Neighborhood Characteristics that create Stress may cause Depression

RESEARCH JOURNAL REVIEW:

Cutrona, C. E., Wallace, G., & Wesner, K. A. (2006, August). Neighborhood Characteristics and Depression: An Examination of Stress Processes. Current Directions in Psychological Science, 15(4), 188-192. doi:10.1111/j.1467-8721.2006.00433.x

 I.                   Purpose of the Study (In your own words) –

A.                What were the authors studying and why?

Authors summarized multiple studies in this review about how “neighborhoods with poor-quality housing, few resources, and unsafe conditions impose stress, which can lead to depression.”  These environmental characteristics increase the negative impact of stressors unique to individuals’ personal life and can hamper the formation of supportive interpersonal bonds between people.

Why did the authors study this? It is meaningful for our society to understand the “role of neighborhoods” in a resident’s potential for developing depression because (1) Residents often blame themselves mistakenly instead of recognizing their well-being is genuinely affected “by the context around them” and complications of their locality (2) outsiders don’t understand the extent these residents of impoverished areas are negatively impacted “by their surroundings”, and often erroneously blame these residents’ mental health problems on perceived personality flaws or race instead; (3) treating each impacted person separately is much less efficient than dealing with public health threats on a broader community level. Neighborhoods that subsist with inferior quality resources and lack the benefits of “integration with more prosperous families” may find increased instances of social dilemmas related to “threats to mental health.”

B.                 What did they expect to find (i.e., what were the hypotheses?)

Research studies will find stress links between “neighborhood characteristics and depression.” These characteristics influence how intensely residents are stressed, how vulnerable to depression a person is “following negative events in their lives,” and “interfere with formation of bonds among (other) people” creating limited interpersonal support systems also leading to lessened “informal social control,” deficient social support, and substandard family-role performance. “Neighborhood stressors” often result from scrambling for scarce resources and/or predatory people inhabiting the neighborhood who pose physical threats to other residents. In comparative studies of residents in better, less adverse neighborhoods many of these issues were not as common.

II.                Methodology - Review the basic methods.

A.                How did they measure what they were studying?

When reviewing other studies based on “systematic observations” by researchers and resident surveys, the authors considered how personal vulnerability to depression may be effected by neighborhood characteristics such as physical features (accessibility to basic resources like hospitals, reliable public transit, retail stores, recreational facilities), structural characteristics (percent of neighborhood that are employed, impoverished, educated, minority), and negative functional characteristics (unlawful behavior, social disorder). This consideration was made by statistically getting rid of effects like “individual and family characteristics such as income, education, employment status, age, and race.”

B.                 What type of people were they studying?

The studies in this review analyzed residents of high poverty neighborhoods by U.S. Census tracts (roughly nine city blocks, about 4,000-6,000 residents in each tract), and some studies broke these units down into smaller block groups or face blocks.

III.             Results and Discussion –

A.                What did the researchers find?

Based on comparison to other studies, researchers found that neighborhood stressors may be imposed by physical characteristics or neighborhood residents that pose threats to physical safety. Examples of negative physical characteristics that can cause stress include: lack of accessible resources, high traffic density, low quality housing, etc. Ratings related to the quality of housing predicted depression more often than simple being low income in rural women studied in 2000. Women who moved out of unsatisfactory apartments into Habitat for Humanity homes, showed a decrease in reports of sadness. “Lack of access to needed resources is demoralizing because of the extra effort required to meet daily needs… More refined measures that capture type, accessibility, and distance to community resources are needed.”

“Fear of victimization” is another stressor that impacts the well-being of residents. “Social disorder, not poverty per se… most directly causes depression in areas with high crime rates… for both children and adults.” Other studies shows that impoverished areas with little crime, did not show the same tendencies for depression.

“Vulnerability to depression following negative events” is more likely in bad neighborhoods than in in neighborhoods that have more advantages. “Reasons for this heightened vulnerability may include lack of resources, the absence of role models who provide hope for personal success, and local norms that promote ineffective coping and negative interpretations of events.”

Interpersonal Relationships are put at risk in less advantaged neighborhoods. A 2005 study showed that areas with high turnover, offer less tendency for people to form relationships with their community due to mistrusting neighbors due to high crime rates. “Relationship disruption may have several consequences relevant to depression, including lower levels of informal social control, inadequate social support, and poor family-role performance.

This leads to a lack of “Informal Social Control” in these troubled neighborhoods, people don’t “monitor or control each others’ behavior and norms that permit antisocial or maladaptive behavior may arise… leading to problems like job loss or unintended pregnancies that may turn into depression. A 2002 study showed that comparatively, nicer neighborhoods express disapproval, alert authorities or form watch groups to maintain social niceties in their area.

Residents are areas with high-social disorder often feel their relationships are less supportive, “because support providers themselves are highly burdened. Living in impoverished neighborhoods “appears to weaken the protective power of social resources in people’s lives,” according to a 2003 study. Neighborhood poverty also predicted lower-quality parenting behaviors” and less marital warmth, both of which can contribute to issues with depression.

Cutrona’s earlier 2000 study determined that not everyone has the same reaction to living in unsatisfying neighborhoods. “Some people with particularly resilient personalities can cope successfully, even in dangerous and disorderly neighborhoods. Other people are highly vulnerable to depression (and appear to be significantly harmed psychologically) when they live in adverse surroundings.  The bottom line finding is that “living in disadvantaged and disorderly neighborhoods eventually erode optimism and replaces it with hopelessness and negativity.”

B.                 Did the results support or fail to support the authors' hypotheses?

The results support the authors’ hypotheses. They compared their hypotheses to similar studies.

