Shutter Island Research Articles

Altered State Of Consciousness As A Narrative Tool İn Dennis Lehane’s Shutter Island

This article delves into Dennis Lehane’s Shutter Island(2003) and its challenge to the conventional notion of a unified humanist self, proposing instead that the post-war self is inherently fragmented. It particularly scrutinizes this fragmentation through the experiences of a traumatized character in the novel, illustrating how severe wartime and post-war events disrupt and fracture individuals. Furthermore, it examines the role of storytelling and narration as essential tools for trauma survivors to navigate and reconcile the shattered aspects of their identities. Through storytelling, the protagonist Teddy discovers a means of survival by articulating his experiences and memories. The paper emphasizes how trauma directly leads to the fragmentation of the human psyche and explores how narrative serves as a medium for the protagonist to confront his trauma. Through Teddy’s narrative, the novel provides insights into the complexities of the post-war self, the lasting wounds of trauma, and the potential for storytelling to assist in coping with trauma, offering a deeper understanding of the fragmented self in the aftermath of war.

American Veteran Noirs: Investigating Exceptionalism and Its Post-World War II Trauma

Abstract This essay looks at some of the American film noir that focus on traumatized veterans in the post-World War II era, up to the twenty-first century and argues that noir thrillers centering on mentally disturbed veterans of World War II allow for both commemoration and criticism of the global interventionism that American exceptionalism legitimized during the Cold War and the Wars on Terror. Paradigmatic noirs construct traumatized veterans to investigate their symptoms of amnesia and paranoia as responses to historical interventions. While the analysis of Fred Zinnemann’s Act of Violence (1948) challenges idolizations of members of the Greatest Generation as morally superior immediately after their return home, that of Alan Parker’s Angel Heart (1987) probes into how the projection of a Faustian tale upon amnesia connects a post-World War II identity conflict to an anti-communist climate ripe with social tensions. The third veteran noir, the post-9/11 film Shutter Island (2010) by Martin Scorsese, conclusively reveals how two paranoid narratives overlap in the films under scrutiny, aiming to deconstruct the patriotic trope of American heroism in their subtexts. (AG)

Spatial Narration and Psychotherapy in Suspense Novels Taking "Shutter Island" as an Example

In the 21st century, suspense novels have evolved and authors increasingly explore narrative theory and techniques. This study analyzes the employment of narrative techniques in Dennis Lehane's "Shutter Island" by applying Lefebvre's space theory. This theory links space with social production, infused with Marxist concepts, imparting social attributes to space, transcending its conventional geometric definition. The research delves into three dimensions: spatial practice, spatial representation, and the space of representation to expound on how the spatial narration in the text mirrors the psychological transformations of the characters. Characters' memories within the spatial context influence their actions, generating a sequence of spatial clusters. The emergence of new spaces and imagery impacts character cognition. The three enigmatic symbols in the text encode the protagonist's memories, unravelled through dreams, constructing a novel textual space. It is within this multifaceted interplay that the treatment of 'mental illness' is addressed. This analysis demonstrates how narrative techniques intertwined with spatial theory serve as a compelling medium to portray intricate psychological facets in Lehane's ""Shutter Island"."

Multiple Identities and Trauma Discourse in Shutter Island Movie

This study aims to describe multiple identities and trauma discourse in Shutter Island movies. To get answers to the research questions, this study uses two theories. First is the theory of multiple identities by Caldas Coulthard and Ladema (2008). Secondly theories of trauma discourse by Indradjaja and Zaumzeil (2014). This research uses the qualitative descriptive method. The source of data in this study was collected from the Shutter Island movie and audio and visual to support primary data. Procedures of this study collected data by downloading, watching, screenshooting, taking notes, selecting, and coding. Techniques of analyzing data by presenting, describing, interpreting, and concluding. The results show that the aspects of multiple identities and trauma discourse dominate each other because when the main character performs multiple identities then he will always experience strange dreams and hallucinations related to his past trauma and otherwise the main character performs multiple identities due to trauma. Second, the researcher found a relation between multiple identities and trauma discourse is something that affects each other because in each condition the main character performs multiple identities, and the trauma aspect will always appear and affect the main character's mental state, and otherwise the trauma aspect that makes the main character perform multiple identities.

