom dancing encapsulated in rules and regulations, with unique steps being frowned upon and in Scott’s case, actively discouraged. Considering the nature of self-expression in culture and of dance at its core, it comes as no surprise that Scott would want to deviate from standard steps and perform his own dance moves. If analyzed from a goal orientation perspective, Scott’s disposition for demonstrating ability in achievement situations would be categorized as “prove performance goal orientation”. Defined as the “desire to prove one's competence and to gain favorable judgments about it" (VandeWalle, 1997), this could serve as an explanation for Scott and Fran’s motives as they want to be positively evaluated by others.

An important part of the film was the compliance exhibited by the other dancers towards the federation guidelines. In terms of the social identity theory, identification with a group increases an individual’s personal self-esteem (Tajfel, 1978). When a group collectively possesses high self-esteem, an individual is likely to have high levels of personal self-esteem as well, so long as they identify themselves as being a part of the group. Scott’s desire to perform his own dance moves is seen as a threat to the prestige and honour that comes with being a part of the dance federation, possibly resulting in a lowered self-esteem for the group and consequently for the individual. Therefore, this accounts for why individuals such as Liz, Wayne, and Scott’s mother would go to certain lengths to stop him and Fran from dancing their own steps. Barry Fife makes use of this to conflate his own agenda, saying things such as “One bad egg can rot the whole barrel” to manipulate others into preventing Scott from dancing non-Federation steps.

References
Kim, H. S. & Sherman, D. K. (2007). “Express yourself”: Culture and the effect of self-expression on choice. Journal of Personality and Social Psychology, 92, 1-11.
Tajfel, H. (1978). Social categorization, social identity and social comparison. In H. Tajfel (Ed.), Differentiation between social groups: Studies in the social psychology of intergroup relations (pp. 61-76). London: Academic Press.
VandeWalle , D. (1997), Development and validation of a work domain goal orientation instrument, Educational and Psychological Measurement, 8, 995-1015.

Eat Drink Man Woman (飲食男女)

Although Eat Drink Man Woman plays out entirely in Taiwan, the themes of this film are universal. The expression of feelings through food, communication despite generation gaps, gender roles, and modernization in traditional societies can be seen in the film and in real life.

Food is Love, Food is Life

With food, it is just as much about the journey as it is about the destination and this is highlighted throughout the course of the movie. The film succeeds in presenting Mr. Chu's intricate cooking as an expression of larger traditionalism and as an endangered art. The audience is graced with extensive scenes of the preparation of Chinese dishes, displaying the amount of effort and skill that are involved in the culinary arts.

The food preparation sequences serve as a metaphor for the skill required to transform bare existence into a rich life (and perhaps also as a metaphor for film making, where similar care and deftness are required)

Food is as much a backdrop as a recurring symbol in this film. Mr Chu's failing taste buds parallel his loss of zest for life. While he may be considered a great man in Taipei's culinary circles, at home, his relationships with his children are deteriorating. Although his daughters view the weekly Sunday dinners as bothersome and torturous, it is possibly clearer to the audience that Mr Chu does this not merely to uphold notions of tradition, but as a means of expressing his love for them. Indeed, it is unlikely that Mr Chu would undertake all that meticulous preparation for the regular feasts simply as a force of habit. Bound by the conventions of traditional Chinese culture, Mr Chu may not be able to directly convey his feelings to his family, but his attempts to do so through his cooking are apparent. At the end of the film, Mr Chu regains his sense of taste after drinking Jia-Chien’s soup. In line with the assumption of food as a metaphor, the return of this sensory experience could signify his renewed satisfaction with life upon rekindling his relationship with his daughter. Perhaps through the dishes that Jia-Chien prepared he understood her expression of love and endearment for him as well. This theme echoes the sentiments of chefs and culinary enthusiasts everywhere, that food is about more than just a physical sense of fullness. Also, it explores the possibility of there being more than one language of love.

"Cooking done with care is an act of love.” -Craig Claiborne

Communicating Across A Generation Gap 

One of the reasons the Chu daughters dread the aforementioned Sunday dinners is because tensions run so high barely any eating is done. Much of the food on the table goes to waste, but the repast does succeed in one aspect: Each week, a member of the family speaks up with an unexpected revelation, beginning with Jia-Chien’s desire to move out and concluding with Mr Chu’s newfound romance with Jin-Rong. It is fitting that many of the meaningful events in the lives of the Chu family takes place at the dinner table, moreso because it is a unique way to reveal the plot. It was interesting to witness a family dynamic that was so fractured, their interactions had devolved to announcements at regularly scheduled meals. The problems with communicating did not exist only between Mr Chu and his daughters, but also between his daughters themselves.

