Side Effect Film Psychoanalysis - Movie Review Example

SIDE EFFECT FILM PSYCHOANALYSIS By Location Side Effect Film Psychoanalysis Introduction The Side Effect film revolves around the life of Emily, a woman who is mentally traumatised following her husband’s release from jail. According to the film’s storyline, it is evident that there is a psychoanalytic perspective that draws viewers to conclude the possibility of people engaging in tactical and treacherous practices to jeopardise or worse threaten others lives to the point of death (Presecan 2008, p. 34). On the contrary, the film identifies the fortunate events that transpire after the occurrence of criminal events which tend to bar the innocent while vindicating the guilty characters in the trials they face. The film is a contemporary society’s model of psychoanalysis from its presentation of the common knowledge preserved by different groups of people in the society for use in executing heinous crimes. The study highlights the advantages that Emily, the film’s main character adopted in order to commit a murder on her husband, a practice that relates to the contemporary society through the rise of criminal offenses and the use of medical reviews in identifying the victim’s mental state. Psychoanalytic approaches in evaluating the Side Effect film Psychoanalysts identify that people’s history is currently suffering the threat of fragmentation and the impact might result to a complete erosion of the values and ethical concerns instilled in the society’s past. Therefore, the film’s influence in the viewers’ psychoanalytical perceptions about the existence of a cultural theory that compels individuals to develop plans that might draw them towards the achievement of different objectives despite the negative consequences that their actions might influence to the third parties. The film narrates Emily’s warm reception of her husband from the prison as a necessary thing (Brown 2014, p. 6). Further, the viewers perceive the friendly nature of Emily as ideal since every human being seeks the affection of their kith or kin as vital in the development of positive views. However, the controversial outcome of Martin’s release and his subsequent reunion with his wife and mother begins when his wife starts to show controversial behavioural practices. For instance, Emily is seen driving her car against a wall in an attempt to commit suicide. The film’s storyline shows the character’s subsequent composure to seek medication with Dr. Jonathan Banks rather than with her previous doctor, Victoria. The film narrates that Emily’s distress emanated from her husband’s involvement in tax fraud activities that prompted him to serving a sentence after being confirmed guilty by the court. The narration triggers an understanding that the character is fraudulent and the society surrounding this particular family is aware of the crime; hence, the different perceptions might be the main characteristics that trigger Emily’s mentally disturbed characteristics. As the drama intensifies, it is obvious that the character in question switches her choice of a personal doctor from the female to the male one. At that extent, the viewers’ perception might be that Emily’s endeavours are driven by the urge to redeem her crumbling health and restore her sanity in order to thrive as a wife and a sister-in-law to Martin and his mother respectively. The narration delivers an appropriate understanding of the protocol that Emily uses as the ideal for all those people who have different relationships with her. A group of authors namely engaged in an experiment to measure the extent at which the exposure of a particular study sample of women would lead to the self-identification of feminism. The scholars exposed a portion of the sample to positive effects of feminism, and it was after a considerable period that they were able to draw changes from the experiment, which showed the involved characters behaving as feminists. The impact of the psychoanalytic film to the viewers compels the majority to associate the criminal offence previously committed by her husband with discourse and acknowledge her actions as resultant from the traumatising effects and relationships that evolve within her external relationships following her husband’s crime. The emphasis of the subject of psychoanalytical behaviours is present whenever Emily turns into the use of medical assistance and frequent examinations in a bid to control her unknown condition (Brown 2014, p. 7). A controversy emanates from the film’s use of a conversation that prevailed between the patient’s previous and present doctors in their bid to identify the appropriate medical approaches to adapt in addressing the character’s condition for the achievement of a long-term remedy. On the other hand, the viewers are capable of identifying the ill practices that patients face under their doctors without their knowledge. The controversy is evident through the film’s presentation of Dr. Jonathan Banks’ personal choice of Ablixa, a drug that was yet to be used on any other patient in the absence of her client’s knowledge. The study provokes the viewers to view themselves as artificial characters; thus, there prevails the application of the artificial construction theory (Brown 2014, p. 8). In