{"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}
Traumatic ImprintsPub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0004
Noah Tsika
{"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}
Traumatic ImprintsPub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0007
Noah Tsika
{"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}
Traumatic ImprintsPub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0002
Noah Tsika
{"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}
Traumatic ImprintsPub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0005
Noah Tsika
{"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}
Traumatic ImprintsPub Date : 2018-10-02DOI: 10.1525/california/9780520297630.003.0003
Noah Tsika
{"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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