Critical review final – Design for Animation, Narrative Structures & Film Language 

Iconography of editing in mental health representations in psychological horror. 

Karolina K. Bienkowska, 13 Jan 2022 

Introduction 

Abstract 

Horror has a long history of misrepresenting mental disorders, resulting in spread of stigma. I aim to present evidence of common characteristics of those representations in terms of identifying subliminal messages those portrayals generate. 

Objectives 

This study explores language of editing accompanying those portrayals in attempt of discovering elements characterising mental illness film representations, to identify elements directing audience to form stigmatising views. 

This research concentrates on the meaning conveyed through editing techniques, and I am asking what impact, they potentially possess. 

Methodology 

As I focus on critical examination of existing research and own analysis, this work is primarily based on quantitative research. 

Background 

Studies found that stereotypes spread through media significantly influence audience’s perception (Perciful and Meyer, 2016; Goodwin, 2013a&b; Jorm, 2000; Domino, 1983). Which – in case of mental illness – leads to alienation of people affected through stigmatization (Byrne, 2000; Corrigan, 2000; Corrigan & Watson, 2007; Goodwin, 2013a; Gabbard, 2001; Harrison & Gill, 2010; Hyler et al., 1991; Hyler, 2003; Kimmerle and Cress, 2013; Smith et al., 2019; Pirkis et al., 2006, Nairn & Coverdale, 2005; Wahl, 1999; Wedding et al., 2010). 

It has been suggested that misleading media representations are the only source of information for many (Das et al., 2017; Goodwin, 2013a) despite being sensationalistic and exaggerated (Carroll, 1999; Cherry, 2009; Goodwin, 2013; Demjanovic et al., 2009). Furthermore, many rely on demeaning slang referring to mentally illness (Kimmerle and Cress, 2013; Smith et al., 2019 Weeding and Niemiec, 2003; Goodwin, 2013a; Demjanovic et al., 2009). 

Additionally, films place action in outdated environments, as a shortcut for creating tense atmosphere, as people are – through past portrayals – conditioned to associate those elements with evil (Cherry, 2009; Goodwin, 2013a). Combined with vilification of institution workers, forcibly caring for violent patients, this builds a flawed understanding (Goodwin, 2013a&b; Gabbard, 2001; Pirkis et al., 2006; Demjanovic et al., 2009; Wedding, Boyd, & Niemiec, 2005). Moreover, point of view (POV) or over the shoulder (OTS) shots ensure perspective acquisition, leading to self-identification with mistreated patient or victim of those with mental illness, generating negative ‘personal’ experiences (Briefel, 2005; Carroll, 1987; Morrison, 2009; Cherry, 2009; Goodwin, 2013a; Demjanovic et al, 2009). 

Literature Review 

Suggestions of a cannon of visual language used for depicting mental illness have been suggested in the past (Demjanovic et al., 2009; Goodwin, 2013; Cherry, 2009; Wilson, et al., 1999; Barker, 1996; Smith, 2001). This, despite couple of mentions (Demjanovic, 2009; Goodwin, 2013), has not been explored in terms of editing. 

Demjanovic et at., (2009) mentions ‘… depicting a sequence of dreams with multiple levels of superimposition…’ and ability to ‘… create a situation where the viewer is not capable of distinguishing what is really happening and what is the subconscious imagination of the characters.’ which, was a common technique used in the discussed period used to ‘… intertwine fantasy (imagination) and reality…’. Furthermore, they mention invisible processes (memories, thoughts, hallucinations, etc.) being often suggested by framing the image in ‘…editing language and techniques of the camera, such as slow disappearance/fading of images…’ Additionally, many have discussed metaphors and symbols in film, as filmmakers rely on audience’s understanding of elements to quickly and clearly introduce themes (Cherry, 2009; Wilson, et al., 1999; Barker, 1996; Smith, 2001).  

Second study explored is research by J. Goodwin (2013a&b) in which he mentions common elements observed in movies, while proving the ongoing effects of archaic and inaccurate portrayals from past examples. He talks about ‘…the look of film…’ being ‘…manipulated, through expressive use of skewed angles … to create a haunting and threatening environment.’ (2013a) and the use of POV angle to ‘… encourage our identification…’ leading to identification with the victim, forming a belief about mental illness violence (backed by Cherry, 2009; Briefel, 2005, Carroll, 1987).  Furthermore, he identifies the use of ‘…POV shots from the killer’s perspective often make(ing) use of shaky/handheld camera work… (Cherry, 2009).’ (2013a).  