The sisters barely have meaningful conversations outside of the dinners

Less Gender Roles, More Pizza Rolls

A major source of conflict between Mr Chu and Jia-Chien was his refusal to allow her to pursue a career as a chef, despite her showing promise in the field. Instead, she was urged to go to university, resulting in her subsequent career in the airline industry. Although it was later revealed that Mr Chu wanted a better life for his daughter than that of a chef, Jia-Chien assumed that his motivations were based in beliefs of traditional gender roles, that women did not make good chefs. Indeed, although women are traditionally expected to remain in the kitchen, the professional culinary industry is largely dominated by men. The film may be set in modern-day Taiwan which has seen the emancipation of women’s rights, but Jia-Chien’s assumptions reflect an internalized bias regarding conventional roles held by men and women. Ultimately, she takes over the role of chef for family dinners, which could be taken to mean either confirming to traditional gender roles, or liberation from them; playing the role of nurturing caregiver or demonstrating female culinary prowess.

The Coexistence of Modernization and Traditionalism

Much like the landscape of globalized nations today, the film is set in a Taiwan that embraces modern-liberalist views whilst holding on to time-honoured elements from the past. This can be seen in the way Mr Chu’s elaborate family dinners, the classic infrastructure of The Grand Hotel, and the Wendy’s outlet where Jia-Ning is employed all coexist. Another juxtaposition presents itself in the dichotomy of the rigid family dinners and the unconventional relationships each family member forms, such as Jia-Ning’s shotgun wedding. The revelation of Mr Chu and Jin-Rong’s relationship also presents a new facet to the already unorthodox family dynamic. Perhaps the one person who has found the balance between tradition and modernization is Jia-Chien, a corporate employee who also engages in the stereotypical act of cooking.

Pictured: The extended Chu family by the end of the film

Final Thoughts

Eat Drink Man Woman is a delightfully complex film laced with humour and poignant moments that deal with the kinds of problems most people face during the course of their lives. Love also plays a part in the story, the many faces of which are explored within. With each character's separate story given room to play out, the movie enables the audience to be invested in the outcomes of their individual lives while discovering what it means to be a family. In addition to the refreshing cinematography, the cast is comprised of actors who artfully depict their roles, leaving not a single false moment to be found in their performances. These are all very real people in a very real setting, which enables the audience to identify and relate to the characters and their story, assuring that connection which makes this film such a satisfying experience. The deviation from the standard Hollywood type of storytelling is a welcome one; the tendency to emphasize drama whilst maintaining a light-hearted tone during other scenes is a characteristic of Asian films that differentiate it from their Hollywood counterparts. The film reminds us of the value of the intimate relationships which shape the human experience, but above all it gives you an appreciation and a craving for artfully prepared cuisine, so know that as you reach for the phone and dial for Chinese takeout, you are not alone.

Awakenings

Awakenings tells the tale of Dr Malcolm Sayer and his efforts to treat catatonic patients who survived an epidemic of encephalitis lethargica. This film, with its compelling and poignant story, can be explored from a number of perspectives.

With an expert cast comprising of the likes of Robin Williams, Robert De Niro, and Julie Kavner, the portrayal of the characters was naturally one of the main elements that contributed to the audience’s experience of the film. Williams, at his most restrained, brings to life the role of socially inept neurologist Malcolm Sayer wonderfully, but it is De Niro’s performance as newly “awakened” Leonard Lowe which really captivates. Depicting the progression from awakening to dyskinesia to the eventual return to a catatonic state, De Niro is unafraid to portray the more unsightly Parkinsonian symptoms, made all the more evocative with the way he captures Leonard’s struggle for autonomy and freedom. Dr Sayer and Leonard’s burgeoning relationship after the latter awakens is undoubtedly heart-warming to watch; however, their increasingly strained relationship culminating in Leonard’s attempt to leave the hospital was played by their actors so well that as the audience, we empathize with both Leonard’s need to be free of the confines of the hospital and Dr Sayer’s growing realization that the drug is losing its effectiveness on his patients.