C.                 What is the meaning of the results?

More attention must be paid to the influence of contextual factors like neighborhood characteristics on mental health.  Additional studies are necessary to find the “most effective ways to mobilize neighborhood residents to meet common goals and improve the context in which they live.”

Neighborhood context has an impact on feelings of well being, above and beyond personal stressors. By increasing stressors, intensifying “reactivity to negative life events” and deterring the growth of healthy interpersonal relationships, neighborhood of residence can influence a “wide range of psychological processes and merits further study.”

Comparative studies where residents were moved into a better area showed better mental health for residents. “Some of the problems associated with low income people should actually be attributed to low-income environments.”

The results of this comparative study mean that changes are necessary for improvements.  Suggestions for improving the design of future studies include: “analyzing family characteristics, using separate samples of residents to obtain information and outcome measures, study processes of factors that facilitate change.” In order to most effectively help these neighborhoods, we must empower residents to organize improvements. City planners must be mindful when designing subsidized housing and promote “economically integrated housing,” by avoiding concentrating poverty into limited areas which breeds “hopelessness, depression and other social problems.”

“Greater collaborations across the disciplines of city planning, economics, sociology, and psychology are needed in generating such data.

IV.             Personal Reflection –

A.                What are your thoughts about the study and the questions asked?

I think the study asks important questions about how we focus studies related to poverty and high-crime areas with greater consideration paid to the potential for depression in residents.  They asked important question about the correlation of factors and causality to mental health issues.

B.                 Does the study relate at all to your interests or life?

This study relates to my interests in helping the less fortunate and providing more balanced decision making in city planning decisions and treatment offerings in low-income areas.

C.                 What did you learn that was new to you?

I learned that more research is needed, and what studies have been done seem to support the author’s supposition that neighborhood characteristics generally have impact on the potential for depression in the residents.

D.                Is there anything missing?

Answered above

E.                 What questions does this study raise for you?

What are good ways to encourage economically integrated neighborhoods? Can treating community mental health issues on a broader level be more cost effective than dealing with individual issues of depression that may one day lead to more costly criminal impacts?

F.                  Do you have any ideas about how to study this concept differently?

I am curious if these trends related to neighborhood characteristics have been measured by researchers outside the United States. An extended review that included international studies on similar topics would be recommended.

Portrayal of Natives in Media

Sociological Critical Analysis of Native Representation in Media

The portrayal of natives in media affects how they are treated by outsiders, and often impacts how natives see themselves and perceive their own potential for success. For perspective, we will cover the history of native representation in media like film. We’ll discuss the implications of media stereotypes and their effect of youth self-esteem. That labeling people as “oppressed” by on media stereotypes is an overgeneralization. How typecast John Wayne’s cowboy characters promote a dangerously racist hegemony of imperialism and genocide. We’ll remind you that natives are not extinct. It may look that way in the media, but just like with other minority groups, there is a disproportionately low use of native actors in Hollywood.

Yet 21^st century content creators have an exciting opportunity to right some of the wrongs with how indigenous people are represented in media, by using more native voices in modern contexts. Strides in the right direction have been taken by Canada and Australia, but there is much work to be done. This critical analysis will review this theme through the lens of several television shows (Murdoch Mysteries, and Roseanne), in addition to reinforcing some of the sociological concepts found in the documentary film, Reel Injun. “The media plays a very important part in forming the discourse on Aboriginalism, as many are influenced by media representation and base their views on Indigenous people as a result of these representations” (Garetto 2013).

Historically speaking, media has been fascinated with portraying Native Americans as exotic novelties from as far back as the early days of Edison’s moving pictures in the late 1800s. However around the 1930s the emphasis shifted to showing Natives as dehumanized savages to be killed indiscriminately in westerns. John Wayne’s movie characters usually portrayed that he was more a “true American than natives, who must be stopped from settling their own land” (Reel Injun 2009). This interpretation of that era’s media glosses over the genocidal message being presented to the audience, “A good injun is a dead injun” (Reel Injun 2009). This fictional depiction of the “Indian resistance served to fuel the myths of conquest and glory, and the American divine right to conquest” and occupation of the land (Common Portrayals of Aboriginal People n.d.).

How did our society come to accept the socialized hegemony of such harsh marginalization of an entire ethnicity? In part, this false consciousness has been perpetuated through the use of stereotypes in mass media. Often audiences use mass media hoping to gain information about the world and their identity, as well as find models to imitate (Berger 2014). Negative models in mass media affect the self-esteem of impressionable youth, this implicates how this group views their own potential for success.

“Ward Churchill argues that the myths and stereotypes built up around the Native… served to explain in positive terms the decimation of Native tribes and their ways of life by ‘advanced’ cultures in the name of ‘progress,’ thereby making it necessary to erase the achievements and very humanity of the conquered people. ‘Dehumanization, obliteration or appropriation of identity, political subordination and material colonization are all elements of a common process of imperialism,’ he says. ‘The meaning of Hollywood’s stereotyping of American Indians can be truly comprehended only against this backdrop’” (Common Portrayals of Aboriginal People n.d.). Due to the dehumanizing effect stereotypes have of the perception of natives by consumers of popular culture, there are few roles offered to Native Americans in media. The few roles out there are typically objectified extras, historical caricatures.

