Book: Into the Abyss: A Neuropsychiatrist’s Notes on Troubled Minds

Book Title:

Into the Abyss: A Neuropsychiatrist’s Notes on Troubled Minds.

Author(s): Anthony David.

Year: 2021.

Edition: First (1st), Reprint Edition.

Publisher: Oneworld Publications.

Type(s): Paperback, Audiobook, and Kindle.

Synopsis:

We cannot know how to fix a problem until we understand its causes. But even for some of the most common mental health problems, specialists argue over whether the answers lie in the person’s biology, their psychology or their circumstances.

As a cognitive neuropsychiatrist, Anthony David brings together many fields of enquiry, from social and cognitive psychology to neurology. The key for each patient might be anything from a traumatic memory to a chemical imbalance, an unhealthy way of thinking or a hidden tumour.

Patrick believes he is dead. Jennifer’s schizophrenia medication helped with her voices but did it cause Parkinson’s? Emma is in a coma – or is she just refusing to respond?

Drawing from Professor David’s career as a clinician and academic, these fascinating case studies reveal the unique complexity of the human mind, stretching the limits of our understanding.

What is the Incidence of Mental Health in New York?

Research Paper Title

Rising Mental Health Incidence Among Adolescents in Westchester, NY.

Background

Many governments have publicly released healthcare data, which can be mined for insights about disease conditions, and their impact on society.

Methods

The researchers present a big-data analytics approach to investigate data in the New York Statewide Planning and Research Cooperative System (SPARCS) consisting of 20 million patient records.

Results

Whereas the age group 30-48 years exhibited an 18% decline in mental health (MH) disorders from 2009 to 2016, the age group 0-17 years showed a 5.4% increase. MH issues amongst the age group 0-17 years comprise a significant expenditure in New York State. Within this age group, we find a higher prevalence of MH disorders in females and minority populations. Westchester County has seen a 32% increase in incidences and a 41% increase in costs.

Conclusions

The approach is scalable to data from multiple government agencies and provides an independent perspective on health care issues, which can prove valuable to policy and decision-makers.

Reference

Rao, A.R., Rao, S. & Chhabra, R. (2021) Rising Mental Health Incidence Among Adolescents in Westchester, NY. Community Mental health Journal. doi: 10.1007/s10597-021-00788-8. Online ahead of print.

What is Derealisation?

Introduction

Derealisation is an alteration in the perception of the external world, causing sufferers to perceive it as unreal, distant, distorted or falsified. Other symptoms include feeling as though one’s environment is lacking in spontaneity, emotional colouring, and depth. It is a dissociative symptom that may appear in moments of severe stress.

Derealisation is a subjective experience pertaining to a person’s perception of the outside world, while depersonalisation is a related symptom characterised by dissociation towards one’s own body and mental processes. The two are commonly experienced in conjunction with one another, but are also known to occur independently.

Chronic derealisation is fairly rare, and may be caused by occipital-temporal dysfunction. Experiencing derealisation for long periods of time or having recurring episodes can be indicative of many psychological disorders, and can cause significant distress among sufferers. However, temporary derealisation symptoms are commonly experienced by the general population a few times throughout their lives, with a lifetime prevalence of up to 26-74% and a prevalence of 31–66% at the time of a traumatic event.

Description

The experience of derealisation can be described as an immaterial substance that separates a person from the outside world, such as a sensory fog, pane of glass, or veil. Individuals may report that what they see lacks vividness and emotional colouring. Emotional response to visual recognition of loved ones may be significantly reduced. Feelings of déjà vu or jamais vu are common. Familiar places may look alien, bizarre, and surreal. One may not even be sure whether what one perceives is in fact reality or not. The world as perceived by the individual may feel as if it were going through a dolly zoom effect. Such perceptual abnormalities may also extend to the senses of hearing, taste, and smell.

The degree of familiarity one has with their surroundings is among one’s sensory and psychological identity, memory foundation and history when experiencing a place. When persons are in a state of derealisation, they block this identifying foundation from recall. This “blocking effect” creates a discrepancy of correlation between one’s perception of one’s surroundings during a derealisation episode, and what that same individual would perceive in the absence of a derealisation episode.

