It is common ground that films offer a richness and an intensity that cannot be found in any other medium. The unique combination of visual and acoustic elements; the work-ing together of language, gesture, mimic and music; of images and sound, offer an im-pressive account of reality. Wedding explains: “With the best films, the viewer experi-ences a sort of dissociative state in which ordinary existence is temporarily suspended. No other art form pervades the consciousness of the individual experiencing it to the same extent and with such power.” Of course one may argue that some literary works can have the same absorbing effect, still the medium film is undoubtedly a very power-ful one when it comes to captivating people’s attention. Films “have become a perva-sive and omnipresent part of our society with little conscious awareness of the pro-found influence the medium may be exerting” .
One extremely widespread and popular genre is the thriller and its subgenres. Ranging from spy, gangster and science-fiction films to horror films, splatters and stalkers, there is hardly any film that has not been labelled a thriller. A relatively new develop-ment within the thriller is the topic of mental illness and psychopathology. Two recent examples are The Machinist by Brad Anderson and Lucid by Sean Garrity. In both films, the directors concern themselves with trauma and its impact on the psyche of the re-spective protagonists.
In his book ‘The Suspense Thriller’, Derry outlines a new thriller subgenre: the psy-chotraumatic thriller. I shall like to discuss whether Lucid and The Machinist may or may not be subsumed under this label.
In the following, I will first outline the plots of the two films. Then I shall want to concen-trate on the acute and post-traumatic stress disorder of the main protagonists. After that, I shall have a look at the thriller genre in general and at the posttraumatic thriller genre in particular. Touching briefly on the question why films are especially well suited to depict psychopathological films and what possibilities directors have to por-tray mental illness, I shall like to continue with Derry’s eight-part formula of the psy-chotraumatic thriller.
Table of Contents
1. Introduction
2. The Plots
2.1. Lucid
2.2. The Machinist
3. The characters
3.1. The character of Joel Rothman
3.2. The character of Trevor Reznik
4. The genre of the psychotraumatic thriller
5. Films and mental illness
6. Analysis
6.1. The Machinist as a prototypical psychotraumatic thriller?
6.2. Lucid as a prototypical psychotraumatic thriller?
7. Conclusion
Research Objectives and Themes
This paper explores the criteria for the "psychotraumatic thriller" subgenre by analyzing whether the films "The Machinist" and "Lucid" align with Charles Derry’s narrative formula and his concept of trauma-related fetish objects.
- Examination of trauma and its impact on the psyches of film protagonists.
- Application of Charles Derry’s eight-part thriller formula to contemporary cinema.
- Comparison of narrative structures and the use of symbolic "fetish objects."
- Assessment of film as a medium for representing mental health and psychopathology.
Excerpt from the Book
3.1. The character of Joel Rothman
Joel Rothman is suffering from acute stress disorder. Acute stress disorder is an immediate response to a terrifying and threatening event. The reason for the acute stress disorder is biological: When Joel causes the accident, his brain over-reacts by discharging the sympathetic nervous system. This pathological condition is characterized by a flooding of intruding images.
In his trance-like state of mind, he lives through a ‚journey of guilt’. In his unconsciousness, he seeks redemption for all his mistakes. He is aware of having failed as a husband, as a father and as a psychotherapist. By cheating on his wife, he has destroyed six lives: Sophie’s, Chandra’s and Victor’s, as well as his wife’s his daughter’s and finally his own. Thus, he imagines giving therapy to Sophie, Chandra and Victor as a means to help them. Since he has never met them before, he fills their characters with the last images he saw before losing his consciousness. Feeling utterly responsible for having killed three innocent people by falling asleep behind his wheel, he punishes himself by not sleeping at all. However, due to his self-inflicted insomnia, his methods as a psychotherapist are questionable and he always seems to make makes the wrong choices at the wrong time. Despite his honest attempts to be a good father and a competent doctor, he fails in both respects.
Summary of Chapters
1. Introduction: The author introduces the power of film to portray mental illness and posits the "psychotraumatic thriller" as a specific subgenre to be evaluated.
2. The Plots: This chapter provides a detailed synopsis of the storylines for both "Lucid" and "The Machinist."
3. The characters: This section defines the psychological states of the protagonists, Joel Rothman and Trevor Reznik, relative to trauma and stress disorders.
4. The genre of the psychotraumatic thriller: The author defines the concept of genre and outlines Derry’s eight-part formula for identifying psychotraumatic thrillers.
5. Films and mental illness: This chapter discusses the cinematic techniques used to visualize mental illness and the broader social implications of such depictions.
6. Analysis: The study compares both films against Derry's criteria, concluding that "The Machinist" is a prototype of the genre, while "Lucid" is not.
7. Conclusion: The author summarizes the findings, reiterating that a simple depiction of trauma is insufficient to classify a film within this specific subgenre.
Keywords
Psychotraumatic thriller, Trauma, Mental illness, The Machinist, Lucid, Charles Derry, Narrative formula, Post-traumatic stress disorder, Acute stress disorder, Film genre, Fetish objects, Dissociation, Psychopathology, Redemption, Cinematic analysis.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines whether the films "The Machinist" and "Lucid" qualify as psychotraumatic thrillers based on the definitions provided by film theorist Charles Derry.
What are the central thematic areas discussed?
The core themes include the representation of trauma in film, the psychological state of protagonists in thrillers, and the academic definition of film subgenres.
What is the main research question of the work?
The work aims to determine if "The Machinist" and "Lucid" can be categorized as prototypes of the "psychotraumatic thriller" subgenre using a specific narrative formula.
Which scientific methodology is applied?
The paper uses a comparative analysis methodology, applying an eight-part narrative formula and the theory of fetish objects to evaluate the two films.
What topics are covered in the main section?
The main section covers plot summaries, psychological character profiles, genre theory, cinematic representations of mental illness, and a critical application of Derry's formula to the chosen films.
How would you characterize the key terminology?
The work is defined by concepts such as psychotraumatic thrillers, acute stress disorder, dissociative phenomena, and the symbolic use of fetish objects as reminders of past traumas.
Why is "The Machinist" considered a prototype of the subgenre?
It fulfills all of Derry's criteria, including a specific narrative structure and the use of fetish objects (like the cigarette lighter) that serve as clear triggers for the protagonist's repressed traumatic event.
Why does the author conclude that "Lucid" does not fit the criteria?
The author argues that "Lucid" lacks the necessary re-enactment of trauma and the specific narrative pattern required, suggesting it is better categorized as a psychodrama or a sub-form of drama.
- Quote paper
- Lydia Gaukler (Author), 2007, Lucid and The Machinist: Prototypes of the Psychotraumatic Thriller?, Munich, GRIN Verlag, https://www.grin.com/document/71529