Natives make up around 2% of the American population but were only represented in less than 0.4% of characters in television and film (Leavitt 2015).  Considering these population statistics, “Native Americans experience ‘relative invisibility’ in the media. When they are included, they generally are portrayed as historical figures – individuals from the 18th and 19th centuries who wear buckskin, ride horses or live in teepees. When they are shown as modern people, they often are associated with addiction, poverty and a lack of formal education” (Leavitt 2015). “In the few television programs that Indigenous people are shown in, it is usually in a negative light, and they are presented in a scenario as the victim”… or as a token in a specialized role (Garetto 2013). Native characters are generally objectified into stereotypes and used as a plot device, as an “allegorical tool for any oppressed people” the author may want to reference metaphorically in their story (Reel Injun 2009).

The three most common of these stereotypes of Natives typically seen in media are the Indian Princess, the Native Warrior and the Noble Savage:

• “The Indian Princess is the Native beauty who is sympathetic enough to the white man’s quest to be lured away from her group to marry into his culture and further his mission to civilize her people…. The (first) nations of this country never had a concept of royalty. We do not have kings, queens or princesses.” (unless you mistakenly count powwow princesses, which is more a non-political contest like a beauty queen) …

• The Native Warrior is fierce and formidable and a threat to civilized society. Bare-chested and brandishing a war lance, this warrior is the epitome of the savagery that must be courageously overcome by “progressive elements” pushing West…

• The mythic Noble Savage... Elevated to a sphere of goodness unreachable by those in contaminated White society and usually possessing some spiritual connection to the land… the Noble Savage communes in a cloud of mysticism and places no value on material possessions.” (Common Portrayals of Aboriginal People n.d.)

Recognizing these stereotypes as caricatures is the first step to improving how Natives are portrayed in media. Yet, “most destructive to the image of Aboriginal people is the lack of character and personality afforded them by the media. Aboriginal people are almost always cast in supporting roles or relegated to the background, and are rarely allowed to speak or display their complexity and richness as human beings. Whatever character they do have, tends to reveal itself only in terms of their interactions with White people. Rarely is an Aboriginal portrayed as having personal strengths and weaknesses, or shown acting on his or her own values and judgements” (Common Portrayals of Aboriginal People n.d.).  This rule of thumb is quite similar to the guidelines set by the Bechdel test for interpreting the roles of female characters in media.

However, as underrepresented as women are in film statistically, there may be a greater social problem of cultural misalignment with how minority groups like Native Americans are portrayed in media. Often “artistic license is liberally applied in portraying dress, customs, livelihoods and spiritual beliefs and ceremonies. This reduction of cultural heritage and diversity (which most audiences do not even notice) is seen by critics as both a symptom of the problem (not taking Aboriginal people seriously) and an unconscious yet systematic way of perpetuating erroneous stereotypes.” (Common Portrayals of Aboriginal People n.d.)

So in analyzing the following two television shows, I have considered the above points related to the portrayal of Natives in media. These points relate to common stereotypes, misuse of cultural dress, statistically low casting in major roles (often going to poorly painted, non-native actors), the socialized justification of genocide, and eminent domain as a symptom of the “divine right” of colonization. These things are considered in the context of media’s use of revisionist history myths that glamorize the genocide of western expansion and missionaries’ systematic destruction of first nations’ faiths and cultures. 

First, let’s discuss how two different television shows that portrayed natives with more respect paid to the modern native experience.  The episodes I chose seemed to have less objectified native characters than what you usually find in 20^th century media like westerns, a genre well discussed by the documentary Reel Injun (2009).

The comedy Roseanne featured Oneida tribe member and groundbreaking native standup comic, Charlie Hill who played her son’s history teacher in the episode. The class puts on a Thanksgiving play but does not follow the traditionally accepted version of the story. In the kid’s play, the puritans are invited to dinner where they pull out guns and shoot down their native hosts. Roseanne and her family applaud the play’s storyline but the other parents are stunned by what they call “revisionist tripe,” and “violent propaganda” on a holiday they believe is about discovery. Hill replies with, “How could someone else discover America if my people already lived here? That’s like me going outside and discovering someone else’s porch” (Sydner 1995).

Roseanne’s family invite Charlie’s family to Thanksgiving, where he tells them more about the first Thanksgiving. Natives “fed them, taught them how to survive…but they stopped listening because we didn’t agree about how man and woman should be” (Sydner 1995). The Caucasian actors all portray Pilgrims in the flashback sequence where they make jokes about real beliefs held by puritanical society such as sex for procreation only, self-flagellation for religious penance, segregation of genders during public meals, etc. They talk about turning the natives into servants and caddies, and taking their land to create golf courses. Charlie Hills calls the puritans “brothers from faraway lands that call themselves ‘saints’” (Sydner 1995). The dismissive judgement of native culture by missionaries acted as a catalyst for genocide on this continent even prior to the arrival of English speaking colonists, including the military force of Desoto’s soldiers and priests. Religious intolerance has been presented as a weak excuse for genocide for centuries and this is alluded to in this show’s jokes.

We find this episode of Roseanne satirizes the very serious problems stemming from the perpetuation of the savage warrior stereotype, who must be killed, assimilated, or converted by the colonists according to the precedent propagated by media archetypes. The myths surrounding the American holiday suggest that natives are now extinct, but were then happy to become an occupied territory.  However, the aftermath of that first Thanksgiving included the systematic land grab known as eminent domain and the attempted genocide of aboriginal, first nations people who were native to this continent. Roseanne addressed these issues in a comical way, and hired all native actors and actresses to perform in this episode. Quite impressive is the use of comedian Charlie Hill, for his first person voice as a native, but also to remind the audience of the rarity of a native comedian on American network television (Hill was the first, appearing on Richard Pryor’s show in 1977). However, Canada networks have made significantly more progress in how natives are portrayed in media as we will cover next.