De Niro's uncanny efforts to immerse himself in the Leonard's remarkable pathology and his relationship with Dr Sayer

When Leonard’s attempt to leave was thwarted, we see his resistance become increasingly physical. This behaviour can, in part, be explained by the frustration-aggression hypothesis, which posits that unresolved frustration triggers a readiness to aggress (Berkowitz, 1989). In the context of the film, Leonard’s frustration stems from his inability to go for a walk as and when he pleases, to be free. The hospital staff is seen as coming in between him and his goal. This causes him to lash out at them in retaliation, in line with the hypothesis. Alternatively, Leonard’s hostile behaviour is consistent with the side-effects associated with the drug L-dopa (Hoglund et al., 2005), which could provide another explanation for his aggression and paranoia towards Dr Sayer and the rest of the staff. Despite this, the need for freedom does not appear to be a theme isolated to just this particular arc in the film; early in the movie, Lucy, not yet awakened, walks to the window instead of the water fountain as Dr Sayer and the nurse Eleanor had thought. This lends insight into the inner workings of the patients, highlighting not a will to survive, but a will to live.

Dr Sayer attempts to understand Lucy's motivations

As the rest of the patients awaken during the movie, it becomes easier for both the audience and the hospital staff to see them as people with their own personalities and feelings. By the end of the movie, the patients have reverted to their catatonic states, but not all is it once was. Gone was the original ambience of the “Garden ward”; the patients were now receiving more than just basic care, with the staff treating them as individuals capable of dignity and worthy of respect. As a psychology major, this prompts a discussion on how we view patients in persistent vegetative states in real life: Are we not much like the nurses and caretakers of the Garden ward, as they are at the beginning of the film? Should we not strive to treat such patients more like their families do, like Leonard’s mother did? And to a greater extent, how to we define personhood? As the film highlights, just because we do not perceive a person as being conscious does not mean that they are unaware of their surroundings. One’s inability to care for themselves or communicate does not warrant half-hearted treatment and support.

Aside from the physical portrayal of Leonard's symptoms, it was interesting to see how the progression of his illness was depicted through close-ups of his writing his name, something that seemed to be recurring throughout the movie. In addition to this, Dr Sayer notices a spike in Leonard's EEG readings in response to his name being called out. Indeed, a person's name is very much tied to their sense of identity, leaving one to wonder, what must it feel like when all you have left is your name?

The progression of Leonard's disease as depicted by his name

Final Thoughts

At its core, Awakenings celebrates the joy of life and the healing exchange that can occur between doctor and patient when caring, rather than curing, is the emphasis of treatment. The title of the film also carries a double meaning as the hospital staff undergo an awakening of sorts themselves, with the staff exhibiting more care towards the patients after having interacted with them as normal individuals. Although the effects of L-dopa eventually sent Leonard careening helplessly back to his original state of immobility, his presence does manage to inspire Dr. Sayer to break free of his shell deepen his relationship with Eleanor. Furthermore, the content of the film was thought-provoking and does leave the audience with several questions:

1. How do we define recovery? Is it measured by fully regaining prior function, or do we instead consider small but incremental progress?
2. What is the ethicality of administering trial drugs on comatose or catatonic patients? Granted, Dr Sayer did obtain consent from the patients' guardians, but how would their relationship to the afflicted affect their decision?
3. The administering of L-dopa did result in the patients waking up, but what could then be done for individuals who wake up to a disrupted and derailed life? Should it still be administered, with the knowledge that the effects are only temporary?

Sayer highlights one of the dilemmas present in the film

Although there were problems with L-dopa, it does provide grounds for the discussion on what other seemingly impossible diseases may be cured. Ultimately, the film reminds us of the preciousness of the little things we take for granted in life, such as feeling, fantasy, risk, love, and wholeness.

References

Berkowitz, L. (1989). Frustration-aggression hypothesis: Examination and reformulation. Psychological Bulletin, 106(1), 59.

Höglund, E., Korzan, W. J., Watt, M. J., Forster, G. L., Summers, T. R., Johannessen, H. F., ... & Summers, C. H. (2005). Effects of L-DOPA on aggressive behavior and central monoaminergic activity in the lizard Anolis carolinensis, using a new method for drug delivery. Behavioural brain research, 156(1), 53-64.

Cinema Paradiso

Cinema Paradiso tells the tale of renowned Italian film director Salvatore Di Vita, chronicling his life in the small town of Giancaldo from childhood until his ultimate departure in early adulthood.  The following post will explore several themes and concepts that were prominent in the film.

Death and All His Friends

The movie revolves around a few of the great inevitabilities in life, including heartbreak and death.  Told in the form of a flashback, it is the news of Alfredo’s death that provides the impetus for Salvatore’s reminiscence.  As the audience soon discovers, death has also claimed his father in the recent war.  As a young boy, Salvatore (then affectionately referred to as Toto) develops an interesting relationship with Alfredo, a projectionist at Cinema Paradiso.  At times, Alfredo would appear as a mentor to Toto, guiding him through the inner workings of the projection room at Paradiso; during others, it seemed as if man and boy were both of the same age at heart.  