emphasis, the film conquers the threat of opposition by addressing a fictional characteristic that delivers knowledge and understanding to the targeted groups of viewers about the practices that different people may choose to execute while in their capacity with less interest into enquiring their subjects’ perceptions towards the given choices. The contemporary society has developed to present a series of dynamic changes that on the other hand have been challenging the continuation and adoption of important ideologies from one generation to another. Therefore, the film’s use of conceptual planning and the feminine character, Emily deters the subsequent groups of viewers from engaging in negative criticisms. It is vital to acknowledge that there prevails a possibility of experiencing the identified problems once any person of the feminine gender is subjected to a streak of events similar to the ones described in the film. Accordingly, the movie restores the society’s perceptions about the use of revenge, pretence, and trickery in seeking justice over the crimes that people conduct deliberately (Presecan 2008, p. 36). The storyline of the film acknowledges the prevalence of medical check-ups in the society as a positive impact towards the restoration of health, but contrasts with the ingenuity of the society’s use of the same health practices in the establishment of justice to vindicate criminal acts. The paranoid-schizoid position is a mental disorder that evokes anxiety, impulses, and defences. Further, the mental state compels the subject victim to live a fantasy life since some of the mental perceptions might be impossible to occur in the present of future time of their live. The contemporary society has been struggling to desist from the culture of perceiving and judging situations based on psychoanalytical beliefs. Psychoanalytical beliefs often relate people or groups of people from different societal backgrounds with their actions to describe their intelligence levels, behavioural characteristics, or even perceptions towards other subjects in their lives. Realism is the Side Effect film of reflecting imaginary events into the real world situations. For example, the Side Effect film will employ this tool whenever he seeks to implement, how an event occurred and affected humans. Side Effect film realizes the piece of Side Effect film, as it helps in developing a scene of events such that, on viewing, one can identify the occurrences of the past in a manner perceived as rather real to animation. The audience feels the impact of different past events all alike, and can establish on the plights that the human race underwent in the past (Brown 2014, p. 16). The following is a precise and detailed script of the relationship of film aesthetics and socio-cultural, political and the economic environment. Further, the script entails the process of conceptualizing and practicing realism in filmmaking. The Side Effect film tends to manipulate the film’s framework in execution of procedures such that, the viewer or reader can establish the message conveyed by the work, whether stipulating economic, political or social situations. The Side Effect film representations should follow a sequential motion of play to draw attention from the audience, rendering them the ability to depict an outcome of the whole situation. The woman realizes honorary of the state to her performances, and monetary incentives that change her lifestyle. Despite this entire prowess, the character finds it hard to find the right woman for marriage, since everyone knows of his antisocial practices during the teenage stage (Anheier, and Isar 2008, p. 52). Therefore, the film aesthetics in this context tend to stipulate the value of relations, compared to that of economic and political prowess. Aesthetics are used in the Side Effect film to establish the use of realism in posing an unexpected fate in the life of the given family. The wife pretends to know nothing of the affair, so that the husband does not deprive her of financial assistance. Their rude son strains the relationship further, through malpractices and unethical behaviours tarnishing his name. The busy wife struggles for recognition, but eventually stabs him dead in sleep. Similarly, her husband’s relationship worsens (Hagener 2007, p. 81). Therefore, realism sets an imaginary scene whereby, a situation inclines to antisocial behaviours and the viewers are emphatic to the wife. Consequently, the movie relates to economic and political variables in the modern world whereby, the economically well-off husband feels more superior to accept any compromise from his wife and the society even after the release from jail. The evolution of the film has led to the promotion of psychoanalyses in diverse orientations; hence, affecting different types of people and their subsequent races, ethnic groups, or sub-cultural divisions (Presecan 2008, p. 39). The study will seek to highlight the influence of the film on the subject of personal identification, and further to describe the film’s relationship to reality and a combination of the three. Relationship of film to psychoanalyses and self-identification The film’s influence in the subject of psychoanalysing is evident through the various materials presented to different groups of