Maslow's and Freud's Theories Reflected in Andrew Laeddis' Character

This research explores the portrayal of schizophrenia symptoms in the character Andrew Laeddis from the movie "Shutter Island". It examines how psychoanalysis and Maslow's hierarchy of needs can be applied to analyze his condition and coping mechanisms. The study aims to understand how Andrew deals with his schizophrenia and fulfils his needs as a person with a mental illness. The research adopts a psychological approach, using Sigmund Freud's psychoanalysis theory and Maslow's hierarchy of needs. This research uses the qualitative descriptive method and content analysis techniques to analyze Andrew's character. The data for analysis and interpretation are derived from the film's script and related theories. The study combines qualitative methods and content analysis to provide a detailed portrayal of Andrew Laeddis' psychological makeup and character traits. The findings reveal that Andrew exhibits symptoms representing the three aspects of Freud's psychological structure: id, ego, and superego. The id is evident in his violent and impulsive behaviour driven by a desire for revenge. The ego is seen in his desire for control and mastery over his mind and body. The superego manifests as his respect for authority and social norms. Additionally, the analysis based on Maslow's theory shows that Andrew's behaviour reflects his struggle to fulfil his basic physiological needs and his higher-level needs for safety, love and belonging, esteem, and self-actualization.

Psychological Problem Of The Main Character In Shutter Island Movie: Psychoanalysis Approach

This study aims to analyze and identify the psychological aspects of Sigmund Freud's psychoanalysis of the main character in the film Shutter Island, starring Leonardo DiCaprio as Edward ‘Teddy’ Daniels, who suffers from delusional disorders due to past conflicts. Teddy’s internal conflict causes him to experience delusions that lead to subconscious conflicts that trigger inappropriate and irrational beliefs that make it difficult for him to accept reality and control his id, ego and superego. Qualitative methods are used in this research because this research does not refer to numbers and statistical calculations. The writer analyzes the main characters in the film in depth based on dialogue scripts and storylines. Based on the research results, psychoanalytic data was found on the main character with 5 id data, 3 ego data, 6 superego data, with Id as part of psychoanalysis which dominates the main character’s personality caused by unresolved subconscious conflicts by always trying to ignore and reject reality by fulfilling the will of the id which is contrary to the state of reality.
 
 Keywords: Psychoanalysis; Sigmund Freud; Movie

Portraying Psychosis in Crime Fiction: Analysing Representations, Stigmatisation, and Authorial Ethics

Psychosis in crime fiction is often misrepresented, with psychosis and violence oft being conflated. Three recent popular crime fiction novels considered are Shutter Island, Trust Your Eyes, and Spider – whose main characters suffer from psychotic disorders. Representations can either perpetuate stigma such as in Shutter Island, or, as in Trust Your Eyes and Spider, may help increase understanding and even empathy from readers, which in turn may destigmatise psychosis.

Unresolved Psychological Problem in Dennis Lehane’s Shutter Island

This article explains hallucination as a psychological problem undergone by Andrew Laeddis, the main character of Dennis Lehane’s Shutter Island. Viewed from Sigmund Freud’s psychoanalytical theory (id, ego, and superego), self-defense mechanism theory by Anna Freud, and hallucination theory, this article shows how the main character faces the hallucination and how his efforts fail. The results of the study reveal that Andrew Laeddis faces three types of hallucination: visual hallucination, auditory hallucination, and temporal illusion. Andrew Laeddis also applies two self-defense mechanisms: denial of reality and regression. Since the id is more dominant than the ego, the doctors do not succeed in curing him of the hallucination. In other words, Andrew Laeddis experiences an unresolved psychological problem; which is hallucination.