Continuing this analysis of aboriginal representation in media chronologically through the lens of the Native American experience post-colonization, we now discuss an episode of the Canadian television show Murdoch Mysteries which is set in 1897, Victorian-era Toronto. Native tracker, Jimmy McCloud is brought into the constable’s investigation of several deaths that appear to be wolf attacks. 

  

The dying man tells his true name to Jimmy in his native tongue. When Murdoch asks what he said, Jimmy tells them the man’s name was Wolf and he was of the Chippewa tribe. This simple statement honors the humanity of the native, giving him a name and region instead of simply objectifying his character as a minority token character.

At the end of the show, it is summarized that the killer shaman’s “wolf motif allowed him to reclaim his identity and terrify his enemies” (Aitken 2009). This romanticized use of the mystical warrior character makes for exciting stories but it can be an impossibly high bar for native youth looking for role models to relate to.

Through the narrative we learn this native character would like to become a policeman but is excluded due to his race. He says “I lived with my grandfather till age 10, then I got taken away to a residential school.... They tried to beat the Indian out of me at school. They should have beat the color off me too. It’ll be a long time before someone like me wears that uniform” (Aitken 2009). Even though he is sharp and better trained than some of the white officers, he is not allowed to be hired and is relegated to work in the stables. The subtle way the writer of this episode slipped in a commentary on the historically true, wide-spread beatings of natives in missionary run, government funded residential schools is a positive use of media that helps modern people contextualize the struggle to be native in a country that penalizes those of other faiths, or those who speak other languages.

As the mystery unravels, the coroner and detective find clues that the wolf is a man with a machine, instead of a beast or wendigo as suspected. A near victim confesses to the detective that he and the other victims accidentally shot their native guide and left him for dead during a hunting trip. “Our guide, an Indian, I don’t know his name… he didn’t exactly die, but he was going to” (Aitken 2009). This statement is a huge metaphor for the way that natives are often treated by media.  The accomplice to a shooting has de-humanized this guide due to his race, different language and customs. They do not know his tribe, probably didn’t ask his name and didn’t consider notifying the family of his accident. Instead they abandon a dying man cruelly in the lonely forest, without remorse. They assume he has expired, become extinct. However, the native guide did not die and has come to the city to take vengeance on the hunting party one by one.

They learn the native guide who survived being shot was once a well-respected medicine man, who was later forced by colonialism to be employed as a hunting guide for graceless racists who almost murdered him. “He might be a shaman, we had one in our village and when he danced he wore the head and skin of a wolf… Missionaries put an end to the shamans, now we have doctors and good lord Jesus” (Aitken 2009), says Jimmy before he tracks the killer to the sewer tunnels. The police find the murder weapon, a bear trap like device affixed with machined wolf teeth. The killer runs headlong into the group dressed in the shamanic disguise of the wolf. He ignores commands spoken in English and is shot down by the Inspector.

The dying man tells his true name to Jimmy in his native tongue. When Murdoch asks what he said, Jimmy tells them the man’s name was Wolf and he was of the Chippewa tribe. This simple statement honors the humanity of the native, giving him a name and region instead of simply objectifying his character as a minority token character.

At the end of the show, it is summarized that the killer shaman’s “wolf motif allowed him to reclaim his identity and terrify his enemies” (Aitken 2009). This romanticized use of the avenginff mystical warrior character makes for exciting stories but it can be an impossibly high bar for native youth looking for role models to relate to.

“Inaccurate and negative media depictions have psychological consequences. For example, exposure to common media portrayals has been shown to have a harmful impact on Native American high school students’ feelings about themselves, their community and their academic possibilities… Media depictions of Native Americans can influence how Native people see themselves. Some may be motivated to identify with representations, even if they are inaccurate” (Leavitt 2015) Imagine growing up in an era when everyone played cowboys and indians, only you can’t take off your racial profile like a costume and you always get chosen to identify as the indian in a story where the hero of the trope is predetermined by the formulaic stories, made popular in your society by movies and television shows. If you are a native kid, “does that mean you are just gonna lose every time?” (Reel Injun 2009). This negative impact on the self-esteem of natives has serious implications for our society.

Although occupied by foreign oppressors, native people are not extinct in North America. It is not too late for media to evolve and offer better roles for native actors in modern contexts. “We ought to challenge the media and treat Aboriginal culture as something that is continually evolving like our western culture, rather than a dead way of life” (Garetto 2013).

In development of new media, perhaps we can undo some of the damage done by media created during older eras. As content creators we must tell stories that show natives are human beings, included in storylines as modern regular people. Let reality inform your storylines and utilize native voices. Media can improve its track record by “disseminating more information about the Aboriginal reality, improving the training of communicators, involving Aboriginals in change processes, and using international media to affect local affairs” (Common Portrayals of Aboriginal People n.d.). 

If instead we “assume that … the constructed notion of Aboriginalism (where) Aboriginal people are portrayed as primitive and exotic, is in fact truth. The identity of Aboriginal people will become a thing of the past.
Indigenous culture is still evolving and will continue to evolve in the future, whether or not we choose to embrace this change and encourage it will depend on whether or not we are prepared to challenge the way the media represents individuals” (Garetto 2013).

WORKS CITED

Aitken, Paul. "Werewolves." Murdoch Mysteries (S2 E12). Citytv. Toronto, Canada, 20 May 2009. Netflix. Web. 30 Nov. 2016.

Berger, Arthur Asa. Media Analysis Techniques. 5th ed. Thousand Oaks: Sage Publications, 2014. Print.