Goodwin mentions the use of symbolism to ‘…help(s) evoke certain feelings … (Damjanovic´ et al., 2009)’ and ‘… allow for messages to bypass the logical side of the brain… (Barker, 1996)’ (2013a). He also points out the dependence of film on audience’s subconscious understanding of symbolic, heavy reliant on stereotype elements from the past as ‘…familiar horror tropes …evoke responses from audiences… (Smith, 2001; Morrison, 2009)’ (Goodwin, 2013a). He mentions symbolical elements being rather common as – in example of flickering lights – they were present in almost 60% of movies analysed (Goodwin, 2013b). 

Case study 

A clockwork orange (Kubrick, 1971) employs many long slider shots to build the up suspension, the audience is encouraged to wander about the ending of such shots. Zoom-out shots reveal the vastness of scenes, often beginning with close ups (CU), which is used in the first ‘ultraviolence’ scene, showing the drunks bottle (CU) followed by a zoom out showing shadows creeping in. Zoom in shots superimpose entrapment. Handheld camera introduces chaos and disorientation, when Alex panics considering the consequences of his actions (murder scene, police assault scene).  

OTS shots are used to emphasize the perspective, best example being the prison administration scene in which the viewer is prompted to take the perspective of both the guard and the prisoner respectively in terms of understanding the position of authority. This disassociates the audience from the perspective that – through narration – Alex sustained. This movie extensively uses high and low angles (HA & LA) to emphasize power. From the beginning Alex is shown from LA, which changes as he loses his authority resulting in HA view, while guards and doctors are increasingly elevated (first and third psychiatric hospital scene). This, is further exaggerated (second police interaction scene) to depict extreme authority shift as viewing hostile characters from such exaggerated angles, gives the impression of executioner. POV shots encourage identification with the subject to whom the violence is directed (end of treatment show and homeless attack scenes). 

The movie uses CU to introduce claustrophobic feeling resulting in subconscious feeling of entrapment. It begins with a CU followed by a zoom out into extremely long shot (ELS) from the beginning offering a feeling of no escape. Another great example of the use of LA CU shot is the interrogation scene viewed from POV which intimidates the audience as it does the protagonist. 

To increase tension audio-based transitions were used to introduce psychological riddle to the narrative, one example connects scenes in which the writer identifies his guest as the assailant from his past through the song that carries over from the bathroom scene. 

Discussion 

Suspiria (D. Argento, 1977) and The silence of the Lambs (J. Demme, 1991) use pacing to evoke emotions (suspense – minute, action – 1 and 5 seconds and shock – 10 seconds on average). The mentioned movies, as well as Midsommar (A. Aster, 2019), Hereditary (A. Aster,2018) and Psycho (A, Hitchcock, 1960) also use reflections to introduce the idea of uncanny or disassociation from the environment.  

Mentions of uncanny doubles are omnipresent in psychological horrors such as; Suspiria, Midsommar, Psycho, Hereditary, Donnie Darko (R. Kelly, 2001) and Split (M. Night Shyamalan, 2016), as well as – in a more hidden manner – The silence of the lambs and Requiem for a dream (D. Aronofsky, 2000). 

Audio-based transitions are commonly used alongside smash cuts, to emphasize change of setting (Hereditary, Midsommar) as well as graphic relations are a common way of introducing creative associations between elements and suggest metaphors (Suspiria, Requiem for a dream, Donnie Darko, Hereditary, Psycho). Movies like Psycho, Requiem for a dream and Midsommar use superimposition and graphic relations to emphasize similarity, connection or hidden message of imagery. 

Also, Donnie Drako, Psycho and Requiem for a dream are famous for their use of montage to depict the passing of time or to combine events from separate storylines and emphasize chaos or emotion through the pace of the sequence. Additionally, Midsommar uses unconventional camera movement (car journey scene), in which the shot ends up upside down suggesting entrance of opposing word or state.  

Fear also changes perception and movies like Suspiria, Requiem for a Dream and Midsommar use shaky handheld camera to introduce feeling of chaos. This, used with a POV shot, swish pan and tilt movement can suggest dizziness accompanying disorientation (Shutter Island (M. Scorsese ,2010), Requiem for a dream, Midsommar). 

Conclusion 

Combination of swish pan, arc and handled or mounted camera with distorted environments as well as use of fade or dissolve transitions, superimposition, canted angles and sometimes time lapse often accompanies altered state of consciousness portrayal in psychological horror. Mixed with use of suspenseful pacing, high and low angles, close ups, zoom in, zoom outs, tilt movement and J and L cuts were shared by majority of films viewed for this study. 

I conclude with a possible confirmation of the existence of a canon of mental illness portrayal in film, however the time frame and word count allowance does not grant the sufficient number of examples that could supply a definite conclusion. This recommends further research. 

Bibliography