The Movie ' Girl, Interrupted ' By Susanna Kaysen

In the book Girl, Interrupted by Susanna Kaysen, Susanna Kaysen was only 18 years old when she agreed to enter a medium security psychiatric facility in Boston, McLean hospital in April 1967, after a failed suicide attempt. She insisted that her over dose on aspirin was not a suicide attempt, but after a 20 minute interview the doctor decided she needed to be admitted to a hospital. During her prolonged two-year stay at the hospital Kaysen describes the issues that most of the patients in her ward have to deal with and how they all differently deal with the amount of time they must stay in the hospital for. While in the hospital Kaysen experienced a case of depersonalization where she tried to pull the skin of her hands to see if there were bones underneath, after a failed escape attempt. Soon, after going to therapy and analysis she was labeled as having recovered from borderline personality disorder. After her release she realizes that McLean Hospital provided patients with more freedom than the outside world, by being free responsibility of parental pressure, free from school and job responsibilities, and being free from the “social norms” that society comes up with. Ultimately, being in captivity gave the patients more freedom then in society and created a safe environment in which patients wanted to stay in.

The film Girl, Interrupted focused on an eighteen year old girl by the name Susanna that was admitted into a private mental hospital after being accused of a suicidal attempt. The movie follows Susanna on her journey in the institution as she encounters women with different admittance stories. The one who intrigues Susanna the most is Lisa. Lisa is thought to be a sociopath with the way she manipulates those around her to get her way. She is constantly in and out of the institution causing those around to fear, yet admire her. My main focus will be on Lisa and although it was not specified in the film just how old she is, she seemed to be around the same age group as Susanna. This means that, according to Erikson’s Psychosocial Stages, she is on stage five or six. Stage five happens during adolescence where ones primary task is their identity versus their own role in society whereas stage six happens in young adulthood and one faces intimacy versus isolation. The article incorporated gives more insight on how Erikson’s stages play hand in hand with one another and can potentially affect the mental state of someone if not successfully fulfilled. There is also a possibility that, with the ‘symptoms’ of a sociopath, Lisa could have had past problems during what Sigmund Freud considered the anal stage of her childhood.

Social control is when a person unites to society that prevents them from violating rules therefore; if the bond weakens, they are free to commit delinquent acts. Travis Hirschi, a sociologist, argued that the social bond a person maintains with society contains the commitment to the pursuit of conventional activities, such as

The film “Girl, Interrupted” is a true story adapted from the original memoir by Susanna Kaysen. Set in the 1960s, it relates her experiences during her stay in a mental institution after being diagnosed with borderline personality disorder following a suicide attempt. Many films include characters with a mental illness; the actors who play these characters have the immense challenge of staying true to the illness they portray.

Laurell K. Hamilton spoke in great words that, “there are wounds that never show on the body that are deeper and more hurtful than anything that bleeds.” Hamilton embodied a central state of mind of a person who is mentally ill. The wounds mentioned are those caused, and worsened, by traumatic events and public perception of a person with a mental illness. The women in the short stories that have been read embody an internal injury caused by an outward force. In “Story of an Hour”, “Rose for Emily”, and “Yellow Wallpaper” it is impactfully shown how traumatic life experiences can lead to and worsen mental illnesses.

Sanity is subjective. Every individual is insane to another; however it is the people who possess the greatest self-restraint that prosper in acting “normal”. This is achieved by thrusting the title of insanity onto others who may be unlike oneself, although in reality, are simply non-conforming, as opposed to insane. In Susanna Kaysen’s Girl, Interrupted, this fine line between sanity and insanity is explored to great lengths. Through the unveiling of Susanna’s past, the reasoning behind her commitment to McLean Hospital for the mentally ill, and varying definitions of the diagnosis that Susanna received, it is evident that social non-conformity is often confused with insanity.

Girl, Interrupted provides an in-depth look into Susanna Kaysen’s experience of living with a mental illness and staying in a mental hospital. Twenty-five years after she leaves McLean she learns of her diagnosis of borderline personality disorder and discusses it in her memoir. Kaysen reads about her disorder from the DSM-III-R and views her diagnosis as:

Doyle, Jim, and Peter Fimrite. "Caring for Mentally Ill Criminals Outside of Prison Is Dangerous." America's Prisons. Ed. Clare Hanrahan. Detroit: Greenhaven Press, 2006. Opposing Viewpoints. Rpt. from "Criminally Insane Taking over State Hospitals." San Francisco Chronicle 22 July 2001. Opposing Viewpoints In Context. Web. 26 Feb. 2013.

