ARTandPSYCHE-10-26-2023 (1).pptx

ART AND SOCIAL PSYCHOLOGY PRESENTATION TITLE 1 WHAT IS SOCIAL PSYCHOLOGY? the branch of psychology that deals with social interactions, including their origins Social psychology focuses on three main areas: social thinking, social influence, and social behavior. Ea PRESENTATION TITLE In our everyday lives, these three forces blend together as they influence us. 2 WHAT IS SOCIAL CONSCIOUSNESS? Social consciousness refers to an individual's 3. Action and Advocacy: or a collective group's awareness, Social consciousness often motivates individuals or groups to take action, advocate for change, or engage in efforts to address societal issues. This can manifest in various ways, such as participating in protests, supporting social causes, volunteering, or advocating for policy changes. understanding, and sensitivity to social issues, challenges, and injustices present in society. It involves a heightened recognition and concern for the well-being and rights of various social groups or communities. 1. Awareness It involves being informed and knowledgeable about social issues, such as poverty, inequality, discrimination, human rights, environmental concerns, and other systemic problems within society. 4. Critical Thinking and Reflection: It involves critically analyzing societal norms, structures, and power dynamics to understand the root causes of social issues. It encourages reflection on how individuals or society as a whole can contribute to positive change. 5. Collective Responsibility: 2. Empathy and Concern Social consciousness is characterized by a sense of empathy and concern for the struggles and challenges faced by marginalized or oppressed groups. It involves recognizing and acknowledging the suffering or inequalities experienced by others. Social consciousness often leads to the recognition that societal issues require collective efforts and responsibility. It emphasizes the need for collaboration and solidarity to bring about positive social change. 3 WHAT IS CULTURE? Culture refers to the shared beliefs, values, customs, behaviors, and artifacts that characterize a particular group of people, including their traditions, language, social practices, art, and way of life. It encompasses the learned and shared patterns of behavior and understanding that distinguish one group from another, shaping their identity and influencing their interactions, perceptions, and societal norms. PRESENTATION TITLE 4 DOES ART REFLECT OR CREATE CULTURE? PRESENTATION TITLE 5 COGNITIVE DISSONANCE: Cognitive Dissonance: Cognitive dissonance, a concept introduced by psychologist Leon Festinger, occurs when there's a conflict between an individual's beliefs, attitudes, or behaviors. It's the discomfort experienced when a person holds contradictory or inconsistent thoughts, beliefs, or attitudes. PRESENTATION TITLE 6 SOCIAL DISSONANCE: Social Dissonance: Social dissonance refers to the discomfort that arises from the conflict between an individual's social relationships or interactions and their personal beliefs or preferences. This conflict can occur when social pressures or expectations clash with an individual's personal values or desires, causing internal discomfort or tension. PRESENTATION TITLE 7 CULTURAL DISSONANCE: Cultural dissonance is an uncomfortable sense of discord, disharmony, confusion or conflict experienced by people in the midst of change in their cultural environment. How is it different from cognitive or social dissonance? PRESENTATION TITLE 8 Holy Virgin Mary PRESENTATION TITLE 9 PRESENTATION TITLE 10 Depicted on a lush, glittering ground of shimmering orange resin that recalls the gold leaf of religious icons, Ofili’s Virgin Mary is resplendent, majestic, and imperious yet also suffused with sexual potency. Close inspection reveals the delicate, fluttering cherubim surrounding her to be crafted from images of women’s buttocks clipped from pornographic magazines. The introduction of eroticism to the Christian Virgin’s sacred image is far from new. “When I go to the National Gallery and see paintings of the Virgin Mary, I see how sexually charged they are. Mine is simply a hip-hop version,” Ofili has said. The Holy Virgin Mary Painting by Chris Ofili Ofili became renowned for the use of elephant dung in his works. The material serves a dual purpose here: it is an element of the composition (he uses a ball of dried dung in place of the Virgin’s bared breast, alluding to an absent