"Common Portrayals of Aboriginal People." Media Smarts. Canada’s Centre for Digital and Media Literacy, n.d. Web. 01 Dec. 2016. <http://mediasmarts.ca/diversity-media/aboriginal-people/common-portrayals-aboriginal-people>

Garetto, Joanna. "How TV Makes Us Think All Indigenous People Are the Same." Larrikin Post. N.p., 25 Aug. 2013. Web. 01 Dec. 2016. 
 

                                                                                                                           

Qureshi, Farah. "Native Americans: Negative Impacts of Media Portrayals, Stereotypes." Journalist's Resource. Harvard Kennedy School's Shorenstein Center, 10 Feb. 2016. Web. 01 Dec. 2016. <http://journalistsresource.org/studies/society/race-society/native-americans-media-stereotype-redskins>

Reel Injun. Dir. Neil Diamond. By Catherine Bainbridge. Rezolution Pictures / National Film Board of Canada, 2009. Film. Netflix. Web. 05 Dec. 2016.

Sydner, Ritch. "Last Thursday in November." Roseanne, Collection (E22). ABC. Los Angeles, CA, 21 Nov. 1995. Netflix. Web. 24 Nov. 2016.

“Lines,” a Media Specific Analysis of an E-Poem

"E-poetry is not, or at least is not supposed to be, "digitized poetry," i.e., printed or handwritten poetry transferred to a digital environment, but poetry written specifically to be read on a screen. Yet, in practice, things are not so clear-cut..." (Baetens 2008). Upon reviewing the hundreds of digital poems on the “I ♥ E-Poetry” website, we find that digital born poetics are made to be experienced through the electronic format.  Often they transcends traditional, static, written poetry that are meant to be presented to a passive reader/listener. Epoetry is supposed to engage the audience with action, or encourage their interaction with the work in order to get the poem’s full meaning.

Author Dan Waber created a moving poem called “Strings” (Waber 1999). “This amazing work by Waber makes handwriting dance by using Flash to treat it as a piece of string: elastic, plastic, and so graceful! What we witness in this suite of short works of kinetic concrete poetry is not exactly a disembodied hand inscribing on the blank canvas of the page. We are looking through a window into a larger space, one in which little dramas are taking place, sometimes outside of our view. From the tug of war of the first “argument,” to the flirtation of a “no” morphing into a “maybe,” these pieces have a bounce and a rhythm to them that fill these manuscripts with life” (Flores 2012).

The digital poem “Strings” is composed of eight stanzas with their own links: “argument,” “argument2,” “flirt,” “flirt (cntd),” “haha,” “youandme,” “arms,” and finally “poidog.” Each stanza title is named for a single “word”.  Each word in language has both connotation & denotation, along with the feeling gained by looking at the script as a two-dimensional object.  The word as an object exceeds the weight of its typography and font choice, instead it also takes on sculptural significance to the viewer based on the inferences made by the viewer who experiences the poem.

It could also be said that Fluxus artist Jenny Holzer was famous for her use of text in sculptural or painterly conceptual art. One might theorize that Holzer’s work bridges the gap between new digital poetics and earlier typography based art like that of surrealist, Max Ernst. However, typically Holzer’s artistic words were presented as static objects with the exception of her ticker tape series which scrolled across LED lights (Purves 2009). I make this comparison of Waber’s work to Holzer’s in this analysis of digital poetry to help the reader contextualize the new movement of e-poetry into the larger framework of post-modern art and literature.  More importantly, we must recognize epoetry as a vital intersection of art, literature, and coding. As print poetry’s readers are lost to the progress of online media, poets are well served to brush up on their coding or at least reconsider the idea of words as mere static objects.

Poetic words can be scribbled on paper, whispered on microphones, turned into sculptural objects, flashed in lights, or coded into an online experience to be interacted with. In fact, the technology now exists to create “kinetic typography” which allows words to move, morph, and dance across the viewer’s screen. Yet, digital poetry is different than kinetic typography, though the e-poetry form may choose to utilize kinetic typography as an interactive tool for poetry distribution to readers. The online platform inherently increases the size of the poem’s audience. How we choose to craft our messages digitally gives us even greater potential for variety and innovating novel ways for getting our ideas across to viewers.

The epoem “Strings” shows a word coded to appear as cursive handwriting on the screen (Waber 1999).  Each word itself moves and dances in a way appropriate for the connotation of the word the poet has chosen to illustrate. In the stanza “Flirt,” the word “no” morphs into the word “maybe.” The stanza “Haha,” allows the words to gently bounce from side to side, replicating and growing, like a friendly belly laugh seen visually with the playful letters.  For the section of the poem entitled “youandme,” the two words interact without connecting. My favorite stanza is called “arms.” The action of the kinetic typography resembles a hug, with the words morphing from “me” to “your arms” to what resembles an enveloping circle at times. The visual action seen in this stanza adds meaning to the simple scrolling of three words. Meaning is added to the poetic words by the action coded into their display.

However, it seems plausible that this particular poem could also be experienced on a projection screen (offline and enlarged), and still retain its meaning and action.  For other epoems, they may not carry over into a static exhibition space as well if more interaction is required from the viewer.  It seems that the author, Waber, intended for the stanzas to be experienced sequentially, due to the user interaction controls at the bottom of each screen. You can click “next” to go to the next section.
Therefore, the final stanza of the poem appears to be “poidog,” which states “words are like strings that I pull out of my mouth.” This is the section that most resembles traditional poetry, confessing the purpose of the entire creative exercise seen in this work.