Frequently, derealisation occurs in the context of constant worrying or “intrusive thoughts” that one finds hard to switch off. In such cases it can build unnoticed along with the underlying anxiety attached to these disturbing thoughts, and be recognised only in the aftermath of a realisation of crisis, often a panic attack, subsequently seeming difficult or impossible to ignore. This type of anxiety can be crippling to the affected and may lead to avoidant behaviour. Those who experience this phenomenon may feel concern over the cause of their derealisation. It is often difficult to accept that such a disturbing symptom is simply a result of anxiety, and the individual may often think that the cause must be something more serious. This can, in turn, cause more anxiety and worsen the derealisation. Derealisation also has been shown to interfere with the learning process, with cognitive impairments demonstrated in immediate recall and visuospatial deficits. This can be best understood as the individual feeling as if they see the events in third person; therefore they cannot properly process information, especially through the visual pathway.

People experiencing derealisation describe feeling as if they are viewing the world through a TV screen. This, along with co-morbidities such as depression and anxiety, and other similar feelings attendant to derealisation, can cause a sensation of alienation and isolation between the person suffering from derealisation and others around them. This is particularly the case as Derealisation Disorder is characteristically diagnosed and recognised sparsely in clinical settings. This is in light of general population prevalence being as high as 5%, skyrocketing to as high as 37% for traumatised individuals.

Partial symptoms would also include depersonalisation, a feeling of being an “observer”/having an “observational effect”. As if existing as a separate entity on the planet, with everything happening, being experienced and alternatively perceived through their own eyes (similar to a first person camera in a game, e.g. Television or Computer-Vision).

Causes

Derealisation can accompany the neurological conditions of epilepsy (particularly temporal lobe epilepsy), migraine, and mild TBI (head injury). There is a similarity between visual hypo-emotionality, a reduced emotional response to viewed objects, and derealisation. This suggests a disruption of the process by which perception becomes emotionally coloured. This qualitative change in the experiencing of perception may lead to reports of anything viewed being unreal or detached.

The instances of recurring or chronic derealisation among those who have experienced extreme trauma and/or suffer from post traumatic stress disorder (PTSD) have been studied closely in many scientific studies, whose results indicate a strong link between the disorders, with a disproportionate amount of post traumatic stress patients reporting recurring feelings of derealisation and depersonalisation (up to 30% of all sufferers) in comparison to the general populace (only around 2%), especially in those who experienced the trauma in childhood. Many possibilities have been suggested by various psychologists to help explain these findings, the most widely accepted including that experiencing trauma can cause sufferers to distance themselves from their surroundings and perception, with the aim of subsequently distancing themselves from the trauma and (especially in the case of depersonalisation) their emotional response to it. This could be either as a deliberate coping mechanism or an involuntary, reflexive response depending of circumstance. This possibly not only increases the risk of experiencing problems with derealisation and its corresponding disorder, but with all relevant dissociative disorders. In the case of childhood trauma, not only are children more likely to be susceptible to such a response as they are less able to implement more healthy strategies to deal with the emotional implications of experiencing trauma, there is also a lot of evidence that shows trauma can have a substantial detrimental effect on learning and development, especially since those who experience trauma in childhood are far less likely to have received adequate parenting. These are factors proven to increase susceptibility to maladaptive psychological conditions, which of course includes dissociative disorders and subsequently derealisation symptoms.

Some neurophysiological studies have noted disturbances arising from the frontal-temporal cortex, which could explain the correlation found between derealisation symptoms and temporal lobe disorders. This is further supported by reports of people with frontal lobe epilepsy, with those who suffered epilepsy of the dorsal premotor cortex reporting symptoms of depersonalisation, while those with temporal lobe epilepsy reported experiencing derealisation symptoms. This implies that malfunction of these specific brain regions may be the cause of these dissociative symptoms, or at the very least that these brain regions are heavily involved.

Derealisation can possibly manifest as an indirect result of certain vestibular disorders such as labyrinthitis. This is thought to result from anxiety stemming from being dizzy. An alternative explanation holds that a possible effect of vestibular dysfunction includes responses in the form of the modulation of noradrenergic and serotonergic activity due to a misattribution of vestibular symptoms to the presence of imminent physical danger resulting in the experience of anxiety or panic, which subsequently generate feelings of derealisation. Likewise, derealisation is a common psychosomatic symptom seen in various anxiety disorders, especially hypochondria. However, derealisation is presently regarded as a separate psychological issue due to its presence as a symptom within several pathologies.