baby) and also a support for the painting, which stands on two balls of the material. Map pins letter the name of his subject on the supports; one reads “Virgin” and the other “Mary.” Ofili’s decision to lean his paintings against the wall, close to the floor, suggests that he envisions them as part of the real space of the viewer’s world rather than the suspended space of art dictated by tradition. PRESENTATION TITLE 11 Depicted on a lush, glittering ground of shimmering orange resin that recalls the gold leaf of religious icons, Ofili’s Virgin Mary is resplendent, majestic, and imperious yet also suffused with sexual potency. Close inspection reveals the delicate, fluttering cherubim surrounding her to be crafted from images of women’s buttocks clipped from pornographic magazines. The introduction of eroticism to the Christian Virgin’s sacred image is far from new. “When I go to the National Gallery and see paintings of the Virgin Mary, I see how sexually charged they are. Mine is simply a hip-hop version,” Ofili has said. The Holy Virgin Mary Painting by Chris Ofili Ofili became renowned for the use of elephant dung in his works. The material serves a dual purpose here: it is an element of the composition (he uses a ball of dried dung in place of the Virgin’s bared breast, alluding to an absent baby) and also a support for the painting, which stands on two balls of the material. Map pins letter the name of his subject on the supports; one reads “Virgin” and the other “Mary.” Ofili’s decision to lean his paintings against the wall, close to the floor, suggests that he envisions them as part of the real space of the viewer’s world rather than the suspended space of art dictated by tradition. PRESENTATION TITLE 12 THREE RESPONSES TO CULTURAL DISSONANCE 1. Reject – This is hideous! Waste of money! 2. Revise – This would be better if it fit my cultural expectations... Maybe he should have used paont instead of dung... 3. Reflect – Actually think about the dissonant elements and research potential perspectives. Ie: what is the difference between religious purity and elephant dung? Perhaps I could look up what significance it has in the African community) PRESENTATION TITLE 13 PRESENTATION TITLE 14 PRESENTATION TITLE 15 PRESENTATION TITLE The Mapplethorpe obscenity trial—the first time a museum was taken to court on criminal charges related to works on display—became one of the most heated battlefronts in the era's culture wars. 16 DOES ART REFLECT OR CREATE CULTURE? From a psychological perspective, the relationship between art and culture is complex and reciprocal. Art both reflects and creates culture, and this dynamic interaction is often referred to as a dialectical relationship. • Art as a Reflection of Culture: Art often mirrors the values, beliefs, norms, and concerns of a society. Artists are influenced by the world around them, and their work frequently serves as a reflection of the cultural context in which they live. 2. Art as a Creator of Culture: PRESENTATION TITLE Art also has the power to influence and shape culture. It can challenge societal norms, provoke new ways of thinking, and introduce novel ideas or perspectives. Artists often push boundaries, introducing new concepts, styles, or forms that may ultimately become integrated into the cultural fabric. Through its innovative and sometimes controversial nature, art can lead to cultural change, driving conversations and shaping societal attitudes and behaviors. 17 DOES ART REFLECT OR CREATE CULTURE? 3. Feedback Loop: The relationship between art and culture is not one-directional. It's more of a feedback loop, where culture influences art, and in turn, art influences culture. 4. Social Psychology and Perception From a psychological perspective, people's perceptions and interpretations of art are influenced by their cultural backgrounds, experiences, and societal norms. Ultimately, the dynamic interaction between art and culture is an ongoing process, with each influencing and shaping the other in an intricate and interconnected manner. This relationship varies across different cultures, historical periods, and artistic movements. PRESENTATION TITLE 18 WHAT ARE SOME RELEVANT PSYCHOLOGICAL ELEMENTS OF SOCIAL INFLUENCE AND PERSUASION Persuasion is the process by which a person's atitiudes or behavior are without duress influenced by communications with other people. TWO Widely acknowledged paths to persuasion: • Central Route – People are encouraged to think deeply about an issue based on the strength of the arguments • Peripheral Route – Acceptance of the results without much rational thought These two routes constitute the The Elaboration Likelihood Model Model PRESENTATION TITLE 19 THE ELABORATION LIKELIHOOD MODEL (ELM) The Elaboration Likelihood Model (ELM) is a theory that describes how people process persuasive messages and make decisions. It outlines two distinct routes through which individuals can be persuaded: the central route and the peripheral route. 