Words are more than just their definitions, how they are said or shown conveys a greater depth of meaning. How one chooses to portray their words while flirting, can make the same statement seem either coy and sweet or predatorily awkward.  Upon reading the poem “Strings,” we might infer that we should choose carefully the words we pull from our mouth with deliberation. Especially since sometimes the wrong words can spill out, be misspelled or worse, misunderstood. The inspiring aspect of digital poetics is the potential layers of meaning authors can add to their messages, not just by adding multi-media dimensionality but in better utilizing the benefits of coding to add interaction and motion to the delivery of their poetic work.

WORKS CITED

Baetens, Jan, and Jan Van Looy. "E-Poetry between Image and Performance: A Cultural Analysis." E-Media Studies 1.1 (2008): n. pag. Web. 13 Nov. 2016.

Flores, Leonardo. "“Strings” by Dan Waber." I ♥ EPoetry. Generate Press, 25 Jan. 2012. Web. 10 Nov. 2016.

“I ♥ E-Poetry: Discovering Digital Media Poetry.” Perf. Dr. Leonardo Flores. TEDxUPRM. TEDx Talk, 24 June 2016. Video. 10 Nov. 2016.

Purves, Miranda. "Jenny Holzer." ELLE. Hearst Communications, 27 Mar. 2009. Web. 13 Nov. 2016.

Waber, Dan. "Strings." Electronic Literature Collection. Massachusetts Institute of Technology, July 1999. Digital Poem. 14 Nov. 2016. http://collection.eliterature.org/1/works/waber__strings

Freudian Defense Mechanisms seen in 3rd Rock from the Sun

3^rd Rock from the Sun is a program about a group of four, genderless aliens that land on Earth and pretend to be a human family in order to study us. Dick is the High Commander and leader of the aliens, but on Earth he acts as patriarch and college professor. Sally is the Security Officer, but her assignment is to learn about Earthling females. Tommy’s role on Earth is as a typical American teenager, even though he is the oldest of the aliens. Harry is a joyful simpleton, kind but not book smart. His role on the aliens’ mission is to act as a critical communication device with their home planet and superiors.  The premise of the television show is that the aliens do not want their true identities revealed to the humans. The aliens regularly employ a slew of Freudian defense mechanisms to prevent being found out, or maybe just to protect their fragile, newly human egos.

The team all represents different aspects of Freudian ideas. Dick is the most phallic, as he is self-centered, competitive, envious and narcissistic. He rationalizes all his dominating, pushy, bad behavior as justified because he is the commander. At school, he rationalizes that his genius makes him intellectually superior to the other staff members and professors (in his alien mind, they are lesser human beings).  Dick believes he is the superego, the authority on everything. However, his frequent lack of knowledge and denial that he doesn’t know everything makes him a pretty inept leader.  Although he believes his is ruled by the conscious, in actuality he is ruled by his impulsive id. In this episode, “Will Work for Dick” (Goetsch 1997), he can’t even run a copy machine, and the inanimate object is immune to his demands, emotional outbursts, and beatings with a messy toner cartridge.

These aliens do not have human memories of childhood, as they are recent arrivals to this planet.  They are inspired by the childhood stories the humans, Mary and Nina reminisce about. Mary says she was fixated on identifying as Cinderella as a child. The ladies tell Sally stories of how impressed and fixated their fathers were on them during recitals. Sally is very competitive and desires to attract the attention of her “father” as well.

When a little human girl Sally is babysitting wants to play tea party, the aliens are ambivalent and baffled by her imaginary games. The girl is almost all id, playing fantasy games as kids will do before the ego is fully formed. Sally decides learning about human childhood for females during early stages of personality development is essential to her alien mission. Tommy & Sally try to play childlike games throughout the episode. This mirrors the genitally minded psychology of their human characters, who are often portrayed as overly hormonal, much like insecure, experimenting, junior high kids. The pair are frequently entangled with romantic discoveries on their mission in other episodes, however this time they have regressed into behaving as younger “children” for their investigations.  Sally plays dress-up with Tommy in female clothing, a frequent gender exploration for young, human children. When the two play with dolls, there is a little reaction formation as “Barbie” and “Ken” argue about gender wage inequality. Sally continues to regress into childhood hobbies, wants to identify as a princess or ballerina and asks Dick for permission to take ballet lessons. She begs for his approval, which is symbolic for the child who pleads for the attention and approval of the parent; this is an ongoing theme in both this episode and in Freudian literature.

 Harry’s character provides another instance of Freud’s structural hypothesis. Harry operates on instinct, following the whims of his subconscious id. He exhibits both oral tendencies throughout the seasons of this show, but in this episode it is just shown as the bit of salt he snatches into his mouth. Freud may have seen it as anal when Harry uses tweezers to try to refill a salt shaker, too OCD to ask for help or clues on how to do it properly.  Harry gets things done, even if in ridiculous, alien ways. However, Harry has no experience as an office worker and is asked by Dick to come work for him at the college. Harry strongly wants to please the father figure, Dick, and immediately tries to identify as an office assistant.

Dick lost his previous assistant, Nina as a result of reaction formation. The boss and employee had “opposing attitudes (that) generates problems” (Berger 2014). Dick has a bad attitude about Nina’s role as his helper and would prefer more submissive behavior. She feels he is unrealistic about what employees are supposed to do for their boss, and is ambivalent to his frustration about his desire to catch up after he spent 2 days not working. She chooses to go on a blind date instead of doing Dick’s last minute requests and prefers to quit rather than be berated by him. As High Commander, Dick is not used to outright denial or avoidance of his orders and isn’t sure how to handle this as a human employer. He suppresses his need to apologize to her and attempts to replace her. He rationalizes she’ll “never work in this town again” (Goetsch 1997). However, Nina rationalizes she was only hired to work for Professor Mary who is easier to work for and less demanding than Dick.

