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Dead Soldiers King Anthony

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Of the twenty top films concerned with Post Traumatic Stress Disorder in the past fifty years, 100% are war, war-related, or warlike films. The afflicted characters tend to be male, returning from war, struggling to reintegrate, and suffer, at some point, usually toward the end, from a particularly violent episode, with smaller violent episodes sometimes scattered throughout. Even if the other DSM-5 criteria for PTSD are met, often the violence is the focal point of the main character’s problems and drives the plot. In reality, a survey by Elbogen et al. (2014) found that only 9% of American veterans of the wars in Iraq and Afghanistan were severely violent and 26% percent had been physically aggressive. By contrast, nearly all military-related …show more content…

He meets the DSM-5 criteria for a PTSD diagnosis as he experiences trauma directly, has nightmares concerning the subject of the trauma, avoids discussing the trauma with his parents and throughout the film, struggles with anger and physical aggression toward Juanita and Cowboy, and, ultimately, murders several police officers in an attempted robbery that lands him in prison for 15 years to life in a display of reckless behavior, despite it’s …show more content…

The media’s misrepresentation of these acts is problematic because, as Angermeyer et al. (2005) conclude, increased portrayal of the mentally ill as violent in the media is positively correlated with more people believing mentally ill people are actually more likely to be violent, thereby perpetuating an erroneous stereotype. It is also clear that trauma affects more than just veterans, that it affects women who’ve been sexually assaulted, children who’ve been abused or neglected, and countless other groups of people with countless other types of trauma. So why is PTSD primarily portrayed as a male veteran problem by the popular media? And why is the presence of a violent episode necessary? If the answer is that the public is deeply uncomfortable with alternative stories of trauma, there is hope yet that media such as “Til It Happens to You” have the power to push past the discomfort and represent other forms of PTSD. Lady Gaga’s music video is not perfect as it relegates women to finding strength within their own female communities instead of encouraging them to seek professional help when it could be potentially necessary or helpful, but it could be a door by which other artists, writers, and directors begin to feel enabled to tackle PTSD as a human illness, not a male, militarized one. As it stands, the media has a long way to go until it can successfully say that PTSD is represented

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