Derealization and dissociative symptoms have been linked by some studies to various physiological and psychological differences in individuals and their environments. It was remarked that labile sleep-wake cycles (labile meaning more easily roused) with some distinct changes in sleep, such as dream-like states, hypnogogic, hypnopompic hallucinations, night-terrors and other disorders related to sleep could possibly be causative or improve symptoms to a degree. Derealisation can also be a symptom of severe sleep disorders and mental disorders like depersonalisation disorder, borderline personality disorder, bipolar disorder, schizophrenia, dissociative identity disorder, and other mental conditions.

Cannabis, psychedelics, dissociatives, antidepressants, caffeine, nitrous oxide, albuterol, and nicotine can all produce feelings of derealisation, or sensations mimicking them, particularly when taken in excess. It can also result from alcohol withdrawal or benzodiazepine withdrawal. Opiate withdrawal can also cause feelings of derealisation, often alongside psychotic symptoms such as anxiety, paranoia and hallucinations.

Interoceptive exposure exercises have been used in research settings a means to induce derealisation, as well as the related phenomenon depersonalisation, in people who are sensitive to high levels of anxiety. Exercises with documented successes include timed intervals of hyperventilation or staring at a mirror, dot, or spiral.

The Body Cathexis Scale & Body Satisfaction in Women

Research Paper Title

Measuring body satisfaction in women with eating disorders and healthy women: appearance-related and functional components in the Body Cathexis Scale (Dutch version).

Background

Differentiating the concept of body satisfaction, especially the functional component, is important in clinical and research context. The aim of the present study is to contribute to further refinement of the concept by evaluating the psychometric properties of the Dutch version of the Body Cathexis Scale (BCS). Differences in body satisfaction between clinical and non-clinical respondents are also explored.

Methods

Exploratory factor analysis (EFA) and confirmatory factor analysis (CFA) were used to investigate whether functional body satisfaction can be distinguished as a separate factor, using data from 238 adult female patients from a clinical sample and 1060 women from two non-clinical samples in the Netherlands. Univariate tests were used to identify differences between non-clinical and clinical samples.

Results

EFA identified functionality as one of three factors, which was confirmed by CFA. CFA showed the best fit for a three-factor model, where functionality, non-weight, and weight were identified as separate factors in both populations. Internal consistency was good and correlations between factors were low. Women in the non-clinical sample scored significantly higher on the BCS than women with eating disorders on all three subscales, with high effect sizes.

Conclusions

The three factors of the BCS may be used as subscales, enabling researchers and practitioners to use one scale to measure different aspects of body satisfaction, including body functionality. Use of the BCS may help to achieve a more complete understanding of how people evaluate body satisfaction and contribute to further research on the effectiveness of interventions focussing on body functionality.

Reference

Rekkers, M.E., Scheffers, M., van Busschbach, J.T & van Elburg, A.A. (2021) Measuring body satisfaction in women with eating disorders and healthy women: appearance-related and functional components in the Body Cathexis Scale (Dutch version). Eating and Weight Disorders. doi: 10.1007/s40519-021-01120-9. Online ahead of print.

Mental Health and the Burden of Social Stigma

Research Paper Title

Mental health: The burden of social stigma.

Background

The burden of mental health has two facets, social and psychological.

Social stigma causes individuals who suspect to be suffering from a mental condition to conceal it, importantly by seeking care from a non-specialist provider willing to diagnose it as physical disease. In this way, social stigma adds to both the direct and indirect cost of mental health.

A microeconomic model depicting an individual who searches for an accommodating provider leads to the prediction that individuals undertake more search in response to a higher degree of social stigma. However, this holds only in the absence of errors in decision-making, typically as long as mental impairment is not too serious.

While government and employers have an incentive to reduce the burden of social stigma, their efforts therefore need to focus on persons with a degree of mental impairment that still allows them to avoid errors in pursuing their own interest.

Reference

Zweifel, P. (2021) Mental health: The burden of social stigma. The International Journal of Health Planning and Management. doi: 10.1002/hpm.3122. Online ahead of print.

Mental Health Inequalities in Non-Heterosexuals & Heterosexuals

Research Paper Title

The mental health of lesbian, gay, and bisexual adults compared with heterosexual adults: results of two nationally representative English household probability samples.

Background

Evidence on inequalities in mental health in lesbian, gay, and bisexual people arises primarily from non-random samples.

