Showing 141 - 150 of 211 annotations tagged with the keyword "Psychiatry"
Intended for both the general public and medical professionals, Reel Psychiatry is a comprehensive catalogue of mainstream films that accurately portray psychiatric conditions. Robinson combines his "two passions: teaching psychiatry and watching films" to create a classroom resource for medical educators who want to use film to teach the diagnosis and treatment of psychiatric disorders and a critical compendium for anyone else who has more than a passing interest in cinematic works that dramatize the personal experience of patients and professionals grappling with mental illnesses.
The book is organized in three sections: primary psychiatric disorders such as schizophrenia, depression and bipolar disorder; personality disorders and mental retardation; and substance-related disorders and general medical conditions. The general symptoms and associated features of each condition are first set forth and then followed by descriptions of individual films that depict those symptoms and features.
St. Luke’s Hospital was founded in 1750 to provide free care to the impoverished mentally ill. It mixed benevolence with "unconscious cruelty" in the treatments used by the "practitioners of old," from restraints and drugs to swings and a key to force-feed recalcitrant patients. Dickens describes this gloomy edifice as he saw it on December 26, 1851, although he notes a "seasonable garniture" of holly.
The inhabitants of St. Luke’s largely sit in solitude. Dickens decries the absence of "domestic articles to occupy . . . the mind" in one gallery holding several silent, melancholy women, and praises the comfortable furnishings--and the relative "earnestness and diligence" of the inmates--in another. He uses statistics to show the prevalence of female patients, "the general efficacy of the treatment" at St. Luke’s, and the unhealthy weight gain of the inhabitants due to inactivity. Dickens describes the behavior of various distinctive inhabitants during the usual fortnightly dance, the viewing of a Christmas tree, and the distribution of presents.
This is psychiatrist Ron Charach's seventh collection of poems. It begins with the narrator going through security in order to board an airplane--a metaphor for contemporary society: we structure more and more "security" into our lives, but the uncertainty seems to increase, rather than decrease. The theme of the book is safe passage: our attempts to achieve it, our failures, and our companions along the way. In the last poem ("The Night After"), Charach tells us, "all the talk in the world cannot dampen my fear / of a world bereft of holiness." The quest is unsuccessful, yet somehow saved by a few fleeting moments of contact with something else; perhaps, it is the sacred.
For more than fifteen years, Irish-born Grace Marks has been confined for the 1843 murder of housekeeper, Nancy Montgomery, and her employer, Thomas Kinnear, at their home north of Toronto. Her convicted accomplice was hanged, accusing Grace with his last breath, but her sentence was commuted to life in prison at the last minute. Because of her amnesia and outbursts of rage and panic, she was held in the Lunatic Asylum before being sent to the Kingston [Ontario] Penitentiary.
Beautiful, intelligent, and strangely poised, Grace intrigues worthy townsfolk, spiritualists, and some of her jailers, who grant her the privilege of outside work, believe in her innocence, and strive for a pardon. In looking for medical approbation, they consult Dr. Simon Jordan, a young American doctor who is interested in insanity and memory loss. Without explaining his purpose, he brings her vegetables and other familiar objects, hoping to stimulate recollection of her life.
Interspersed with Jordan's own problems, Grace's story unfolds in her own words, from her poverty-stricken childhood in Ireland and the emigration voyage that killed her mother, leaving her and her younger siblings to a neglectful father, through her short life in service, to the dreadful events of autumn 1843. She has suffered many losses, including the death of her mother to ship fever, and that of her friend and fellow servant, Mary Whitney, from an illegally procured abortion. After many weeks, Jordan abandons his project in frustration and ambiguity. The novel ends years later with forty-six year-old Grace's discharge from prison in 1872, nearly thirty years after the crime.
Following the death of an aphasic hermit woman in the woods of North Carolina, it is discovered that she is survived by a daughter (Jodie Foster), a young woman who lives by herself as a kind of wild child, speaking a private language, and intensely fearful of human contact. The authorities decide that she must be normalized for her own good, but Dr. Jerry Lovell (Liam Neeson) disagrees, arguing that, although different, she is fine and has not asked for help. He insists on getting her informed consent before treatment. A judge agrees to give Lovell three months to observe the woman, whose name turns out to be Nell, and find evidence that she should not be treated against her will.