This is why Harry is brought in as Dick’s untrained assistant. Dick rationalizes, “Working for me is a reason to live!” Harry is told to repress all his own desires and make his job his life, and “desk (his) girlfriend” (Goetsch 1997). Dick uses a stopwatch to time all Harry’s tasks. Nina tells Harry to respect himself and have limits on what orders he will take from Dick.  She shows him how to tell his boss to “talk to the hand” as a signal of physical avoidance of tasks. Later, Dick denies losing Nina is effecting his productivity, even though Harry isn’t up to the job.

 At first, Harry denies he is being treated unfairly. Harry pretends his first day on the job was “the greatest day of my life,” suppressing that he really hated work. Finally, Harry quits but Dick is in complete denial of his lack of control in the situation and replies “You can’t quit, you’re fired” (Goetsch 1997).  Dick denies it is impossible to both do his own job and that of his assistant, and he even tries to make his own copies. He denies his own responsibility for running off Nina until he destroys the copy machine and gets covered in inky, toner cartridge powder.  Dick goes to Nina’s apartment to apologize and begs her to come back. He is ambivalent to the black mess he leaves on her all white rug, furniture and clothing. This is a metaphor of how Dick is frequently ambivalent to how his actions effect those around him. He had been fixated on how Nina helped him instead of respecting her needs as a human. Nina herself, was at first more fixated on the stains than his apology, but later takes pity and agrees to help him at work.

Sally is excited about everything she is learning through ballet lessons. She proudly tells her “father” Dick that her teacher said she dances like a drunk bear. She shows off her plié and he responds that it was a good investment of his money… for “squats.” Sally rationalizes that her pliés are “French squats” but seems frustrated that they are not good enough to merit his genuine approval (Goetsch 1997). After being reminded several times about the ballet recital, Dick misses it due to his copier tantrum.  Sally is ridiculed by the other dancers.  When she tells the guys that she feels betrayed and disappointed in Dick’s absence, “Harry and Tommy congratulate her on experiencing the neglect and rejection of a normal childhood, and Harry informs her that ‘if you ever flip out and kill a guy, you can blame it on Dick’” (TvTropes 2004). They suggest classic Freudian projection as how human children respond to the failings of their parents. Tommy, the alien with the most exposure to human children, tells Sally she is “damaged for life” and that her future problems can be attributed to “bad parenting.” Tommy says, “take all this emotional baggage and let it feed your adult neuroses” (Goetsch 1997).

If Sally projects guilt onto her parent for all of her future anxieties or sins, then she is in denial about taking responsibility for her actions which is necessary for learning from her mistakes. Wasting too much time repeating defense mechanisms slows down the introspection necessary for personal growth. This is the paradox of Freudian justifications, at some point we have to stop making excuses and give up dragging around the weight of our past. Brushing off past damage as best we can, learning what lessons we can from them, then focusing on the future. By using our current energy to pull ourselves up by our bootstraps, we humans can move forward to a healthier, more successful future.

WORKS CITED

Berger, Arthur Asa. Media Analysis Techniques. 5th ed. Thousand Oaks: Sage Publications, 2014. Print.

Goetsch, Dave. "Will Work for Dick." 3^rd Rock from the Sun, season 2 episode 22. CBS, Los Angeles, California, 4 May 1997. Netflix. Web. 15 Oct. 2016.

"Live-Action TV / Freudian Excuse - TV Tropes." TV Tropes. N.p., 2004. Web. 23 Oct. 2016. http://tvtropes.org/pmwiki/pmwiki.php/FreudianExcuse/LiveActionTV

Marxist Critical Essay of Twilight Zone S3E01 "Two"

What is the cost of class conflict? How much are we willing to lose before we stop following ideologies that pit man against man, destroying society’s means of production, and leaving cities in ruin? The true cost of war’s false consciousness is a loss of empathy for others. Without empathy for others, humanity could destroy itself.

This is the message encoded into the classic Twilight Zone episode, called “Two” starring Charles Bronson (as seen in action movies like “Death Wish” or “The Magnificent Seven”) and Elizabeth Montgomery (who starred on the sitcom “Bewitched”). Producer Rod Serling’s sci-fi program this time takes us to a future world, where warring nations have destroyed much and it doesn’t seem anyone has survived the evacuation, occupation, fallout, or whatever happened before the start of the episode that left the landscape in such desolation. As the episode opens, she scavenges a long empty town for food.  Soon, we are introduced to him in his very different uniform from hers and the two clash violently as they have been trained and indoctrinated to do.  We find only two unnamed survivors seem to remain alive in this post-apocalyptic future, but they are soldiers from opposing sides who fight instead of cooperate. The conflict of these “two” is a metaphoric microcosm representative of any two warring powers or their representatives.

In this episode, we find evidence of a consumer society lying in ruins as the couple are seen in the remains of a once thriving city that was evacuated over 5 years before, in response to the invasion of enemy troops.  While alone she admires a pretty dress in the shop window, impractical for war, an aesthetic of another time. She is dirty and her uniform is inspired by Eastern European military attire from the Cold War era. She carries a rifle and several weapons like knives.  She is vigilant and a survivor.

In this society, false consciousness about knowing your enemy by the uniform they wear is a key tool for survival and for murdering in the name of the leader’s ideology. Nation boundaries keep rulers in power and language barriers sometimes limit economic possibilities. In truth, we are all humans who need shelter, food and love.  But these soldiers have been forcefed their nation’s doctrines. 