The aim of this study was to use a probability sample to study change in mental health inequalities between two survey points, 7 years apart; the contribution of minority stress; and whether associations vary by age, gender, childhood sexual abuse, and religious identification.

Methods

The researchers analysed data from 10 443 people, in two English population-based surveys (2007 and 2014), on common mental disorder (CMD), hazardous alcohol use, and illicit drug use. Multivariable models were adjusted for age, gender, and economic factors, adding interaction terms for survey year, age, gender, childhood sexual abuse, and religious identification. They explored bullying and discrimination as mediators.

Results

Inequalities in risks of CMD or substance misuse were unchanged between 2007 and 2014. Compared to heterosexuals, bisexual, and lesbian/gay people were more likely to have CMD, particularly bisexual people [adjusted odds ratio (AOR) = 2.86; 95% CI 1.83-4.46], and to report alcohol misuse and illicit drug use. When adjusted for bullying, odds of CMD remained elevated only for bisexual people (AOR = 3.21; 95% CI 1.64-6.30), whilst odds of alcohol and drug misuse were unchanged. When adjusted for discrimination, odds of CMD and alcohol misuse remained elevated only for bisexual people (AOR = 2.91; 95% CI 1.80-4.72; and AOR = 1.63; 95% CI 1.03-2.57 respectively), whilst odds of illicit drug use remained unchanged. There were no interactions with age, gender, childhood sexual abuse, or religious identification.

Conclusions

Mental health inequalities in non-heterosexuals have not narrowed, despite increasing societal acceptance. Bullying and discrimination may help explain the elevated rate of CMD in lesbian women and gay men but not in bisexual people.

Reference

Pitman, A., Marston, L., Lewis, G., Semlyen, J., McManus, S. & King, M. (2021) The mental health of lesbian, gay, and bisexual adults compared with heterosexual adults: results of two nationally representative English household probability samples. Psychological Medicine. doi: 10.1017/S0033291721000052. Online ahead of print.

Sibyl (2019)

Introduction

Sibyl is a 2019 French comedy-drama film directed by Justine Triet and starring Virginie Efira, Adèle Exarchopoulos and Gaspard Ulliel.

A jaded psychotherapist returns to her first passion of becoming a writer.

Outline

Sibyl is a psychotherapist who returns to her first passion: writing. Her newest patient, Margot, is a troubled up-and-coming actress, who proves to be too tempting a source of inspiration. Fascinated almost to the point of obsession, Sibyl becomes more and more involved in Margot’s tumultuous life.

Cast

  • Virginie Efira as Sybil.
  • Adèle Exarchopoulos as Margot Vasilis.
  • Gaspard Ulliel as Igor Maleski.
  • Sandra Hüller as Mikaela “Mika” Sanders.
  • Laure Calamy as Édith.
  • Niels Schneider as Gabriel.
  • Paul Hamy as Étienne.

Production

Filming took place in Paris, in studios located in Lyon and on the Italian island of Stromboli.

Release

Sibyl received mixed reviews from critics.

Trivia

  • It was selected to compete for the Palme d’Or at the 2019 Cannes Film Festival.

Production & Filming Details

  • Director(s): Justine Triet.
  • Producer(s): David Thion and Philippe Martin.
  • Writer(s): Justine Triet and Arthur Harari.
  • Music:
  • Cinematography: Simon Beaufils.
  • Editor(s): Laurent Senechal.
  • Production: Les Films Pelleas and Scope Films.
  • Distributor(s): Le Pacte.
  • Release Date: 24 May 2019 (Cannes International Film Festival).
  • Running Time: 100 minutes.
  • Rating: Unknown.
  • Country: France and Belgium.
  • Language: French and English (subtitles).

Video Link

Sybil (2007)

Introduction

Sybil is a 2007 American made-for-television drama film directed by Joseph Sargent, and written by John Pielmeier, based on the 1973 book Sybil by Flora Rheta Schreiber, which fictionalised the story of Shirley Ardell Mason, who was diagnosed with multiple personality disorder (more commonly known then as “split personality”, now called dissociative identity disorder).

This is the second adaptation of the book, following the Emmy Award-winning 1976 mini-series Sybil that was broadcast by NBC.