Alfredo: Mentor, confidante, friend.

Undoubtedly, Alfredo was seen as a father-figure in Toto’s life.  Whether this relationship was due to the death of Toto’s father was not made clear in the film; however, this is typical in children who have experienced the loss of a parent, as there tends to be a shift from grief reactions to a search for acceptance and of replacement persons (Yates, 1985).  Taking into account a number of factors including developmental constraints, bereavement and grief manifest themselves differently in children than they do in adults.  According to Nagy (as cited in Yates, 1985), a child’s comprehension of death can be categorized into three different stages: whereby death is seen as reversible (Stage 1), whereby death is understood to be final but is something that only happens to others (Stage 2), whereby death is perceived as final, inevitable, and associated with the cessation of bodily activities (Stage 3).  It is likely that young Toto falls under Stage 3 of this model as he demonstrated the understanding that his father was dead and would not be returning from the war, even as his mother continued to hold out hope to the contrary.  Although the death of his father did not appear to have a lasting impact on Toto, it could be that Toto and Alfredo’s relationship began as a means for the boy to cope with the loss.

Monkey See, Monkey Do

Under Alfredo's tutelage, Toto learns the know-hows of being a projectionist. From casual observation to becoming Cinema Paradiso's very own projectionist after Alfredo's accident, Toto's acquisition of this skill is reflective of the Observational Learning model. According to Bandura (1974), observational learning involves four processes: attention, memory, initiation, and motivation. Toto had watched Alfredo at work on numerous occasions and could even replicate his actions to a certain degree, indicating attention and memory. Initiation refers to one's physical and mental ability to reproduce the model's actions, which Toto did indeed demonstrate. Finally, an individual must possess the necessary motivation to execute the action, and Toto was more than willing to operate the equipment in the projection room; thus resulting in successful reproduction of Alfredo's actions.

“Tell me and I forget, teach me and I may remember, involve me and I learn.”

Today: Tomorrow’s Nostalgia

Nostalgia is a theme that pervades the film from start to finish.  Toto’s nostalgia is clustered and undefined. He sees much in his childhood that he has since lost: a sense of belonging both to a family and a community, his lost-love, Elena, and his youthful passion.  However, these distinct ideas are all subsumed under the cinema because it is the context that made them all possible. For this reason, it is the cinema and its facility for moments of collective transcendence that affects this feeling of nostalgia in the audience.  

Nostalgia is oftentimes akin to a double-edged sword, with a pleasant experience capable of resulting in either positive or negative feelings.  Alfredo knew that Toto would not be able to move on to greater things if he kept reliving his time at Paradiso and Giancaldo. Boym (2002) identified two distinct types of nostalgia, restorative nostalgia (involving a desire to relive special moments) and reflective nostalgia (involving the acceptance that the past is behind us).  At the end of the film, Salvatore is visibly emotional upon viewing Alfredo’s film reel, which contains all of the romantic scenes the priest had ordered to be cut from movies.  As he savours the emotions evoked from the recollection of his time in Giancaldo, it is safe to assume that Salvatore is experiencing reflective nostalgia.  Reflective nostalgia revels in the fact that a memory is untouched by the present, existing solely within our minds for us to experience.  

"There is no greater sorrow than to recall a happy time when sorrow." -Dante

Despite its earlier classification as a form of psychosis, nostalgia has been shown to counteract loneliness, boredom and anxiety (Batcho, 2013).  It has also been known to increase one's sense of social support and connections, as well as enhancing an individual’s self-regard.  Ultimately, it is one’s attitude toward the past that influences its impact on us.

References

Bandura, A. (1974). Behavior theory and the models of man. American Psychologist, 29(12), 859. Retrieved from

http://www.uky.edu/~eushe2/BanduraPubs/Bandura1974AP.pdf

Batcho, K. I. (2013). Nostalgia: retreat or support in difficult times?. The American Journal of Psychology, 126(3), 355-367.

Boym, S. (2002). The future of nostalgia. Basic Books. Retrieved from https://books.google.com.my/books?id=7BbTJ6qVPMcC&lpg=PR7&ots=XVCJdG8jSK&dq=The%20Future%20of%20Nostalgia%2C%20Svetlana%20Boym&lr&pg=PA3#v=onepage&q&f=false

Yates, A. (1985). Bereavement: Reactions, Consequences, and Care. Archives of Pediatrics & Adolescent Medicine, 139(7), 678. Retrieved from https://www.ncbi.nlm.nih.gov/books/NBK217849/