1. Central Route The central route to persuasion in the Elaboration Likelihood Model involves a deep, thoughtful, and systematic evaluation of the message. When individuals take the central route, they critically analyze and deeply process the information. They focus on the content of the message, weigh the arguments, and consider the logic and evidence presented. This route is characterized by high elaboration, where people carefully consider the message, its merits, and the implications before forming an opinion or making a decision. 2. Peripheral Route The peripheral route to persuasion involves a less thoughtful, more superficial evaluation of the message. When individuals use the peripheral route, they focus less on the actual content and more on peripheral cues such as the appearance of the source, catchphrases, or other superficial aspects of the message. The decision-making process is influenced by heuristics, emotions, or simple associations without deeply considering the core PRESENTATION TITLE arguments. 20 WHAT IS THE DIFFERENCE BETWEEN ART AND PROPAGANDA? Art can excel at persuasion Is this a good or a bad thing? PRESENTATION TITLE Is there a difference between art and propaganda? 21 ART AND PROPAGANDA https://fromlight2art.com/the-fine-line-between-art-and-propaganda/ 22 WHAT IS THE DIFFERENCE BETWEEN ART AND PROPAGANDA? Sometimes the message is to promote a SPECIFIC attitude or behavior. 1. Intent: Art aims at expressing emotions, ideas, or beauty, whereas propaganda's primary intent is to persuade or manipulate opinions towards a specific agenda or ideology. 2. Openness to Interpretation: Art generally allows for open interpretation, encouraging diverse viewpoints, whereas propaganda often presents a clear and singular message, limiting alternative perspectives. 3. Freedom and Expression: Art is created with a considerable degree of freedom, allowing artists to express themselves creatively, while propaganda is often created within constraints to serve a specific purpose or authority. However, it's important to note that there can be a fine line between art and propaganda. Sometimes, art can be used as a tool for propaganda, and propaganda can be presented in artistic or visually appealing ways to enhance its persuasive impact. As a result, certain pieces of art may be seen as both artistic 23 and propagandistic, depending on the context, intent, and audience's WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Bandwagon • Based on the opinion that the majority opinion is always valid ("everybody's doing it! 1 billion Chinese can't be wrong!) PRESENTATION TITLE 24 WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Testimonials Invoking the support of an expert or someone famous that we want to emulate PRESENTATION TITLE 25 WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Glittering generalities Using vague and empty but vague and comforting language to associate with a product or idea, ie: "Be fancy free and full of fun with Budweiser Beer!" PRESENTATION TITLE 26 WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Transfer Transferring good feelings about one thing and transferring it to another product or idea, ie: why beautiful models stand next to products. PRESENTATION TITLE 27 WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Plain Folks The persuader is like you, so they can identify with my situation, and I should buy/support/think the object of their persuasion. PRESENTATION TITLE 28 WELL KNOWN PROPAGANDA TECHNIQUES THAT ARE USED TO MANIPUL ATE THE VIEWER'S EMOTIONS CONT.... Name calling Attempt at persuasion by insulting the viewer instead of by rational argument: if you don't buy this, you are a loser! PRESENTATION TITLE 29 CAN ART MAKE YOU MORE EMPATHIC? Empathy is the ability to understand and share the feelings of another. Prosocial Behaviors – any behavior performed for the benefit of someone else, Can be egoistic or altruistic in nature Egoistic motivation – Primary