These two lonely souls meet in a restaurant kitchen, battle and she gets knocked out. He is war weary and after taking the food and leaving, he feels pangs of empathy and returns to share his meal and wakes her up. She is doctrinaire at first and refuses his aid, because she believes him to be the enemy due to his rebel uniform and language. He has begun to question the doctrine of his now absent leaders and a society that destroyed itself.

The us versus them hegemony tells them they cannot be friendly with the wrong side or cooperate to rebuild.  Inflexible ideas like only wearing your uniform and killing on command are rules specific to their society.  They have alienated themselves from their fellow man due to this false hegemony. But these paradigms begin to shift for them as the episode continues.  The war has alienated these two from not only the influence of their leaders, but from the rest of humanity as well it seems.

The old world’s class conflicts and warring nations only benefit the bourgeois leaders and leave the proletariat soldiers to clean up their messes or try to survive on what’s left. The fading materialism remains with the city, but there are no new products. The modes of production are unmanned and under-supplied. Class conflicts of invader versus locals, with clashing languages and uniforms eventually grind away the fat of materialism and the only valid conflict that remains in the mind of these “two” is dirty war versus a clean shaved peace.

The woman suspiciously follows the man as he enters a dusty barbershop. He tells her there is “no longer any reason to fight, no longer any armies, boundaries or noble causes” (Pittman 1961). Our bourgeois hero has proven egalitarian by sharing his food but he is still rejecting authority and selling individualism. He encourages capitalist ideologies like peaceful exchanges, normalcy, rebuilding and consumption. He is shown consuming food and seeking unique clothing, to distinguish himself as an individual no longer in the uniform of the masses. He becomes a “transformer of society” (Berger 2014).

Their old society was led by hierarchical elitists, but with the leaders absent, individuals begin to lead themselves. She plays the fatalist and ideologist who sees no evil, to his utopian who sees no good with the status quo we find them in. The leaders’ resources have been cut off in this desolate, post-apocalyptic landscape. These two lone survivors lack food and electricity. The hegemony of the leaders destroyed the old world, their propaganda polluting the empathy of their people for anyone not like them.  This leaves the rebuilding up to the proletariats and who they choose to collaborate with.

The leader’s ideology of blindly killing and destroying based on orders and to suspend empathy for other humans in the name of war poses was a serious risk with devastating consequences. The producer of the Twilight Zone, Rod Serling, was a veteran of WWII, where he “was intimately acquainted with the horrors of America’s attempt to reclaim its Pacific colonies…. Serling's best friend… was decapitated in front of the future screenwriter by a ‘biscuit bomb,’ a food crate intended to nourish the life of the man it killed. Serling closed out the war living in the horror of occupied Japan where the American treatment of women, children, and the elderly contributed to the nightmares that plagued the author for the rest of his life. The towns that were not obliterated by the atomic bombs, or burned by American’s firebombing raids, were deeply scarred by famine. The U.S. naval blockade around Japan in the waning days of World War 2 was actually called Operation Starvation” (Goldstein 2014). With the producer’s background in mind, it become harder to suspend disbelief that this fiction could not prove prophetic. This episode acts as a warning to the viewer about a future that is not dissimilar from our military’s own past.

Our two main characters, a man and woman from different sides take a chance on empathy and clean up together at a barber shop. He encourages her to put on the pretty dress she had admired from afar earlier, and gets it out for her.  He encourages consumption of civilian attire as a symbolic rejection of the military industrial complex’s forced uniformity and ideological doctrines. He gives her the dress like extending the olive branch from one army to another as a sign of disarmament and peace, gruffly but with good intentions.

She goes into a building to change, then notices propaganda posters lining the wall of what once was a military recruiting office for a war against her home people. She becomes enraged at a propaganda poster, enflamed she tries to fit everything into her doctrine. She sets aside the dress and grabs her laser gun. She is doctrinaire and resumes the futile power struggle by running outside where the man awaits her, and she instantly shoots at him. He escapes her attack. She spends time alone, she returns to the barbershop seeking shelter from a storm. Perhaps there she begins to question the hegemony that said she was safer alone than with someone who didn’t share her country’s ideology.

In the last scene, he has changed into civilian clothes. He puts on a sports jacket and fun scarf around his neck. He will need his rifle to hunt food and has found a couple of mason jar canned peaches. His prospects are grim, but he has taken an optimistic, make-do attitude. He sees her approaching and recoils, yelling, “Go take your war to more suitable companions, this is civilian territory” (Pittman 1961). In this statement, he confirms that he feels this war is no longer his. The irony that there are no other companions for her to take the war to, is as evident as their isolation.

She pops out into the open and has put on the civilian dress. Her hair has been pinned up and she has cleaned the toil of war away.  He recognizes this as a symbolic gesture and they walk off into an unknown future as a pair, perhaps to rebuild and cooperate.  By rejecting the old world hegemony that caused destruction and giving into empathizing with each other, the two survivors provide a hopeful chance at rebuilding a new world together.

WORKS CITED

Berger, A. A. (2014). Media Analysis Techniques (5th ed.). Los Angeles, CA: Sage Publications.

Goldstein, R. (2014, November 13). How a War-Weary Vet Created ‘The Twilight Zone’. Retrieved October 02, 2016, from http://www.thedailybeast.com/articles/2014/11/13/how-a-war-weary-vet-created-the-twilight-zone.html

Pittman, M. (Writer), & Serling, R. (Producer). (1961, September 15). Two [Television series episode]. In Twilight Zone. Culver City, CA: CBS.