Schneider I
Am J Psychiatry. 1977 Jun;134(6):613-20. doi: 10.1176/ajp.134.6.613.
There are many striking temporal and cultural parallels in the development of commercial films and psychiatry. The psychiatrist has been depicted in widely varying ways--as madman, as a powerful force for tinkering with the soul, and as a wonder worker who cures patients by uncovering a single traumatic event. The early years, in which psychiatric issues were often treated simplistically or sensationally, were followed by a "latency period". After the war there was a deluge of psychological films, which also began to deal with emerging social issues. Contemporary films tend to focus on madness as a metaphor or on the struggle of seemingly normal, successful people to find fulfillment. Psychiatry and film are "toys that have grown up together," along with the consumers of both.
商业电影的发展与精神病学之间存在许多显著的时间和文化上的相似之处。精神病医生在电影中的形象多种多样——时而被描绘成疯子，时而被刻画为一股操纵灵魂的强大力量，时而又被塑造成通过揭示一个单一创伤事件来治愈患者的神奇治疗师。早期，精神病问题常常被简单化或耸人听闻地处理，随后进入了一个“潜伏期”。战后出现了大量心理电影，这些电影也开始探讨新出现的社会问题。当代电影倾向于将疯狂作为一种隐喻，或者聚焦于看似正常、成功的人寻求自我实现的挣扎。精神病学和电影就像两个“一起长大的玩具”，与它们的受众共同成长。