Shutter/Shudder to Think: Cinema after Cage

When invited by Martin Scorsese to compose an original soundtrack for Shutter Island, Robbie Robertson, The Band’s guitarist and Scorsese’s long-time collaborator, proposed a selection of works by modern composers instead. Among those were Root of an Unfocus (1944) and Music for Marcel Duchamp (1947) by the avant-garde composer John Cage. The first is a prepared piano piece conceived at a pivotal moment in Cage’s career as he moved away from composing for percussion orchestra; the second accompanied the color animation sequence in Dreams that Money Can Buy by the Dadaist painter and filmmaker Hans Richter. Employing indeterminate methods to “circumvent any conscious or unconscious communication of his own subjectivity through his music,” Cage’s “aleatory” approach has subsequently been deployed by artists and filmmakers, its anarchic possibilities steadily infiltrating a range of filmic practices. Taking as my point of departure Cage’s largely unacknowledged influence on mainstream cinema, I explore the inventive potentials of his methods and consider them in light of Adorno’s aesthetic category of the “shudder”, a novel concept of spontaneity involving “involuntary and free receptivity before the unknown.” I conclude by focusing on cinema after Cage in three geographic regions: Asia, Europe, and North America.

The Study of Foucault’s “The Composition of Forces” in Shutter Island (2003)

The American author Dennis Lehane, published his masterpiece Shutter Island in 2003. In his psychological novel, alongside the thrilling themes of crime and crisis, a heavy undercurrent of power and punishment grabs reader's attention. From a literary philosophical side, Foucauldian notions of madness, “the composition of forces” upon the mentally disturbed patients, could captivate a critic’s attention. It is therefore, beneficial to analyze the Dissociative Personality Disorder of the protagonist of the novel. The present study aims to investigate “the composition of forces” in Shutter Island (2003) based on Michel Foucault’s Discipline and Punish (1975). Foucault in his book scrutinizes “the composition of forces,” how individuals and bodies are placed, and redirected in larger machines, like choosing good soldiers and training them for army. Among Foucault’s ideas, “the composition of forces” has been considered as one of the primary and essential tools of maintaining the disciplinary power. The study concludes that the main character of the novel shows resistance and denial through his process of treatment. In fact, his Dissociative Identity Disorder is a manifestation of the way he wants to escape from the superintending forces of the disciplinary power.

Paradox and Tragedy in Dennis Lehane’s Shutter Island and Seneca’s Oedipus Rex: A Comparative Study

The stratagem of employing paradoxical scenario in any form of artistic expression has been a timeless creative scheme. A very famous example of paradox may be seen within Sophocles’ Oedipus Rex, with the titular character’s pursuit of truth and goodwill leading to his own tragic downfall. Similarly, tragic expression has been at the centre of humans’ outlet for cathartic release. Thus, both paradox and tragedy tend to emerge in different ways in works of literature. The present study is focussed on recognizing and exploring the traces of commonalities of paradox and tragic elements between Oedipus Rex and Shutter Island(2003),by the renowned crime and mystery novelist, Dennis Lehane by considering the heroes in both narratives and the situations that their character attributes incite. The authors in both cases assign character attributes of a traditional tragic hero which constantly inform their actions, thereby creating an inevitable journey of personal downfall. The moments of anagnorisis are imbued with intense guilt and grief as both the protagonists realize that they themselves are the cause for their problems.

A Semiotic Analysis Found on Movie Poster “Shutter Island”

This research aims to know the meaning from the semiotic signs on the movie poster. The data is collected from movie poster “the shutter island” which is taken from internet site. This study used qualitative approach since the researcher focused on identifying the sign found in the movie poster of The Shutter Island. This study applied some theories of semiotics, there are theory of sign by Saussure (1974) and some other theories such as Theory of Colour Term by Wierzbicka (1996) which is used for identifying the meaning of colors found in the movie poster and Verbal and Visual Aspect Theory by Dyer (1986) which applied for identifying verbal sign and visual poster in this research. It can be concluded that there are two aspects which is formulated in movie poster Shutter Island, they are verbal and visual aspect. The verbal aspect includes some categories such as the masthead which exolained who is the main character in this movie, the title of the film to inform the audience about the film, where the line on the poster inform the audience the spoiled that it was the island where once people got into that island, it could be so difficult for the to get away from the island, and it shows the date the film will be released.