goal is to benefit the self ALtruistic motivation – Primary goal is to benefit others. Social cognitive abilities: A person's ability to perceive, interpert or respond to social information. Theory of Mind – The understanding of another individual's mental state. PRESENTATION TITLE 30 CAN ART MAKE YOU MORE EMPATHIC? CONT. Three types of empathy Cognitive empathy – Understand what someone is feeling without feeling it yourself "I understand you" Emotional Empathy – goes beyond understanding to an affective state within oneself. "I feel this with you" Compassionate Empathy – A feeling of empathy that involves action "I am moved, and I want to help" PRESENTATION TITLE 31 CAN ART PROMOTE SOCIAL BEHAVIORS Both creation and consumption of art are positively associated with prosocial traits and behaviors. For behaviors the higher correlation was found with the consumption of art. This holds true across all types of social media. "All types of art creation and consumption, regardless of genres had significant correlation with all three forms of prosocial behaviors: donating, volunteering and informal with only a few exceptions." PRESENTATION TITLE 32 HOW DOES ART INCREASE PROSOCIAL BEHAVIOR? Literary fiction has been shown to increase empathy (A predictor of prosocial behaviors) We can consider other perspectives without risk to ourselves. Stories allow us to practice our empathy skills privately rather than out in the world where there are actual consequences. PRESENTATION TITLE 33 Research data shows increased social cognitive skills in response to popular stories. PRESENTATION TITLE 34 THE HARRY POTTER EFFECT Problem People develop prejudice at a young age. Solution Reading about fictional characters who show empathy for marginalized groups helps children become more empathetic in real life. The Details Psychologist Loris Vezzali and colleagues worked with 34 Italian fifth-grade students in small groups. Each group met with researchers once a week to read and discuss passages from J.K. Rowling’s Harry Potter series. The researchers assigned the small groups to one of two conditions. In the experimental condition, children read passages about the consequences of prejudice. In one passage, the character Draco called Harry’s friend Hermione a “filthy little Mudblood” (an insult to wizards of nonwizard parents). A narration of Hermione’s humiliation and Harry’s anger followed the insult. PRESENTATION TITLE 35 THE HARRY POTTER EFFECT CONT... In the control condition, children read a passage unrelated to prejudice. For example, Harry bought his first magic wand in one of the control passages. Six weeks later, the researchers asked the children how they felt about students from different countries. Children in the experimental condition expressed warmer feelings towards international students than those in the control condition. In follow-up studies with teenagers and adults, Vezzali and his colleagues found that people who identified with Harry Potter conveyed openness to gay people and refugees. Why This Works When people identify with fictional characters who support marginalized groups, they start to take the perspective of marginalized groups in both fictional and real-life settings. When This Works Best This works best when people do not already hold extremely prejudiced views about stigmatized people. PRESENTATION TITLE 36 WHAT ARE SOME POSSIBLE MECHANISMS FOR ART AND SOCIAL CHANGE? There are three components to art that produce changes in individuals toward empathy: 1. Simulation – Literature, movies and comics offer a simulation of the social world from the point of view of people in other circumstances. 2. Personality Fluctuations - "Stylistic devices prompt disturbances in our usually fixed schemas of personality" 3. Indirect Communication – Literature (screenplay) is characterized in a way that invites inferences rathe facts PRESENTATION TITLE 37 PRESENTATION TITLE 38 ART AND EMOTION Art and Psyche Fall 2023 WHAT ARE EMOTIONS? 