Girl Interrupted is Susanna Kaysen 's memoir a series of recollections and reflections of her nearly two year stay at a residential psychiatric program at McLean Hospital in Belmont, Massachusetts. She looks back on it with a sense of surprise. In her memoir she considers how she ended up at McLean, and whether or not she truly belonged there. Each chapter focuses on one aspect of her experience. Founded in the late 19th century, McLean Hospital had been a facility for troubled members of wealthy and aristocratic families. By the late 1960s, however, McLean had fallen into a period neglect. This was a time of great change in the mental health care field. Kaysen grew up in a wealthy and prestigious family. Like most teenagers, she was rebellious at times, confused and unsure about her future. She didn’t want to go to college and slept with her high school English teacher. She witnessed firsthand the widening generation gap that was developing in the late 1960s. Older generations looked at Kaysen’s generation 's world with alarm.

In Ken Kesey’s novel One Flew Over the Cuckoo’s Nest and the film Girl, Interrupted directed by James Mangold, the authors look at American psychiatric institutions of the 1960s and explore the idea that hospitals act as a microcosm for society, where characters are used as symbols to represent aspects of society. The settings represent conformity and rebellion, prejudice against minorities and authority figures ruling absolutely. Both authors use stylistic features to position the audience to respond to ideas common in both texts.

Daphne Scholinski documents her experiences through multiple psychiatric institutions in her gripping and light-hearted memoir titled, “The Last Time I Wore A Dress”. Published in 1997, her memoir establishes a strong connection with readers, thereby allowing them to be present within her plot; watching her story unfold from above. By analyzing the plot, characters, themes, and setting of “The Last Time I Wore A Dress”, I seek to draw a connection between Scholinski’s memoir and the mental model of madness. In doing so, this paper aims to shed light upon the hardships faced by Scholinski and her survival through it all.

Throughout history, mental illness has been labeled as a defining deformity, that harnesses in its “victims,” into a box, parallel to the familiar “mime in a box” image. In a world where we glorify “normality,” a lack of illness, which by all means is a gift, the beauty of one mind takes away from the beauty of an outlier, even though, ironically people may not even recognize their differences. Hester, at a glance suffers from a literal scarlet letter, but an imprint on her brain may exist as well. Irrational actions, sudden emotional episodes, and destructive thoughts can only prevail for so long following sin; Hester’s persona has branches of self-defeating personality disorder, schizophrenia, and bipolar disorder. No one of her time, however, will bring the issue to light, Hester will be left known as the mistress, a witch, or “A,” rather than to explore her “complicated” condition. As decades pass, Hester’s state will remain, as the “A,” the mark of the stigma on mental illness today. When left neglected, society rejects the possibility that under a visible coating, mental deformities may lie; those who are divergent, who require affection more, are made subordinate, marginalized with no quest for a cure.

The novel, Girl, Interrupted is a memoir of author Susana Kaysen’s life and her journey through early adulthood as she suffered with Borderline Personality Disorder. The novel captures her time at McLean Hospital, a psychiatric hospital located in Belmont, Massachusetts. Kaysen divides the novel into separate anecdotes of events and fellow patients she encountered during the two years she was admitted at Mclean.

The main character in Susanna Kaysen’s, “Girl, Interrupted” and Charlotte Perkins Gilman’s, “The Yellow Wallpaper” are similar in the fact that they both were suppressed by male dominants. Be it therapist or physicians who either aided in their mental deformities or created them. They are similar in the sense that they are both restricted to confinement and must endure life under the watchful eye of overseers. However similar their situations may be, their responses are different.

In the movie, the Joy Luck Club, by Amy Tan, we see many examples of the challenges of intercultural translations. The movie portrays cultural conflict between Chinese culture and the American culture as portrayed by the lives of four mothers and their daughters. The mothers were born and raised in China, adopting the high-content Chinese culture, while their daughters, born and raised in America, adopted the low-context American