Identifying genomic islands with deep neural networks

BackgroundHorizontal gene transfer is the main source of adaptability for bacteria, through which genes are obtained from different sources including bacteria, archaea, viruses, and eukaryotes. This process promotes the rapid spread of genetic information across lineages, typically in the form of clusters of genes referred to as genomic islands (GIs). Different types of GIs exist, and are often classified by the content of their cargo genes or their means of integration and mobility. While various computational methods have been devised to detect different types of GIs, no single method is capable of detecting all types.ResultsWe propose a method, which we call Shutter Island, that uses a deep learning model (Inception V3, widely used in computer vision) to detect genomic islands. The intrinsic value of deep learning methods lies in their ability to generalize. Via a technique called transfer learning, the model is pre-trained on a large generic dataset and then re-trained on images that we generate to represent genomic fragments. We demonstrate that this image-based approach generalizes better than the existing tools.ConclusionsWe used a deep neural network and an image-based approach to detect the most out of the correct GI predictions made by other tools, in addition to making novel GI predictions. The fact that the deep neural network was re-trained on only a limited number of GI datasets and then successfully generalized indicates that this approach could be applied to other problems in the field where data is still lacking or hard to curate.

Dream and Fantasy in Shutter Island: Trauma, Historical Guilt, and Ethics

ABSTRACT This article proposes an historical reading of Shutter Island (Martin Scorsese, 2010) that weaves a complex and puzzling narrative, swaying between the protagonist's dreams and memories (his involvement as an American soldier in the liberation of Dachau and the reprisals carried out there) and his concocted fantasy of revenge and heroism as a US Marshal. The purpose of this fantasy is to veil the enormity of the trauma he suffered while encountering the dead victims of Dachau and the guilty conscience that stemmed from it. Through dreams, the film renders its protagonist's personal tragedy—a chain of events involving the death of his family, for which he feels guilty—and exploits his subjectivity to disquiet public consciousness regarding the United States' resistance to saving the Jews from their horrific and tragic fate under the Nazi regime. The protagonist's dreams and recollections of the Dachau reprisals are rendered as a sort of going back in time to remember, reflect, and wish that the US had acted differently, that US soldiers had arrived in time to save those who needed saving. This going back in time, employing every possible visual and aural device analogous to the dream work, or to a distorted memory, establishes an ethics that resonates with the Lacanian ethics of psychoanalysis according to which the subject must acknowledge her or his own desire to be able to make a free choice, and with the ethics of resentment à la resistance fighter and Auschwitz survivor Jean Améry, which opposes any kind of reconciliation, forgiveness, atonement, or even revenge. By criticizing historical and social indifference to the horrors of the Holocaust, the film also resists every ploy of narrative war films that center on themes of heroism, salvation, and redemption.

Trust and Truth inShutter Island

This article examines questions of trust in cinema through the lens of Shutter Island (Martin Scorsese, 2010). With its self-referential allusion to the mechanical “eye” of a camera, a stage-managed fantasy embedded within its plot and image of a dark lighthouse, Shutter Island explores its spectators' and its own cinematic sense of suspicion. The plot revolves around a protagonist who has locked himself out of certain memories and into a fantasy world. The article links pathological and therapeutic aspects of trust with interpersonal and institutional trust issues in ways that blur distinctions between trusting others and trusting oneself, and shows how reliant each is on the other. Construing trust as a type of participant attitude and highlighting techniques used to render it cinematically, the article tracks its emergence and erosion, both in terms of the diegesis and its bearing on film spectatorship. As a post-classical commentary on film-making, Shutter Island is viewed as intricately exemplifying what Robert Sinnerbrink (2016) describes as an action-driven film with “a highly reflective consciousness of cinematic spectatorship” (p. 70), as well as what Thomas Elsaesser (2009) describes as a “mind-game film”. To make sense of its ending, which may strike viewers as baffling and unnerving, and show how the protagonist's seemingly irrational decision is part of its film-philosophical point, traumatic disturbances in subjectivity and “monstrosities” depicted in the film are linked to Jean Epstein's notion of “something monstrous” in cinematic imagery. The protagonist's deliberately chosen fate is interpreted as a reparative gesture, expressing a desire for psychological healing and a way of helping him to marshal and recover a semblance of moral order and integrity under demoralizing circumstances.

