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The depiction of mental illness, schizophrenia in particular, within film is a unique phenomenon that film directors have decided to undertake more so in the last 20 years than ever before in cinematic history (Wedding & Niemic, 2014; Robinson, 2004; Gabbard & Gabbard, 1999; Wahl, 1997). Countless filmmakers have taken

The depiction of mental illness, schizophrenia in particular, within film is a unique phenomenon that film directors have decided to undertake more so in the last 20 years than ever before in cinematic history (Wedding & Niemic, 2014; Robinson, 2004; Gabbard & Gabbard, 1999; Wahl, 1997). Countless filmmakers have taken on the challenge of depicting this complex, yet degenerative condition that entails auditory and visual hallucinations, disorganized thought and speech, and delusions. Its portrayals are usually exaggerated and romanticized, and convey a sense of separate "Otherness" with those who have a mental disorder. And while filmmakers try to encapsulate the schizophrenic experience, it is not without psychiatric error and regarding the person who has schizophrenia as a spectacle. This unfair and ostracizing view of people who have schizophrenia is fueled by films like A Beautiful Mind and The Shining where the film either creates impossibly high standards for schizophrenics to perform at, or the film paints the character as a violent savage. In either case, the end result is the marking and, usually, denouncement of the schizophrenic for their illness. What filmmakers tend to overlook is how much the public learns from the cinematic portrayals of these disorders, and that their films are contributing to an overarching issue of public presumptions of actual schizophrenia and how it is perceived. While the Hollywood approach offers a depiction that is usually more tangible and enjoyable for masses of audiences, spectators should recognize that these are artistic interpretations that take liberties in their depictions of schizophrenia. Viewing these films with an objective mindset to better understand the inner workings of schizophrenia is absolutely crucial in arriving anything close to the truth behind this mental illness that has been demonized long enough.
ContributorsFraga, Nicholas Andrew (Author) / Miller, April (Thesis director) / Cavanaugh Toft, Carolyn (Committee member) / Barrett, The Honors College (Contributor) / Department of Psychology (Contributor) / Department of English (Contributor)
Created2015-05
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Since the Acquired Immune Deficiency Syndrome (AIDS) crisis began in the early 1980s, there has been a significant amount of stigma attached to the disease and the virus that causes it, Human Immunodeficiency Virus (HIV). At the time, HIV/AIDS was viewed as a death sentence. A large part of the

Since the Acquired Immune Deficiency Syndrome (AIDS) crisis began in the early 1980s, there has been a significant amount of stigma attached to the disease and the virus that causes it, Human Immunodeficiency Virus (HIV). At the time, HIV/AIDS was viewed as a death sentence. A large part of the stigma came from the fact that in the early days of the crisis, AIDS patients were predominantly part of the LGBTQ+ community. With the discovery of effective antiretroviral therapies, today HIV can be thought of as a preventable, yet manageable, chronic illness, although it remains a huge public health concern (About HIV/AIDS, 2018). While the virus is now rarely viewed as a death sentence, there is still considerable stigma that surrounds people living with HIV/AIDS (PLWHA). Research shows that the shows and movies people watch can affect their attitudes on a variety of issues, and HIV is no exception. Because HIV is such a big threat to public health, and because people often adopt views they see in media, analyzing the ways shows and movies portray PLWHA is an important aspect in understanding where stigma surrounding HIV/AIDS comes from. The writers behind today's HIV+ characters on television and in movies all seemingly made an effort to decrease stigma, but they went about it in different ways, and with varying amounts of success. A common method to dispel stigma was to use the entertainment-education method (Singhal & Rogers, 1999), which in these cases means characters had discussions about topics like safe sex, Pre-Exposure Prophylaxis (PrEP), and the importance of getting tested. A few shows showed serodiscordant couples, which was also effective at fighting stigma. In contrast, by trying to be representative of PLWHA, some shows actually contributed to the stereotypes behind the stigma, or had characters be openly stigmatizing towards PLWHA. After analyzing what I found the shows and movies did well and what they did poorly, I'll analyze why it is important that shows maintained historical accuracy, and how doing so appeared to fight the stigma associated with HIV/AIDS. I will also evaluate what's missing \u2014 such as which high-risk groups are not represented. Ultimately, this thesis will argue that shows and movies made in the last 12 years all aimed to decrease stigma, through a variety of techniques.
ContributorsEvans, Celia Grace (Author) / Hurlbut, Ben (Thesis director) / Berkel, Cady (Committee member) / Blattman, Joseph (Committee member) / School of Life Sciences (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
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Horror films are typically comprised of three specific features: jump scares, gore, and suspense shots of a shadowy figure creeping up on an unaware victim. These three elements are some of the hallmarks of what defines the horror genre as they are methods that have proven successful in eliciting a

