One Flew Over the
Cuckoo’s Nest (Written by Ken Kesey)/1962
This is an amazing book. I didn’t read this until I hit
thirty; the reason for this being I thought less of it due to having seen
the film. The film is not bad, but for me One Flew Over the Cuckoo’s nest was its film version, full stop. I eventually
decided to read the book after learning about the interesting life its author
Ken Kesey lived, including that he wrote much of this book while
working at a mental hospital.
One Flew Over the Cuckoo’s Nest deals with the relationship
between freedom and power, and about how mental illness develops when the power
of others dominates an individual to such a great extent that he/she can no
longer act free. The individuals in the hospital are shown by Kesey to be
lacking in courage and self-belief, and demonstrate an unwillingness to act without permission and approval. While the hospital should be
making patients better it actually makes them worse by actively
discouraging attempts to be assertive and by labelling any attempt to act free
from the constraints of institutional power as symptomatic of a worsening of
the underlying disorder.
The book is told through the eyes of Chief Bowden: a part
Indian man that has spent a long time in the hospital pretending to be deaf and
mute. Through the subjective experiences of the Chief, Kesey presents the actual
experiences of mental illness. Kesey in doing this dismisses the notion that
mental illness is unreal but reveals how its treatment is sometimes abused to
keep people in line. Chief Bowden experiences things through metaphorical
hallucinations. For example, when speaking of the power held by the Big Nurse,
he literally sees wires running from her office into the bodies of those that
she controls. This conception of mental illness is similar to that found in R.D
Laing’s book the Divided Self: the mentally ill person is someone that cannot
face the pain of reality and retreats into their own realm, but reality still
intrudes via metaphorical representations.
Throughout the novel Chief Bowden focuses on the power
struggle taking place between Randle McMurphy and the Big Nurse. McMurphy is
not in hospital voluntarily but has committed an offence which landed him
on a work farm. He is transferred to the mental hospital partly of his own
design to escape drudgery. McMurphy immediately emerges as a threat to the Big
Nurse due to his willingness to question process and act without fear. He is not scared of authority
and does not censor himself when confronted with the subtle shaming techniques
of the Big Nurse.
The Big Nurse effectively runs the hospital. She is shown
through the subjective eye of Chief Bowden to be solely concerned with
maintaining her grip of power over the hospital. She is obsessed with process;
she pretends to enforce process for the therapeutic value that the processes
have on the patients, when in reality she loves the process because it is her
process and provides her with a sense of security and power.
The interactions between McMurphy and Big Nurse question the
extent to which people can be free. Sartre once argued that individuals are
totally free so that even if facing the death penalty we are free to defy the
executioners by mentally not accepting their interpretation of events and the
descriptions placed on them. McMurphy is a Sartrean hero as he does not allow
the views of others and the subtle attempts to shun and devalue him dictate how
he behaves. However, as the book plays out Kesey demonstrates that living in
this manner may not lead to a life of pleasure or fame but may involve the free
person being crushed by power structures and processes that do not appreciate
the questioning of where power lies.
I would argue that One Flew Over the Cuckoo’s nest offers a
modern presentation of the story found in the New Testament. Like Christ,
McMurphy questions the powers of his time: in this case psychiatry and bureaucratic
process rather than the Jewish religious leaders. Like Christ he questioned the
intentions of the powers that be and acted as a free human rather than someone embarrassed
by their true nature. Moreover, like Christ, McMurphy suffers at the hands of
an authority that pretends to be in place for the concern of the many when in
reality it gives power to the few, and in suffering on the Cross gives the weak
a lasting sense of freedom.
Friday, 22 May 2015
Wednesday, 20 May 2015
Once Upon a Time in Anatolia (film)
Once Upon a Time in
Anatolia (Directed by Nuri Bilge Ceylan)/2011
Once Upon a Time in Anatolia is an incredibly soothing movie. It is a gentle, lush journey through Anatolia, in which the everyday events of life are made beautiful. The beauty does not arise due to the addition of anything new, but through the illumination of what we often overlook.
It is interesting that the movie’s director Nuri Ceylan chose to focus the story on detectives chasing down a body in the Turkish countryside when the feeling of the movie is so tranquil. My view is that he wanted to point out the beauty that hides behind the curtains of our day-to-day existence, regardless of what those experiences are. This argument is supported by the focus on idle chitchat through out the story, when the actual events taking place are far from the normal human experience.
Fundamental to this movie is sound. The director speaks to the viewer with the subtle noises that flow through this movie. Sound is also something that we tend to block out in our day-to-day rush through existence. By revealing the sounds that we unconsciously block out, the movie reveals to us a reality that we seldom experience: a reality that when revealed is all the more beautiful due to its general absence from our normal existence.
The sociological aspects of this movie are interesting. For instance, the group of detectives, the prosecutor and a doctor need rest and food and spend the night in a village. The murder suspects eat and sleep among them, and the village uses the hospitality as leverage to get the improvements made to the village that they have been waiting for. The illuminated realism of the movie makes these interactions strangely beautiful even though common place and mundane. That being said, the fascinating quality of these interactions may have been heightened due to my lack of previous exposure to Turkish culture.
A philosophical point is made late in the movie, starting with the doctor arguing in favour of an autopsy when there is no benefit in people knowing the truth but then eventually siding partly in the other direction. This relates to the broader search by the detectives to prove something when doing so might not provide any benefit to society as a whole. Without being fully certain of this supposition, this philosophical interjection might be conceived as linked to the broader attempt by the movie to reveal to us elements of our lives that are over looked: truth is important, but there a many layers to our existence and therefore many things that can be of defining importance to our lives.
Once Upon a Time in Anatolia is an incredibly soothing movie. It is a gentle, lush journey through Anatolia, in which the everyday events of life are made beautiful. The beauty does not arise due to the addition of anything new, but through the illumination of what we often overlook.
It is interesting that the movie’s director Nuri Ceylan chose to focus the story on detectives chasing down a body in the Turkish countryside when the feeling of the movie is so tranquil. My view is that he wanted to point out the beauty that hides behind the curtains of our day-to-day existence, regardless of what those experiences are. This argument is supported by the focus on idle chitchat through out the story, when the actual events taking place are far from the normal human experience.
Fundamental to this movie is sound. The director speaks to the viewer with the subtle noises that flow through this movie. Sound is also something that we tend to block out in our day-to-day rush through existence. By revealing the sounds that we unconsciously block out, the movie reveals to us a reality that we seldom experience: a reality that when revealed is all the more beautiful due to its general absence from our normal existence.
The sociological aspects of this movie are interesting. For instance, the group of detectives, the prosecutor and a doctor need rest and food and spend the night in a village. The murder suspects eat and sleep among them, and the village uses the hospitality as leverage to get the improvements made to the village that they have been waiting for. The illuminated realism of the movie makes these interactions strangely beautiful even though common place and mundane. That being said, the fascinating quality of these interactions may have been heightened due to my lack of previous exposure to Turkish culture.
A philosophical point is made late in the movie, starting with the doctor arguing in favour of an autopsy when there is no benefit in people knowing the truth but then eventually siding partly in the other direction. This relates to the broader search by the detectives to prove something when doing so might not provide any benefit to society as a whole. Without being fully certain of this supposition, this philosophical interjection might be conceived as linked to the broader attempt by the movie to reveal to us elements of our lives that are over looked: truth is important, but there a many layers to our existence and therefore many things that can be of defining importance to our lives.
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