Outline

Troubled Columbia University art student and later student teacher Sybil Dorsett is referred to psychiatrist Cornelia Wilbur by Dr. Atcheson, a colleague who believes that the young woman is suffering from female hysteria. As her treatment progresses, Sybil confesses that she frequently experiences blackouts and cannot account for large blocks of time. Wilbur helps her recall a childhood in which she suffered physical, emotional, and sexual abuse at the hands of her disturbed mother Hattie.

Eventually, 16 identities varying in age and personal traits begin to emerge. Chief among them is Victoria, a French woman who explains to Dr. Wilbur how she shepherds the many parts of Sybil’s whole. Frustrating the therapist are objections raised by her associates, who suspect she has influenced her patient into creating her other selves, and Sybil’s father, who refuses to admit his late wife was anything other than a loving mother.

Although she had promised never to hypnotize Sybil, later into the treatment, Dr. Wilbur takes her patient to her home by a lake and hypnotizes her into having all 16 personalities be the same age as she and become just aspects of Sybil. By nightfall, Sybil claims she feels different, and emotionally declares her hatred toward her mother.

The last part of the movie tells of the history of Shirley Mason, the real woman who was known by the pseudonym of Sybil Dorsett.

Cast

  • Jessica Lange ….. Dr. Cornelia Wilbur.
  • Tammy Blanchard ….. Sybil Dorsett.
  • Eddie Ruiz ….. Dr. Ladysman.
  • JoBeth Williams … Hattie Dorsett.

Trivia

  • The university scenes were filmed at Dalhousie University in Nova Scotia.
  • In January 2006, The Hollywood Reporter announced CBS had greenlit the project, but it was shelved after completion.
  • The film was released in Italy, New Zealand, the Dominican Republic, Brazil, Norway, and Hungary before finally being broadcast in the US by CBS on 07 June 2008.

Production & Filming Details

  • Director(s): Joseph Sargent.
  • Producer(s):
    • Andrea Lapins … associate producer.
    • Michael Mahoney … producer.
    • Norman Stephens … executive producer.
    • Mark Wolper … executive producer.
  • Writer(s): John Pielmeier.
  • Music: Charles Bernstein.
  • Cinematography: Donald M. Morgan.
  • Editor(s): Michael Brown (as Mike Brown).
  • Production:
    • Norman Stephens Productions.
    • Warner Bros. Television.
    • Wolper Organisation.
  • Distributor(s): CBS (original airing, US).
  • Release Date: 28 May 2007 (Italy).
  • Running Time: 89 minutes.
  • Rating: Unknown.
  • Country: US.
  • Language: English.

Video Link

Sybil (1976)

Introduction

Sybil is a 1976 two-part, ​3 1⁄4-hour American television film starring Sally Field and Joanne Woodward.

It is based on the book of the same name, and was broadcast on NBC on 14-15 November 1976.

Refer to On This Day … 25 January for information Shirley Ardell Mason, whom Sybil is based on (2007 film version).

Outline

After suffering a small breakdown in front of her students (and then being forced to hear a neighbour play Chopin’s Étude in A Minor, “Winter Wind”, incessantly), Sybil Dorsett is given a neurological examination by Dr. Cornelia Wilbur, a psychiatrist. She admits to having blackouts and fears that are getting worse. Dr. Wilbur theorises that the incidents are a kind of hysteria, all related to a deeper problem. She asks Sybil to return at a later date for more counselling. Sybil says she will have to ask her father.

Sybil’s father, Willard Dorsett, and her stepmother, Freida, are in New York on a visit. Sybil meets them at a cafeteria for lunch. She explains to her father that the problems she used to have as a young girl have returned and that she wants to see a psychiatrist, Dr. Wilbur. Sybil’s parents make it clear to Sybil that they disapprove of psychiatrists and psychiatry, saying how evil and controlling psychiatrists are. Sybil becomes upset and dissociates into Peggy, who becomes enraged and breaks a glass. Peggy angrily storms out of the cafeteria. Later that evening, Dr. Wilbur receives a late night call from someone who identifies herself as Vickie and says Sybil is about to jump out a hotel window. Dr. Wilbur rescues Sybil, who denies knowing Vickie. Suddenly, Sybil becomes hysterical and begins speaking like a young girl. This girl introduces herself as Peggy, and Wilbur realises that Sybil is suffering from dissociative identity disorder, previously known as multiple personality disorder.