US-American Intervention in Europe: Morality, Justice, and Freedom in World War II Cinema

ABSTRACTThis article analyzes the American intervention in Nazi-oppressed Europe during World War II and the way in which this intervention is represented in film. Examining the visual and cinematic aesthetics of Saving Private Ryan and the mini-series Band of Brothers, the article seeks to demonstrate how film has responded to US intervention overseas. It is argued that the need to liberate Europe from the evil Other stands forth as the main, heavily moralized purpose of US military intrusion in the film and the mini-series being analyzed. To shore up this speculation, the author considers other films on the topic, namely, The Longest Day (1962) and Shutter Island (2009). The author claims that the scenes in the concentration camps that are crucial in Band of Brothers and Shutter Island have an ethical function, i.e. they justify US intervention in the foreign territory. Additionally, the article provides a brief overview of Playing for Time (1980), Schindler’s List (1993), The Devil’s Arithmetic (1999), The Grey Zone (2001), as well as the mini-series Holocaust (1978).

Shutter Island (2010), el trauma como desencadenante de la esquizofrenia

Schizophrenia is one of the mental illnesses that more questions arise, not only to the scientific community but also to the rest of the population; that throughout history has observed how the film industry and the media have portrayed extravagantly to the people who suffer it. Relating them to violence and drug use.Without taking into account other risk factors that also act as triggers of the disease and on which we can act as health professionals.The main objective of this analysis is to show that mental illnesses, such as Schizophrenia, can be triggered by traumatic event.For this, an analysis of the film, Shutter Island, was made through viewing it. In addition, several frames were used to emphasize the aspects related to the objective. On the other hand, several searches for information linked to the topic of schizophrenia and other associated pathologies have been found.

Les impasses de la psychiatrie à travers le cinéma : Mommy, Vol au-dessus d’un nid de coucou, Shutter Island

The treatment of the mental illness in the psychiatric institution raises the question of the human condition within the social body. Filmakers use shortcuts or caricatures, they convey myths and prejudices, but they can also expose a part of realities… Three movies talk about impasses of psychiatry and related issues: Mommy, by Xavier Dolan (Quebec 2014); One Flew Over the Cuckoo's Nest, by Miloš Forman (USA 1975); Shutter Island, by Martin Scorsese (USA 2010). Beyond the storyline, these three films recall the limits of psychiatry: first in relation to its role of societal control, then regarding some of these therapies, coercive or invasive practices, such as deprivation of liberty or lobotomy. They also force the psychiatrist to look at the problems of normal or pathological when offering psychopathological models on the edge of madness.

Foucauldian Docile Body in Dennis Lehane’s Shutter Island

This article presents a Foucauldian reading of Dennis Lehane’s Shutter Island. Depicting modern medical facilities, the book demonstrates disciplinary system and power manipulation on psychotic patients who are confined to cellular spaces, and are subjugated under medical gaze. Despite the patients’ resistance to the power, they are ultimately expected to be dominated and normalized. The ideas presented in the novel are in line with Foucault’s notion of “docile body”, discussed in his Discipline and Punish, which are considered as the key concepts of the research and are explored within the designated novels. Power as a penetrating force transforms the individual into a docile being which refers to a submissive and dynamic body; surveillance acts as physics of power and holds a constant gaze on the individual in a way that he is subjugated by the invisible observing power; confinement along with cellular distribution turns the individual to an analytical body. This research aims to explore the docilizing elements and achieved level of normalization within the novel of the study; it tries to investigate the extent to which the gaze held on the patients performs a positive result as discussed by Foucault. The study inspects the response of the body to disciplinary techniques and reveals that in Lehane’s novel, the effect of power manipulation is displayed as possibly counter-productive and repressive in docilizing the body which is contradictory to Foucault’s positive view of power.

Visual representation of silence or the type of cinema gesture in a literature language (for example a novel «Shutter Island» by Dennis Lehane)

Visual representation of silence or the type of cinema gesture in a literature language (for example a novel «Shutter Island» by Dennis Lehane)