40 WHAT ARE EMOTIONS FROM A PSYCHOLOGICAL PERSPECTIVE? Emotions, from a psychological perspective, are complex, multifaceted experiences that involve physiological, cognitive, and behavioral components. They serve essential roles in helping individuals interpret, navigate, and respond to different situations, both internally and externally. PRESENTATION TITLE 41 WHAT ARE EMOTIONS FROM A PSYCHOLOGICAL PERSPECTIVE? • Physiological Responses: Emotions typically trigger a variety of physiological changes. For instance, fear might lead to an increased heart rate, sweating, and pupil dilation. These changes are primarily regulated by the autonomic nervous system and are often instinctual, preparing the body to respond to perceived threats or opportunities (e.g., the "fight or flight" response). • Cognitive Components: Emotions are closely tied to thoughts, interpretations, and assessments. The way a person appraises or interprets a situation can influence the type and intensity of emotion they feel. For example, if you believe a rustling in the bushes is due to a snake, you'll likely feel fear; if you think it's just the wind, you might remain calm. • Behavioral Responses: Emotions drive behavior. When someone feels an emotion, they are also predisposed to certain actions. For instance, happiness might lead to socialization and sharing, while sadness might lead to withdrawal and reflection. • Expressive Components: Emotions are often outwardly expressed, whether through facial expressions, body language, or tone of voice. For example, anger might be exhibited through a scowl or raised voice, while joy might be shown with a smile and lively demeanor. PRESENTATION TITLE 42 WHAT ARE EMOTIONS FROM A PSYCHOLOGICAL PERSPECTIVE? • Subjective Feelings: At their core, emotions are personal, subjective experiences. While two people might both experience happiness, the depth, nuance, and particular "flavor" of that happiness can vary widely based on individual differences and context. • Functional Perspective: Emotions serve specific functions that have evolved over time. For example, fear helps individuals avoid threats, disgust helps avoid potentially harmful substances, and love fosters bonding and attachment. • Regulation and Management: Emotion regulation refers to the ability to manage and modify emotional responses. Individuals can use various strategies, such as cognitive reappraisal (changing how one thinks about a situation) or suppression (inhibiting emotional expression), to modulate their emotions. PRESENTATION TITLE 43 WHAT ARE EMOTIONS FROM A PSYCHOLOGICAL PERSPECTIVE? Cultural and Social Influences: Emotions are not just individual experiences but are also shaped by cultural and social contexts. Different cultures might have distinct emotional norms, etiquettes, and even unique emotions that are not shared universally. Developmental Perspective: The ability to recognize, understand, and express emotions evolves throughout an individual's lifespan. Children, for instance, might have a more limited emotional vocabulary and understanding than adults, which expands and deepens with age and experience. In psychology, emotions are considered fundamental to human experience, shaping our interactions, decisions, motivations, and overall quality of life. Over the years, numerous theories and models (like the James-Lange theory, Cannon-Bard theory, and SchachterSinger theory) have been proposed to explain the origin and mechanics of emotions. PRESENTATION TITLE 44 AUTOMATIC APPRAISAL • Automatic appraisal refers to the instantaneous, often unconscious, evaluation of a situation or stimulus to determine its significance or meaning in relation to an individual's well-being, goals, or values. • This type of appraisal happens very quickly and serves as a trigger for emotional responses. For instance, if you suddenly see a snake on your walking path, your automatic appraisal might instantly categorize the situation as "threatening," leading to emotions such as fear or anxiety. • This all happens without your conscious control and precedes more deliberate, cognitive assessments of the situation. PRESENTATION TITLE 45 AUTOAPPRAISERS VS COGNITIVE MONITORING • AUTOAPPRRAISERS - neurological mechanisms that that allow us to automatically assess that something significant is happening and react in milliseconds. • COGNITIVE MONITORING - The evaluation and regulation of one's own cognition and internal states... The motion is a process, It is called. “Flow of continuously changing component states” Part of this process is an ongoing cognitive evaluation. Of how appropriate this type of emotion is.- for example, Is anger approach appropriate For this situation? Also, the degree of emotion.