Vickie introduces herself to Wilbur at the next session. Vickie, who knows everything about the other personalities, tells Wilbur about some of them, including Marcia, who is suicidal, and Vanessa, who plays the piano although Sybil has not played in years and swears she forgot how to play piano.

Over the weeks, each of the personalities introduce themselves to Wilbur. At the same time, the personality Vanessa falls in love with a charming neighbour named Richard.

Wilbur finally explains to Sybil about the other personalities. As proof, Wilbur plays the session’s tape to allow Sybil to hear their voices, but when a voice that sounds like Sybil’s mother Hattie speaks, an infant personality named Ruthie emerges. Wilbur is unable to communicate with the pre-verbal child and must wait until Sybil returns.

Life becomes more chaotic for Sybil as the other personalities grow stronger. The personalities make Dr. Wilbur a Christmas card, but Sybil made everything purple, a colour that frightens Peggy. Dr. Wilbur hypnotises Vickie and asks about the purple. Vickie relates a memory of a time Sybil’s mother locked young Sybil in the wheat bin in the barn. Thinking she was smothering, Sybil used her purple crayon to scratch on the inside of the bin so someone would know she had been there.

Vanessa invites Richard and his son Matthew to have Christmas dinner, after which Richard spends the night in Sybil’s apartment. Sybil has a nightmare and awakens as Marcia, who tries to throw herself off the roof. Richard rescues her and calls Wilbur. Soon afterwards, Richard moves away, crushing both Sybil and Vanessa. Once again confronted with her diagnosis, Sybil attempts to convince Wilbur that she has in fact been faking all of the other personalities the entire time and denies that multiple personalities exist within her.

Wilbur goes in search of Sybil’s father, who mentions that Sybil’s mother Hattie was diagnosed with paranoid schizophrenia, but denies that she ever abused Sybil. Wilbur also seeks out Sybil’s paediatrician. The doctor gives Wilbur a frightening account of extensive internal scarring he found while treating Sybil for a bladder problem. Finally, Wilbur visits the old Dorsett house, where she discovers the green kitchen Sybil’s selves have described many times. She also finds the purple crayon scratches inside the wheat bin. She takes them back to New York City to prove all the memories really happened.

Dr. Wilbur takes Sybil for a drive, during which Peggy reveals the horrific physical abuse she suffered at her mother’s hands. After Peggy exhausts herself, Sybil emerges, remembering everything that Peggy has just said. Finally, she is able to express her rage against her mother.

Dr. Wilbur hypnotises Sybil to introduce her to the other personalities. Sybil, who has always been frightened of Peggy, meets her at last and is surprised that she is only a young girl. Sybil embraces a weeping Peggy. A voiceover from Dr. Wilbur explains that after this incident, Sybil recovered her memories and went on to live a full and happy life as an academic.

The “big chair” featured in the film in which the Sybil character felt comfortable provided the name for Tears for Fears hit album Songs From The Big Chair.

Cast

  • Joanne Woodward as Dr. Cornelia Wilbur.
  • Sally Field as Sybil Dorsett.
  • Brad Davis as Richard, Sybil’s neighbour boyfriend.
  • Martine Bartlett as Hattie Dorsett, Sybil’s mother.
  • Penelope Allen as Miss Penny.
  • Jane Hoffman as Frieda Dorsett.
  • Charles Lane as Dr. Quinoness.
  • Jessamine Milner as Grandma Dorsett.
  • William Prince as Willard Dorsett.
  • Camila Ashland as Cam.
  • Tommy Crebbs as Matthew.
  • Gina Petrushka as Dr. Lazarus.
  • Harold Pruett as Danny.
  • Natasha Ryan as Child Sybil.
  • Paul Tulley as Dr. Castle.
  • Anne Beesley as The Selves.
  • Virginia Campbell as The Selves.
  • Missy Karn as The Selves.
  • Tasha Lee as The Selves.
  • Cathy Lynn Lesko as The Selves.
  • Rachel Longaker as The Selves.
  • Jennifer McAllister as The Selves.
  • Kerry Muir as The Selves.
  • Karen Obediear as The Selves.
  • Tony Sherman as The Selves.
  • Danny Stevenson as The Selves.
  • Gordon Jump as Tractor farmer.
  • Lionel Pina as Tommy.

