Crime is usually connected to mental health in fiction. What that really means and what that looks like in fiction may vary a bit, with some stories showing empathy for the person and others favoring lock them up and throw away the key scenarios. Often the interactions are cheap and over simplified and cater to the lowest common denominator. A perfect example of this is Primal Fear.
It’s October, so I thought I’d use this month’s blog posts to go back to where we started, with horror. (I’m not reviewing this season’s American Horror Story.) The perfect place to start is with Fatal Attraction, with one of the most obvious villains with mental health conditions in film history.
The ‘90s don’t seem like that long ago, certainly not 20 years. But having watched a bunch of ‘90s movies for this blog, I’ve come away with the thought that things really have changed. Nell brought that point home very clearly.
Movies have a set language they use to discuss issues. Short of a few outliers here or there, movies about mental health conditions use the same visual language to explain mental health to the audience. They use similar shortcuts to describe everything else. It took a master filmmaker like Alfred Hitchcock to subvert them so completely, and inPsycho, he fundamentally changed the way shortcuts about mental health in movies were depicted.
Happy Halloween, readers! Today’s topic is Edgar Allan Poe, the famous writer of dark tales and stories. With his own lived experiences with addiction, and his interest in science, psychology is all over his work in very exciting ways.