Pub Date : 2019-12-31DOI: 10.1525/9780520969926-004
{"title":"2. Solemn Venues: War Trauma and the Expanding Nontheatrical Realm","authors":"","doi":"10.1525/9780520969926-004","DOIUrl":"https://doi.org/10.1525/9780520969926-004","url":null,"abstract":"","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129335464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0004
Noah Tsika
Trauma-themed military documentaries served a variety of promotional purposes—many of them strictly corporate—during and after World War II. These experiments in institutional advertising, with their emphasis on the therapeutic dimensions of extensive militarization, were hardly limited to the postwar period. In a fundamental sense, they originated with the military’s wartime efforts to contain widespread concerns regarding war trauma—efforts that met the militant tone of certain orientation films with a more measured, even somber reflection on the psychic costs of combat.
{"title":"Selling “Psycho Films”","authors":"Noah Tsika","doi":"10.1525/california/9780520297630.003.0004","DOIUrl":"https://doi.org/10.1525/california/9780520297630.003.0004","url":null,"abstract":"Trauma-themed military documentaries served a variety of promotional purposes—many of them strictly corporate—during and after World War II. These experiments in institutional advertising, with their emphasis on the therapeutic dimensions of extensive militarization, were hardly limited to the postwar period. In a fundamental sense, they originated with the military’s wartime efforts to contain widespread concerns regarding war trauma—efforts that met the militant tone of certain orientation films with a more measured, even somber reflection on the psychic costs of combat.","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122492003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0007
Noah Tsika
There is a moment in Clint Eastwood’s American Sniper (2014) in which Bradley Cooper, as historical figure Chris Kyle, interacts with a number of physically wounded Iraq War veterans—many of them played by actual veterans whose combat-altered bodies, displayed for the camera in blunt tableaux of suffering and recovery, externalize the traumas that appear to haunt Cooper’s Kyle....
{"title":"Conclusion","authors":"Noah Tsika","doi":"10.1525/california/9780520297630.003.0007","DOIUrl":"https://doi.org/10.1525/california/9780520297630.003.0007","url":null,"abstract":"There is a moment in Clint Eastwood’s American Sniper (2014) in which Bradley Cooper, as historical figure Chris Kyle, interacts with a number of physically wounded Iraq War veterans—many of them played by actual veterans whose combat-altered bodies, displayed for the camera in blunt tableaux of suffering and recovery, externalize the traumas that appear to haunt Cooper’s Kyle....","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116976430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0002
Noah Tsika
Focusing on World War II and its immediate aftermath, this chapter offers a genealogy of a particular documentary tendency, one tied to the concurrent rise of military psychiatry and of the military-industrial state. As the psychiatric treatment of combat-traumatized soldiers gained greater institutional and cultural visibility, so did particular techniques associated with—but scarcely limited to—documentary film. This chapter looks at some of the subjectivities—some of the “private visions” and “careerist goals”—of military psychiatrists and other psychological experts whose influence is abundantly evident in a range of “documentary endeavors,” including those carried out (often simultaneously) by Hollywood studios and various military filmmaking outfits, from the Signal Corps Photographic Center to the Training Films and Motion Picture Branch of the Bureau of Aeronautics.
{"title":"“Imaging the Mind”","authors":"Noah Tsika","doi":"10.1525/california/9780520297630.003.0002","DOIUrl":"https://doi.org/10.1525/california/9780520297630.003.0002","url":null,"abstract":"Focusing on World War II and its immediate aftermath, this chapter offers a genealogy of a particular documentary tendency, one tied to the concurrent rise of military psychiatry and of the military-industrial state. As the psychiatric treatment of combat-traumatized soldiers gained greater institutional and cultural visibility, so did particular techniques associated with—but scarcely limited to—documentary film. This chapter looks at some of the subjectivities—some of the “private visions” and “careerist goals”—of military psychiatrists and other psychological experts whose influence is abundantly evident in a range of “documentary endeavors,” including those carried out (often simultaneously) by Hollywood studios and various military filmmaking outfits, from the Signal Corps Photographic Center to the Training Films and Motion Picture Branch of the Bureau of Aeronautics.","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133422853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0005
Noah Tsika
This chapter examines the rise of “psychodrama,” with its insistence on the importance of performing one’s own traumatic past, in the growing field of military psychiatry. Developed by the Austrian-American psychiatrist Jacob Moreno, psychodrama was a technique that required both acting and reenacting, both imagination and memory. Moving beyond the hospital, drama teams increasingly embraced activities performed in specific sites of trauma—a psychotherapeutic turn that anticipated major developments in documentary film.
