Obsession, split personality, dark alter ego… Split personality is an inexhaustible topic for thrillers, horror films and psychological dramas. Last year, the screens released another film about this — «Split». We decided to find out how the “cinematic” picture reflects what happens in the head of real people with a diagnosis of “multiple personality”.
Di 1886 de, Robert Louis Stevenson Doza Xerîb ya Dr. Jekyll û Mr. Stevenson karîbû qelsiya ramanên di derbarê normê de ku di nav hemdemên wî de hebûn, bi "girêdana" cinawirek xirabûyî li laşê zilamek rêzdar nîşan bide. Ger her zilamê cîhanê, bi mezinbûn û rewiştên xwe yên bêkêmasî, Hydeya xwe xew bike?
Stevenson denied any connection between the events in the work and real life. But in the same year, an article was published by psychiatrist Frederic Mayer on the phenomenon of «multiple personality», where he mentioned the case known at that time — the case of Luis Vive and Felida Isk. Coincidence?
The idea of coexistence and struggle of two (and sometimes more) identities of one person attracted many authors. It has everything you need for a first-class drama: mystery, suspense, conflict, unpredictable denouement. If you dig even deeper, similar motifs can be found in folk culture — fairy tales, legends and superstitions. Demonic possession, vampires, werewolves — all these plots are united by the idea of two entities that alternately try to control the body.
Siya parçeyekî kesayetiyê ye ku ji aliyê kesayetî ve weke nexwestî tê redkirin û tepisandin.
Often the struggle between them symbolizes the confrontation between the «light» and «dark» sides of the hero’s soul. This is exactly what we see in the line of Gollum/Smeagol from The Lord of the Rings, a tragic character, morally and physically disfigured by the power of the ring, but retaining the remnants of humanity.
Dema ku sûcdar di serî de ye: çîrokek rastîn
Many directors and writers, through the image of an alternative «I», sought to show what Carl Gustav Jung called the Shadow — a part of the personality that is rejected and suppressed by the personality itself as undesirable. The shadow can come to life in dreams and hallucinations, taking the form of a sinister monster, demon, or hated relative.
Jung saw one of the goals of therapy as incorporating the Shadow into the structure of the personality. In the film «Me, Me Again and Irene» the hero’s victory over his «bad «I» becomes at the same time a victory over his own fears and insecurities.
Di fîlima Alfred Hitchcock Psycho de, reftarên leheng (an xerab) Norman Bates bi rengek serpêhatî dişibin tevgera mirovên rastîn ên bi nexweşiya nasnameya veqetandî (DID). Tewra hûn dikarin gotarên li ser Înternetê bibînin ku Norman li gorî pîvanên Dabeşkirina Nexweşan a Navneteweyî (ICD-10) tê teşhîs kirin: hebûna du an bêtir kesayetiyên cihêreng di kesek de, amneziya (yek kes nizane çi ya din dema ku ew xwediyê laş e, dike), têkçûna nexweşiyê li derveyî sînorên pîvanên civakî û çandî, çêkirina astengiyan li pêşiya jiyanek têr a mirov. Wekî din, nexweşiyek wusa ne di encama karanîna maddeyên psîkoaktîf de û wekî nîşanek nexweşiyek neurolojîk pêk tê.
Hitchcock ne li ser êşkenceya hundurîn a leheng, lê li ser hêza wêranker a têkiliyên dêûbav gava ku ew dikevin bin kontrol û xwedîtiyê disekine. Leheng di şerê serxwebûna xwe û mafê hezkirina yekî din de winda dike, bi rastî vediguhere diya xwe, ku her tiştê ku dikare bi zorê wêneyê wê ji serê kurê xwe derxe xera dike.
Fîlm wisa xuya dike ku nexweşên DID sûcdarên potansiyel in. Lê ne wisa ye
Bişirîna li ser rûyê Norman di fîşekên paşîn de bi rastî xeternak xuya dike, ji ber ku ew eşkere ne ya wî ye: laşê wî ji hundur ve tê girtin, û şensê wî tune ku azadiya xwe vegerîne.
Lê dîsa jî, tevî plan û mijarên balkêş, ev fîlm kesayetiya perçebûyî tenê wekî amûrek ji bo afirandina çîrokek bikar tînin. Wekî encamek, nexweşiya rastîn dest pê dike ku bi karakterên fîlimê yên xeternak û ne aram re têkildar bibe. Neurozanist Simone Reinders, lêkolînerek nexweşiya veqetandinê, pir bi fikar e ku mirov piştî temaşekirina van fîlman çi bandorek çêdibe.
"Ew wisa xuya dikin ku nexweşên DID sûcdarên potansiyel in. Lê ne wisa ye. Pir caran ew hewl didin ku pirsgirêkên xwe yên derûnî veşêrin.”
The mental mechanism that generates splitting is designed to relieve a person of excessive stress as soon as possible. “We all have a universal mechanism for dissociation as a response to severe stress,” explains clinical psychologist and cognitive therapist Yakov Kochetkov. — When we are very scared, part of our personality — more precisely, the time that our personality occupies — is lost. Often this condition occurs during military operations or a disaster: a person goes on the attack or flies in a falling plane and sees himself from the side.
Psîkoterapîst Nancy McWilliams dinivîse: "Gelek kes bi gelemperî ji hev vediqetin, û hin jî wusa bi rêkûpêk dikin ku meriv dikare were gotin ku veqetandin mekanîzmaya wan a sereke ye ji bo xebitandina di bin stresê de."
In the series «So Different Tara» the plot is built around how a dissociative person (artist Tara) solves the most common problems: in romantic relationships, at work, with children. In this case, «personalities» can be both sources of problems and saviors. Each of them contains a piece of the heroine’s personality: the devout housewife Alice personifies discipline and order (Super-Ego), the girl Birdie — her childhood experiences, and the rude veteran Buck — «uncomfortable» desires.
Attempts to understand how a person with a dissociative disorder feels are made in films such as The Three Faces of Eve and Sybil (2007). Both of them are based on real stories. Eve’s prototype from the first film is Chris Sizemore, one of the first known «cured» patients with this disorder. Sizemore actively collaborated with psychiatrists and therapists, she herself prepared materials for a book about herself, and contributed to the dissemination of information about dissociative disorder.
What place in this series will «Split» take? On the one hand, the film industry has its own logic: it is more important to intrigue and entertain the viewer than to tell him about how the world works. On the other hand, where else to draw inspiration from, if not from real life?
Ya sereke ev e ku meriv zanibe ku rastî bixwe ji wêneya li ser ekranê tevlihevtir û dewlemendtir e.
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