Lovell recruits a partner, psychologist Paula Olsen (Natasha Richardson), and together they set up an observation base on a houseboat with a view of Nell's cabin. From there Lovell makes a series of attempts to win Nell's confidence and understand her language. (Olsen for much of the film mainly represents a set of professional values more conservative that Lovell's unconventional therapeutic moves--which, for example, make her suspect that he is sexually attracted to Nell. Her own sexual presence, while downplayed, serves to defuse this potential.)
Lovell wins Nell's confidence (she calls him her "guardian angel") and the secrets of her speech and wounded psyche (a twin sister died young, and Nell has apparently at least witnessed sexual abuse). Following a court hearing in which Nell speaks in her own defense, the world gets word of her case and journalists descend on her remote cabin on foot and by helicopter.
Fearing that civilization will destroy Nell, Lovell arranges to have her hospitalized as the least available evil. However, when he finds her drugged, he sees that hospitalization is no solution, and he carries Nell out of the hospital and back to her cabin. He tries to make her understand that he is not her guardian angel.
The film switches to a warmly-lit lakeside scene five years later, when all problems seem to have been solved. Lovell and Olsen, who are married with a little girl, and several other sympathetic characters are picnicking with Nell near her cabin, and Nell is shown entranced and somehow emotionally fulfilled in being with the child, who is the age at which her twin sister died.
The film opens with a bird's-eye sweep over the frieze of a post-engagement battlefield--mud, strewn with bodies and shards of machinery, all iron grey and relieved only by rare patches of crimson blood. Psychiatrist William Rivers (Jonathan Pryce) treats shell-shocked soldiers in the converted Craiglockhart Manor. He is obliged to admit the poet and decorated war hero, Siegfried Sassoon (James Wilby), because his military superiors prefer to label the much-loved Sassoon's public criticism of the war as insanity rather than treason. Rivers is supposed to "cure" the very sane poet of his anti-war sentiments.
At the hospital, Sassoon meets another poet, Wilfred Owen (Stuart Bunce), equally horrified by the war although he, like Sassoon, believes himself not to be a pacifist. A secondary plot is devoted to the mute officer Billy Pryor (Jonny Lee Miller) who recovers his speech, his memories, and a small portion of his self-respect through the patience of his doctor and his lover, Sarah (Tanya Allen). Vignettes of other personal horrors and the brutal psychological wounds they have caused are presented with riveting flashbacks to the ugly trenches. Sassoon, Owen, and Pryor return to active service. The film closes with a dismal scene of Owen's dead body lying in a trench.
The Longhettis are an Italian-American working class family. Nick (Peter Falk) is a construction worker. He and his wife Mabel (Gena Rowlands) have three children. Mabel is unusual, perhaps mentally ill, maybe with a bipolar or borderline disorder, but diagnosis is not really the point. She is warm, spontaneous, beautiful, and an affectionate if inconsistent mother. Because Mabel is so eccentric and unpredictable, the Longhetti family seems to function at a kind of delicate equilibrium.
This stability is disrupted when Nick fails to get away from work on a night he and Mabel had planned to spend alone together. The children are with her mother, and Mabel finds it intolerable to be alone, so she gets drunk, goes out, and picks up someone in a bar. The next morning Nick brings a crowd of work mates home with him after the night shift and Mabel copes with the invasion by cooking up a spectacular spaghetti breakfast and flirting outrageously with one of Nick's friends.
Later when a neighbour brings his children to play, Mabel again behaves inappropriately. Nick, under pressure from his mother and Mabel's physician, is persuaded to have his wife institutionalized. She is taken away. Nick angrily rejects the concern of his friends, but struggles terribly to manage the children.