audience. For example, television shows present Arabic characters as morons and easily angered for no apparent reason. The psychoanalysing, however, based on racial grounds, is influential to self-identification of the targeted audience (Hagener 2007, p. 88). Arguably, viewers are likely to conceive the message without any further trial to establish whether the characteristics presented through television shows depict the nature of all the inhabitants of the stated community. Therefore, the film influences the relationship between psychoanalysing and self-identification by acting as a basis for emphasis on the existence of certain characteristics for different societies; hence, implying that the situation is constant and cannot change whatsoever. The extent at which the film emphasize that the behaviour of related individuals is always similar is a negative effect to self-identification (Chapman and Allison 2009, 82). Arguably, the film ascertains that a particular race, ethnic group, or community indeed depicts similarities in behaviours whether negative or positive. It is upon the regular exposure to the film that a person affiliated to a particular group, with which the film has been associating to certain behavioural characteristics is likely to find act in accordance to the predictions. The films depict the female gender as destined to perform weaker roles in any of the tasks present in the human society. It is upon the regular viewing of the shows and other entertainment programs presented through televisions, radios, and the social film that audience from the female gender adapt the notion that they are incapable of tackling issues with equated competence to their male counterparts. On the other hand, the sample group that had been exposed to negative factors of feminism became repulsive to embracing any of the factors that would make it be associated to the feminism ideology. Hence, the film was used to in influencing the female gender, and each individual in the survey was incapable of acting in accordance to her level of intelligence or rather from a personal perspective since they had acquired convincing information from the film facility concerning their possible identities (Presecan 2008, p. 44). It is vital to understand that psychoanalysing in the film is important in the development of self-esteem amongst individuals with an undignified nature or character; thus, it helps in positive self-identification and success. A discussion of the Side Effect’s film relationship reality and psychoanalysis The films are influential to the audience since the information presented through television shows and other programs tames the target audiences to act in a certain pattern. However, challenges may occur in the process of coping and undertaking critical life obligations while trying to interrelate them to those presented by the film. Ideally, most of the programs presented in the film depict actions and fictions; hence, it is hard for an individual’s lifestyle to match such (Eleftheriotis and Needham 2006, p. 5). However, studies reveal that the consumption of television shows serves as a controllable measure to the viewers’ perceptions and behavioural characteristics. It is under the influence of such shows that the human society tends to shape their behaviours to coincide with those presented by the film. The use of manipulation in the film serves as an influential aspect to the viewers’ lives and behaviours since the presented characters seem to be relating their actions to those of the actual society. Arguments indicate that viewers are likely to integrate their normal behaviours to those of the film personalities and romantic films under the manipulation approach. However, there are differences in the conception of information and the use of information whenever the experimenting team tries to use condition-bound shows in taming and influencing the same viewers’ behaviours (Hagener 2007, p. 89). Psychoanalysis is depicted through employment of meaningful statements, graphics, and other animated characters. This aspect of conceptualization of ideas originates from creativity throughout the film research process. Judging criterions scrutinizes the most important ideas from weaker ones and implement the best. Potential ideas should contain clear and relevance to the desired topic and theme. The best method of deriving an idea is through groupings such that, each individual comes up with a distinct style addressing the same question of creativity. Thereafter, the Side Effect film analyzes ideas in terms of products to use in the process, graphic designs to use, and scripts on provocative thinking. Whenever a person endures in conceptualizing of an idea in the film making process, then he should be observant on the side Effect film products he targets to use. For example, when filming a script on vampires, Side Effect film should derive the best costume that relates to the imaginary creatures. This enables the viewer to establish the some psychoanalysis facts, for his thoughts will converge to the imaginary world. Eventually, a filmmaker should realize the effect of using graphics in his work. The reason behind this is the combination of products and designs to establish a clearer scenario. The viewer has the ability depict a meaningful