{"title":"Psychodocudramatics","authors":"Noah Tsika","doi":"10.1525/california/9780520297630.003.0005","DOIUrl":"https://doi.org/10.1525/california/9780520297630.003.0005","url":null,"abstract":"This chapter examines the rise of “psychodrama,” with its insistence on the importance of performing one’s own traumatic past, in the growing field of military psychiatry. Developed by the Austrian-American psychiatrist Jacob Moreno, psychodrama was a technique that required both acting and reenacting, both imagination and memory. Moving beyond the hospital, drama teams increasingly embraced activities performed in specific sites of trauma—a psychotherapeutic turn that anticipated major developments in documentary film.","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130621899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0003
Noah Tsika
In 1943, the army psychiatrist George S. Goldman began to develop a series of documentaries that could “contribute to mental health” by “removing some of the mystery connected with psychiatry and by properly explaining many of the misconceptions commonly connected with this specialty.” The hope was that such films would help rehabilitate affected veterans and also prevent future psychiatric casualties, and, in the process, that they would solidify the military’s reputation as a “healthful” set of institutions—or, at the very least, as institutions capable of providing effective psychiatric treatment for those in need. Because the so-called neuropsychiatric problem had become so large, threatening to “amount to the largest medical-social problem this country [had] ever faced,” documentary film was deemed necessary as a flexible instrument of education, rehabilitation, and public relations. Because the resulting films dealt with “death and the fear of death,” they were deemed widely relevant, particularly during the nuclear age. Their “focus is on the wartime patient,” noted a 1953 manual, “but the psychodynamics portrayed are generally applicable,” making these films helpful for the population at large. The postwar passage of the National Mental Health Act (1946) and the emergence of a bona fide mental health movement seemed to confirm this power, as government and civilian agencies continued to find new uses for the documentaries.
1943年，陆军精神病学家乔治·s·戈德曼(George S. Goldman)开始制作一系列纪录片，通过“消除与精神病学有关的一些谜团，并适当解释与这一专业有关的许多误解”，“为精神健康做出贡献”。他们希望这样的电影能帮助受影响的退伍军人康复，同时也能防止未来的精神创伤，并且，在这个过程中，他们会巩固军队作为“健康”机构的声誉——或者，至少，作为能够为有需要的人提供有效精神治疗的机构。因为所谓的神经精神问题已经变得如此之大，有可能“成为这个国家所面临的最大的医疗社会问题”，纪录片被认为是教育、康复和公共关系的灵活工具。由于这些电影涉及“死亡和对死亡的恐惧”，它们被认为具有广泛的相关性，尤其是在核时代。1953年的一本手册指出，他们“关注的是战时病人”，“但所描绘的心理动力学是普遍适用的”，这使得这些电影对大多数人都有帮助。战后通过的《国家精神卫生法》(1946年)和真正的精神健康运动的出现似乎证实了这种力量，因为政府和民间机构继续为纪录片寻找新的用途。
{"title":"Solemn Venues","authors":"Noah Tsika","doi":"10.1525/california/9780520297630.003.0003","DOIUrl":"https://doi.org/10.1525/california/9780520297630.003.0003","url":null,"abstract":"In 1943, the army psychiatrist George S. Goldman began to develop a series of documentaries that could “contribute to mental health” by “removing some of the mystery connected with psychiatry and by properly explaining many of the misconceptions commonly connected with this specialty.” The hope was that such films would help rehabilitate affected veterans and also prevent future psychiatric casualties, and, in the process, that they would solidify the military’s reputation as a “healthful” set of institutions—or, at the very least, as institutions capable of providing effective psychiatric treatment for those in need. Because the so-called neuropsychiatric problem had become so large, threatening to “amount to the largest medical-social problem this country [had] ever faced,” documentary film was deemed necessary as a flexible instrument of education, rehabilitation, and public relations. Because the resulting films dealt with “death and the fear of death,” they were deemed widely relevant, particularly during the nuclear age. Their “focus is on the wartime patient,” noted a 1953 manual, “but the psychodynamics portrayed are generally applicable,” making these films helpful for the population at large. The postwar passage of the National Mental Health Act (1946) and the emergence of a bona fide mental health movement seemed to confirm this power, as government and civilian agencies continued to find new uses for the documentaries.","PeriodicalId":255152,"journal":{"name":"Traumatic Imprints","volume":"145 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114561383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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