Horror films are typically comprised of three specific features: jump scares, gore, and suspense shots of a shadowy figure creeping up on an unaware victim. These three elements are some of the hallmarks of what defines the horror genre as they are methods that have proven successful in eliciting a bodily response within audience members, which is crucial to a horror movie being considered successful. However, these elements are also very polarizing. Individuals that enjoy horror often like these three things, while those who don’t appreciate the genre often cite over the top gore, distain for jump scares, and the anxiety that accompanies those suspenseful shots as primary reasons for avoiding horror. Due to the fact that those spectators who like horror tend to be in the minority, horror tends to have a very weak crossover appeal, thus limiting the audience interest while also being very unpopular among critics as well.
Interestingly, three recent horror films have achieved both critical acclaim and popularity among all audiences, horror and non-horror fans alike. Get Out, A Quiet Place, and It Follows are all noticeably lacking in the three features that commonly make a horror film “successful”, and yet it would be difficult to argue that they aren't successful horror films given that they have received critical acclaim, impressive box office returns, and have a strong crossover appeal. Therefore, they must use alternative methods to achieve the bodily response of fear that is necessary to be successful in the genre. I argue that these films put the audience member in a position that mirrors what Forced Lacanian Hysteric Neurosis and that this positioning produces the bodily response that is necessary for a horror movie to be successful. This manifestation has the additional benefit of allowing those spectators who do not like the fundamental aspects of horror (jump scares, gore, and suspenseful shots) to find the pleasure of horror without experiencing on-screen events that might cause them notable distress.
ContributorsStevens, Summer Charis (Author) / Mack, Robert (Thesis director) / Miller, April (Committee member) / Department of Psychology (Contributor) / Department of Economics (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The Film Industry is one of most exciting and informative businesses in the world, a business where the revenue of a single feature film can approach or exceed $1 billion. Current trends show a significant increase in independent production and a demand for major studio facilities outside of California. Many

The Film Industry is one of most exciting and informative businesses in the world, a business where the revenue of a single feature film can approach or exceed $1 billion. Current trends show a significant increase in independent production and a demand for major studio facilities outside of California. Many states are meeting the demand by building state-of-the-art sound stages and production facilities. To further attract productions into their state, tax incentives and rebates are offered, resulting in a long-term influx of movie production that generates hundreds of millions of dollars of revenue for their communities, contributing an estimated $200,000 a day into the coffers of the localities where they film. In addition to the revenue it generates, the motion picture and television industries employ over 1.3 million Americans. Despite numerous benefits to states that cater to the movie industry, Arizona continues to flounder. With all the resources and advantages offered to Arizona including good weather and proximity to Hollywood, the state has the potential to become a key player within the film industry. The purpose of this study is to conduct interviews from industry professionals, both in and out of state, to get an idea of where Arizona stands in the movie making industry and if the state should take the steps necessary to build a more dominant presence. Using states like New Mexico as a model, comparisons will be made between different programs offered and implemented in both Arizona and other states. Data will be collected through induction of personal interviews and the responses gathered will be used to formulate a more formidable opinion on what Arizona is capable of doing within the movie making industry.
ContributorsLantz, Zachary Matthew (Co-author) / Lantz, Zachary (Co-author) / Gray, Nancy (Thesis director) / Eaton, John (Committee member) / Sanford School of Social and Family Dynamics (Contributor) / School of Accountancy (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12