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Film history is merged with psychiatric history seamlessly, to show how and why bad depictions of mind doctors (especially hypnotists) occur in early film, long before Hannibal Lecter burst upon the scene. The German Expressionist Dr. Caligari is not cinema's first psychotic charlatan, but he launches the stereotype of screen psychiatrists who are sicker than their patients. Many film psychiatrists function as political metaphors, while many more reflect real life clinical controversies. This book discusses films with diabolical drugging, unethical experimentation, involuntary incarceration, sexual exploitation, lobotomies, "shock schlock," conspiracy theories and military medicine, to show how fact informs fantasy, and when fantasy trumps reality. Traditional asylum thrillers changed after hospital stays shortened and laws protected people against involuntary commitment. Except for six short "golden years" from 1957 to 1963, portrayals of bad psychiatrists far outnumber good ones and this book tells how and why that was.
Film history is merged with psychiatric history seamlessly, to show how and why bad depictions of mind doctors (especially hypnotists) occur in early film, long before Hannibal Lecter burst upon the scene. The German Expressionist Dr. Caligari is not cinema's first psychotic charlatan, but he launches the stereotype of screen psychiatrists who are sicker than their patients. Many film psychiatrists function as political metaphors, while many more reflect real life clinical controversies. This book discusses films with diabolical drugging, unethical experimentation, involuntary incarceration, sexual exploitation, lobotomies, "shock schlock," conspiracy theories and military medicine, to show how fact informs fantasy, and when fantasy trumps reality. Traditional asylum thrillers changed after hospital stays shortened and laws protected people against involuntary commitment. Except for six short "golden years" from 1957 to 1963, portrayals of bad psychiatrists far outnumber good ones and this book tells how and why that was.
By looking at the interactions between cinema and psychology, Packer offers readers clear and basic insights into some of the most fundamental reasons why film is such an important influence upon our lives today. Movies and the Modern Psyche first describes the basic concepts of psychoanalysis, experimental psychology, behavioral conditioning, and hypnosis, which have all played major roles in the histories of both film and psychiatry. It then goes on to discuss the recent rise in film therapy, drug treatments, treatment for drug abuse, and the closing of asylums, to show how shifts in treatment techniques, theories, and settings are foreshadowed and fossilized by film. Psychology and cinema are kindred cousins, born at the same time and developing together, so that each influences the other. From the mind-controlling villains that occupy early horror films and Cold War thrillers (like Caligari, Mabuse, and The Ipcress File), to the asylums that house numberless political allegories and personal dramas (in Shock Corridor, Spellbound, One Flew over the Cuckoo's Nest, and Girl Interrupted), to the drugs, phobias, and disorders that pervade so many of our favorite films (including, as a small sample, Vertigo, Night of the Hunter, Psycho, Rainman, Fight Club, Requiem for a Dream, and Batman Begins), there is no escaping either psychology in the movies, or the movies in psychology. By looking at the interactions between cinema and psychology, this book offers readers clear and basic insights into some of the most fundamental reasons why film is such an important influence upon our lives today. Movies and the Modern Psyche first describes the basic concepts of psychoanalysis, experimental psychology, behavioral conditioning, and hypnosis, which have all played major roles in the histories of both film and psychiatry. It then goes on to discuss the recent rise in film therapy, drug treatments, treatment for drug abuse, and the closing of asylums, to show how shifts in treatment techniques, theories, and settings are foreshadowed and fossilized by film.
The New York Times bestselling true story that inspired the major motion picture—an “unforgettable tale of hope, heart and humanity”(People). Journalist Steve Lopez discovered of Nathaniel Ayers, a former classical bass student at Julliard, playing his heart out on a two-string violin on Los Angeles’s Skid Row. Deeply affected by the beauty of Ayers’s music, Lopez took it upon himself to change the prodigy's life—only to find that their relationship would have a profound change on his own. “An intimate portrait of mental illness, of atrocious social neglect, and the struggle to resurrect a fallen prodigy.”—Mark Bowden, author of Black Hawk Down
Cinema, MD follows the intersection of medicine and film and how filmmakers wrote a history of medicine over time, analyzing not only changing practices, changing morals, and changing expectations but also medical stereotypes, medical activism, and violations of patients' integrity and autonomy. Examining over 400 films with medical themes over a century of cinema, this book establishes the cultural, medical, and historical importance of the artform.
A harrowing account of brainwashing’s pervasive role in the twentieth and twenty-first centuries This gripping book traces the evolution of brainwashing from its beginnings in torture and religious conversion into the age of neuroscience and social media. When Pavlov introduced scientific approaches, his research was enthusiastically supported by Lenin and Stalin, setting the stage for major breakthroughs in tools for social, political, and religious control. Tracing these developments through many of the past century’s major conflagrations, Dimsdale narrates how when World War II erupted, governments secretly raced to develop drugs for interrogation. Brainwashing returned to the spotlight during the Cold War in the hands of the North Koreans and Chinese. In response, a huge Manhattan Project of the Mind was established to study memory obliteration, indoctrination during sleep, and hallucinogens. Cults used the techniques as well. Nobel laureates, university academics, intelligence operatives, criminals, and clerics all populate this shattering and dark story—one that hasn’t yet ended.
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.
Psychiatry and the Cinema explores this complementary relationship from two angles, psychiatrists who have studied the movies and movies that have depicted psychiatry. This second edition has updated this definitive text with a discussion of new trends in psychoanalytically oriented film theory, and an expanded list of movies is analyzed.
This comprehensive collection of essays written by a practicing psychiatrist shows that superheroes are more about superegos than about bodies and brawn, even though they contain subversive sexual subtexts that paved the path for major social shifts of the late 20th century. Superheroes have provided entertainment for generations, but there is much more to these fictional characters than what first meets the eye. Superheros and Superegos: Analyzing the Minds Behind the Masks begins its exploration in 1938 with the creation of Superman and continues to the present, with a nod to the forerunners of superhero stories in the Bible and Greek, Roman, Norse, and Hindu myth. The first book about superheroes written by a psychiatrist in over 50 years, it invokes biological psychiatry to discuss such concepts as "body dysmorphic disorder," as well as Jungian concepts of the shadow self that explain the appeal of the masked hero and the secret identity. Readers will discover that the earliest superheroes represent fantasies about stopping Hitler, while more sophisticated and socially-oriented publishers used superheroes to encourage American participation in World War II. The book also explores themes such as how the feminist movement and the dramatic shift in women's roles and rights were predicted by Wonder Woman and Sheena nearly 30 years before the dawn of the feminist era.
Cinema—invented just before psychoanalysis formally developed—primed the public and scholars to rethink ideas about dreams. The author describes how surrealist artists purposely applied Freudian dream theories to their art to make the public aware of modern ideas about dreams. Most of our current cultural consciousness about the psychological value of dreams is traced to classical and contemporary cinema. This work examines how residuals of past approaches to dreams make conceptions of dreams in psychoanalysis and science more complex than ever today. Scholars and students in the fields of psychology, psychiatry, cinema, medicine, and religion may find this volume useful. The book also examines academic psychiatry's increased emphasis in dream study on neuropsychiatry and psychopharmocology, as well as managed care's decreased compensation for dream therapy.