thinking out graphics, and will determine the past or future event that is relevant to the script. A film based on battles should bear the Side Effect films that show events in the battlefields, and the characters should show emotions to the situation depicted in the graphics. This method enables the filmmaker to absorb the audience into the situation, such that their emotions turn towards the events naturally. The other aspect of deriving the best out of the audience is through film scripts that provoke the thoughts of audiences (Hagener 2007, p. 91). On the contrary, people who are not in relationships are likely to be repulsive to the ideologies presented through romantic comedies bearing the manipulation characteristic. It is of salient need to bear in mind that reality and the nature of film information are contrasting subjects. The improved lifestyles depicted in shows presented to different types of audiences might be influential, but it is under minimal circumstances that the subjects might match. Therefore, the film shows and other informative programs are incompatible to reality and the act of conceiving and trying to act as if embracing the virtual aspects of the film characters the practitioners to unrealistic endings. Relationship of reality to psychoanalysis and self-identification The relationship of reality to psychoanalysis and self-identification in the prevalence of film influence sets a controversial bar of judgments. For instance, the human society is expected to show behavioural patterns that are shaped by natural circumstances, but on the contrary, the subjects of psychoanalyses and film influence have compelled people to act in accordance to the social beliefs that they should act in a specific way (Gazetas 2008, p. 103). Coincidentally, the advent of globalisation and diversification of communication models has served as an influential tool in tailoring self-identification and psychoanalysis aspects in reference to reality. For example, the television presentations depicting cultures such as the Amazonian, Chinese-Han, Mongolia, and African cultures imply to the viewers that they should expect certain characteristics from people affiliated to such communities. On the contrary, the expectations adverse into psychoanalyses and the inhabitants rest without any obligations other than perceiving the portrayed characteristics and practicing them. It is upon the conception and the practice of such characteristics that the people find their self-identity being borne from film psychoanalysis rather than reality. It is ideal to note that reality exists, and people are likely to change their behavioural characteristics in accordance to the present social changes. Further, the relationship between psychoanalysing and self-identification is likely to affect reality in that cultural variations from one community to another imply differences; hence, the inhabitants find themselves obliged to abide by the practices. The global society’s notion that that certain regions are associated to specific races can be considered as an aspect of psychoanalysing rather reality. The advent of globalisation has led to the immigration of races; hence, people from different races are currently capable of identifying themselves in diverse aspects such as professions and hobbies rather than languages or religions. The practice renders psychoanalysing and self-identification as rather contrasting rather related variables in reference to the subject of reality. The film presents shows and information that cogitates individuals as vulnerable to their societal practices; thus, it psychoanalysis the behavioural outcomes of such individuals. On the contrary, a person may hail from a particular social background, and find self-identification from external cultures with which he shows his interest. Conclusion The evaluation of the film and its effects on psychoanalysing in the modern society is an important approach in finding solutions to ease the prevalence of negative criticisms. The reflection of the film to reality indicates that the society comprises of diverse grouping, and each individual is likely to undertake specific actions to match those portrayed in the film. However, the film can serve to promote positive self-identification aspects through the promotion of positive psychoanalyses. Eventually, the future generations will be capable of embracing modern relationships in accordance to the social changes rather than film fictions. Bibliography Anheier, HK, and Isar, R 2008, The Cultural Economy, Cultures And Globalizations, London, SAGE. Brown, J 2014, Guilt, spectatorship and The third man, Economy and Society, 43(1), 19-39. Chapman, J, and Allison, K, 2009, Issues in Contemporary Documentary, Cambridge, Polity. Eleftheriotis, D, and Needham, G, 2006, Asian Cinemas, A Reader and Guide, Honolulu, University Of Hawaii Press. Gazetas, A 2008, An Introduction To World Cinema, Jefferson, Mcfarland. Hagener, M 2007, Moving Forward, Looking Back, The European Avant-Garde And The Invention Of Film Culture, 1919-1939, Amsterdam Univ, Press. Lazaro Reboll, A, and Willis, A, 2004, Spanish Popular Cinema, Manchester, Manchester Univ, Press. Presecan, O 2008, Women On The Verge Of A Nervous Breakdown. An Interpretation, Ekphrasis, (1), 109-115. Read More