- Should this be irritation, versus rage? Which is appropriate for this situation? PRESENTATION TITLE 46 WHAT IS THE RELATIONSHIP AMONG COMPONENTS OF EMOTION? Emotions are often assumed to be judgments about a situation that cause feelings and physiological changes. In 1884, psychologist and philosopher William James and Carl Lange proposed that physiological changes actually precede emotions, which are equivalent to our subjective experience of physiological changes and are experienced as feelings. In his words, "our feeling of the same changes as they occur is the emotion. 47 WHAT IS THE RELATIONSHIP AMONG COMPONENTS OF EMOTION? THE JAMES-LANGE THEORY The James-Lange Theory William James and Carl Lange Theories on the physiological causes of emotion. A physiological response. Is a required component of emotional experience. Physiological responses can include an increased heart rate. Muscular tension. Pupil dilation. And a wide range of other responses. "I feel fear because my heart races" Instead of "My heart began to race becayse I was afraid" PRESENTATION TITLE We perceive our emotions based on our phsyical responses. 48 49 “ C OM M ON SE N SE S AYS, W E LOSE OUR F ORTU NE , OUR SORRY A ND W EE P; WE M E E T A B E A R , OU R F RI GH TE NE D , A N D RUN ; WE A RE IN SULTE D BY A R IVA L , A R E A N GRY A N D STRI KE . . . TH IS ORDE R OF SEQUE N CE I S I N CORR EC T. . . T H E M OR E RAT IONA L STAT EM E N T IS TH AT W E F EE L SORRY B E C A USE W E C RY. , A N GRY B EC A USE W E STR IK E . , A FRA ID B E CA U SE W E TR EM B L E . ” WILLIAM JAMES - PRESENTATION TITLE 50 SHACTER-SINGER TWO FACTOR THEORY OF EMOTION the cognitive appraisal theory Instead of specific physiological responses corresponding with specific emotions, a general fight or flight response contributes to all emotional responses. PRESENTATION TITLE 51 CONFEDERATE PRESENTATION TITLE 52 PRESENTATION TITLE 53 CANON-BARD THEORY OF EMOTION The Cannon-Bard (Walter Cannon, Phillip Walter Cannon Bard) theory states that the lower part of the brain, also called the thalamus, controls your experience of emotion. At the same time, the higher part of the brain, also called the cortex, controls the expression of emotion. It is believed that these two parts of the brain react 54 SUMMARY PRESENTATION TITLE 55 PRESENTATION TITLE 56 THE SCHACTER/SINGER EXPERIMENT The Schacter and Singer Experiment was conducted at Columbia University with 184 male subjects. Participants were split into four different groups and told that they'd be injected with a vitamin before having their eyesight tested. In reality, three of the test groups were injected with epinephrine, or adrenaline. Schachter and Singer's (1962) study demonstrated that people can experience misattribution of arousal because their cognitive appraisals identified the wrong eliciting event (it's the confederate, not the shot, that is causing my arousal!). PRESENTATION TITLE 57 THE SCHACTER/SINGER EXPERIMENT CONT. n a 1962 experiment, Schachter and Singer put their theory to the test. A group of 184 male participants was injected with epinephrine, a hormone that produces arousal including increased heartbeat, trembling, and rapid breathing. All of the participants were told that they were being injected with a new drug to test their eyesight. However, one group of participants was informed of the possible side-eff ects that the injection might cause while the other group of participants was not. Participants were then placed in a room with another participant who was actually a confederate in the experiment. The confederate either acted in one of two ways: euphoric or angry. Participants who had not been informed about the eff ects of the injection were more likely to feel either happier or angrier than those who had been informed. wrong eliciting event (it's the confederate, not the shot, that is causing my arousal!). Those who were in a room with the euphoric confederate were more likely to interpret the side eff ects of the drug as happiness, while those exposed to the angry confederate were more likely to interpret their feelings as anger. Schacter and Singer had hypothesized that if people experienced an emotion for which they had no explanation, they would then label these feelings using their feelings at the moment. The results of the experiment suggested that participants who had no explanation for their feelings were more likely to be susceptible to the emotional infl uences of the confederate. PRESENTATION TITLE 58 FREUD AND CINEMA • Even though Sigmund Freud was openly critical of the cinema, there were many innovations in cinematic techniques and technologies that filmmakers have employed since the it’s invention to visualize Freud’s