The film ends with the evening of Mabel's return from hospital. Nick and his mother have arranged a dinner party to celebrate her recovery, but it is quickly clear that, despite electroconvulsive therapy, Mabel is unchanged. It also becomes more evident than ever that her "madness" is rooted as much in the family's social network, her uncomprehending parents, judgmental mother-in-law, and volatile husband, as it is in her own brain or personality. But, after an appalling evening, Mabel and Nick put the children to bed and then go about cleaning up the house as usual, their fragile normality restored for now.
Frank Carveth (Art Hindle) has a wife, Nola (Samantha Eggar) who is mentally ill (the exact nature of her "breakdown" is never made clear, but it is implied that she was abused as a child). Nola is an in-patient at the Somafree Institute of Psychoplasmics run by Dr Hal Raglan (Oliver Reed). Raglan treats patients by engaging in intense role play encounters in which he takes the part either of parent or child to the patient.
The result of his approach is the somatization of emotional problems, his logic apparently being that allowing psychopathology to manifest in the (medically treatable) body liberates the less accessible psyche from illness or harmful emotions. So, for instance, a man with unresolved anger against his father develops sores all over his body during therapy. Their healing enacts his catharsis.
There are problems, however: another patient attributes his terminal cancer to Raglan's therapy, saying "psychoplasmics . . . encouraged my body to revolt against me and it did." Most terrifying of all is Nola's rage. It expresses itself in the form of strange buds that appear on her abdomen. These develop into external wombs, or amniotic sacs, from which she keeps giving birth to deformed and malevolent children.
These children, "the brood," literally enact her rage, escaping from Somafree to attack and kill anyone who is the object of Nola's anger, including both her parents and, eventually, Dr. Raglan himself. When the brood turns on Candy, Frank and Nola's actual daughter, Frank strangles his wife, and her evil offspring die with her.
Tim Metcalfe is an Australian general practitioner who gave up medical practice to become a full-time poet and writer. A statement on the back cover summarizes the process in relation to this collection of 38 poems: " ’Cut to the Word’ is a moving account of one man’s transition from doctor to poet." He begins with the customary initiation: "We were introduced, respectfully, / to the volunteer dead . . . " (p. 13) He discovers the limitations and uncertainties of his new profession: "In tense moments / I wish my stethoscope / was all they want it to be." (p. 18) And the omnivorous demands of medicine: "I come home from work / and there it is: the family / the oldest crying / at the youngest crying / at her mother’s anger / at her crying . . . " (p. 21)
Metcalfe carries the reader through a series of short, incisive poems describing the doctor’s day-to-day work ("Morning Session, " pp. 47-50), as well as through a number of disturbing poems about the world of mental illness, but the book’s climax--so to speak--arrives with "The Doctor’s Complaint, " in which the physician heals herself "by laying down her stethoscope / and walking right out / of that in-patient clinic." At the end the poet writes, "Like a patient I have learned silence . . . Fine steel scissors in hand, / I cut to the word." (p. 63)
Joe Rose, a popular science writer, and his partner Clarissa, a Keats scholar, are picnicking in the English countryside when an accident happens: a hot air balloon carrying a man and his grandson goes out of control. Five men, including Joe, run to help, holding onto the balloon's ropes; when a gust of wind lifts the balloon, four men, including Joe, let go but the fifth holds on, is lifted high in the air, and falls to his death.
One of the would-be rescuers, Jed Parry, becomes obsessed with Joe, and begins to stalk him, interpreting all rejections as veiled invitations. Jed wants both to convert Joe to charismatic Christianity and, it seems, to become his lover. Communication is impossible, the police are no help, and under the strain Clarissa and Joe's relationship comes apart. In a restaurant, someone at the next table is shot, making Joe realize that Jed is trying to kill him. After breaking into their apartment, threatening Clarissa at knifepoint, and then attempting suicide, Jed is arrested and committed to a psychiatric hospital.
In a subplot, the dead man's widow suffers a loss exacerbated by the belief that her husband had been having an affair. Joe learns the truth about the suspected affair and is able to reveal to the widow that her husband had been faithful after all.
The book ends with two appendices: an invented article from a British psychiatry journal presenting Jed's case, and a letter written to Joe by Jed three years later, still hospitalized, and still, deludedly, in love.