ideas. FREUD AND SILENT FILM • Sigmund Freud was resistant to the notion of film as an appropriate medium to communicate psychoanalytic ideas. In 1925, MGM studio mogul Samuel Goldwyn travelled all the way to Vienna to meet Freud and make him an offer of $100,000 to consult on a silent epic exploring history’s great love stories. Freud refused to see him. The Austrian psychoanalyst was critical of American consumerist culture, and Goldwyn and Hollywood embodied its flaws for him. • He also declined a contemporary request from a respected Austrian filmmaker, G.W. Pabst, to make a truly ‘psychoanalytic film’ based on Freudian ideas. Freud’s close associates Karl Abraham and Hanns Sachs acted as consultants on the project instead. This was the German silent drama Secrets of a Soul (1926), in which a professor consults a renowned psychoanalyst after experiencing nightmares and paranoia that he will murder his wife. • The film’s experimental dream sequences combine elements of German expressionism with innovative multiple exposure and stop-motion animation techniques. 59 SECRETS OF A SOUL, 1926. PRESENTATION TITLE 60 SHOCK 1946 SHOCK 61 RCA Theremin, USA, 1929 PRESENTATION TITLE 62 JOHN HUSTON'S PASSION FOR FREUD In the 1960s, Hollywood sought to engage more seriously with the ‘psy’ sciences (psychiatry, psychoanalysis, psychology), and looked again to the ‘Father of Psychoanalysis’ for source material. Since the late 1930s, director John Huston had wanted to make a film about Freud. His passion was further ignited while making the documentary Let There Be Light (1946), which showed the positive results of psychotherapeutic treatment on soldiers suffering from post-traumatic stress disorder. Using slow dissolves and superimposition of images, Huston’s film demonstrates the lasting effects of war on veterans. It then systematically introduces a number of techniques for diagnosing and treating ‘nervous conditions’, including using a Rorschach test to understand a patient’s ‘personality make-up’. 63 PSYCHIATRIC LANGUAGE INTO VISUAL IMAGES • Huston worked closely with British cinematographer Douglas Slocombe and art director Stephen Grimes to create a stylised look for the fi lm that was both historically and psychologically authentic. Huston and Slocombe committed to recreating the fi lm’s turn-of-thecentury setting, not only through authentic staging and location fi lming (in Austria and Germany), but also through the use of techniques and technologies from the same period. • A key example of the fi lm’s historical grounding is its meticulous recreation of the 1887 André Brouillet painting ‘A Clinical Lesson at the Salpêtrière’ (a lithograph of which hung above Freud’s couch), which features a ‘hysteria’ patient being presented to postgraduate students by French neurologist Jean-Martin Charcot. ‘A CLINICAL LESSON AT THE SALPÊTRIÈRE’ BY ANDRÉ BROUILLET PAINTING 64 CHARCOT PRESENTS A HYSTERIA PATIENT IN JOHN HUSTON’S FREUD (1962) While Freud was not in the original painting, he studied with Charcot in Paris at this time and was inspired by him, as the film shows. To further enhance the authenticity of the scene, it was reported in Life magazine, the actors portraying the hysteria patients were real psychiatric patients undergoing hypnosis on the studio set. 65 PSYCHIATRIC LANGUAGE INTO VISUAL IMAGES CONT. A dream sequence from Freud (1962) 66 FLASHBACK SEQUENCE FROM FREUD (1962) 67 CINEMA AND PSYCHOLOGY 68 Music is a visual art | Hunter Ewen | TEDxBoulder PRESENTATION TITLE 69 How Music Influences our Emotions, Feelings, and Behaviors | Dr. Amy Belfi | TEDx PRESENTATION TITLE 70 PRESENTATION TITLE 71 Emotional responses to music | Hauke Egermann | TEDxGhent PRESENTATION TITLE 72 PRESENTATION TITLE 73 Simone Schnall - How does Art Affect Perception, Cognition, Emotion? PRESENTATION TITLE 74 PRESENTATION TITLE 75 Theories of Emotion PRESENTATION TITLE 76 THANK YOU Julene Mays [email protected] PRESENTATION TITLE 77 ASSIGNMENT: SUMMMARIZE THE EMPPIRICAL SUPPORT BETWEEN LITERATURE AND EMPATHY. ARE YOU CONVINCED OF A CASUAL CONNECTION, WHY OR WHY NOT? HOW ARE MINORITY GROUPS REPRESENTED DIFFERENTLY IN QUANTITY OR QUALITY OF ART? WHY IS THIS PROBLEMATIC? PRESENTATION TITLE 78 What is Catharsis? | The Importance of Cathartic Art PRESENTATION TITLE 79 Art unites us with the universal language of emotion | Emilia Acevedo | TEDxGrandPark PRESENTATION TITLE 80

ARTandPSYCHE-10-26-2023 (1).pptx

Document Details

Related

Full Transcript