The Alters

  • Peggy: A nine-year-old girl who believes she is still in the small town in which Sybil grew up. Peggy holds the rage Sybil felt at her mother’s abuse and frequently expresses her anger through temper tantrums and breaking glass. Like many of the selves, she enjoys drawing and painting. She fears hands, dishtowels, music, and the colours green and purple, all triggers to specific instances of abuse.
  • Vicky: A very sophisticated and mature eighteen-year-old girl who is aware of all the other personalities and knows everything the others do, though Sybil does not. Vicky speaks French and claims to have grown up in Paris with many brothers and sisters and loving parents. The dominant personality and the only personality to undergo hypnosis.
  • Vanessa: A young, vibrant, red-haired girl about twelve years old, she is outgoing and full of “joie de vivre”. Falls in love with Richard and helps Sybil build a relationship with him, until he moves away.
  • Marcia: A young girl obsessed with thoughts of death and suicide, who tries to kill herself (and thus Sybil) on several occasions. Dresses in black.
  • Ruthie: A preverbal infant. When Sybil is extremely frightened, she regresses into Ruthie and cannot move or speak.
  • Mary: Named for and strongly resembles Sybil’s grandmother. When Sybil’s grandmother (the only person Sybil felt loved her) died, Sybil was so bereft that she created Mary as an internalised version of Grandma. Mary speaks in the voice of an old woman and frequently behaves as one.
  • Nancy: A product of Sybil’s father’s religious fanaticism, Nancy fears the end of the world and God’s punishment.
  • Clara: Around 8-9 years old. Very religious; critical and resentful of Sybil.
  • Helen: Around 13-14 years old. Timid and afraid, but determined “to be somebody”.
  • Marjorie: Around 10-11 years old. Serene and quick to laugh, enjoys parties and travel.
  • Sybil Ann: Around 5-6 years old. Pale, timid, and extremely lethargic; the defeated Sybil.
  • Mike: A brash young boy who likes to build and do carpentry. He builds bookshelves and a partition wall for Sybil’s apartment, frightening her badly when she doesn’t know how they got there. He and Sid both believe that they will grow penes and be able “to give a girl a baby” when they are older.
  • Sid: Younger and a little more taciturn than Mike, he also enjoys building things, as well as sports. Identifies strongly with Sybil’s father and wants to be like him when he grows up.

Production

Sally Field stars in the title role, with Joanne Woodward playing the part of Sybil’s psychiatrist, Cornelia B. Wilbur. Woodward herself had starred in The Three Faces of Eve, in which she portrayed a woman with three personalities, winning the Academy Award for Best Actress for the role. Based on the book Sybil by Flora Rheta Schreiber, the movie dramatises the life of a shy young graduate student, Sybil Dorsett (in real life, Shirley Ardell Mason), suffering from dissociative identity disorder as a result of the psychological trauma she suffered as a child. With the help of her psychiatrist, Sybil gradually recalls the severe child abuse that led to the development of 16 different personalities. Field’s portrayal of Sybil won much critical acclaim, as well as an Emmy Award.

Edited and Unedited Versions

The film, originally 198 minutes long, was initially shown over the course of two nights on NBC in 1976. Due to high public interest, the VHS version of Sybil was released in the 1980s, with one version running 122 minutes and another, extended version running 132 minutes. Several key scenes, including Sybil’s final climactic “introduction” to her other personalities, are missing in both versions. The film is shown frequently on television, often with scenes restored or deleted to adjust for time constraints and the varying sensitivity of viewers. The DVD includes the full 198-minute version originally displayed on the NBC broadcast.

A 128-minute edit of the film was shown in cinemas in Australia, opening in January 1978.

Production & Filming Details

  • Director(s): Daniel Petrie.
  • Producer(s): Philip Capice, Peter Dunne, and Jacqueline Babbin.
  • Writer(s): Stewart Stern.
  • Music: Leonard Rosenman.
  • Cinematography: Mario Tosi.
  • Editor(s): Michael S. McLean and Rita Roland.
  • Production: Lorimar Productions.
  • Distributor(s):
  • Release Date: 14-15 November 1976.
  • Running Time: 198 minutes (original version), 133 minutes (theatrical), and 187 minutes (DVD).
  • Rating: Unknown.
  • Country: US.
  • Language: English.

Video Link

Transference: A Love Story (2020)

Introduction

A secret threatens the love affair between two nurses in London.

Also known as Transference: A Bipolar Love Story.

Outline

Katarina, a Norwegian nurse in London, embarks on a passionate affair with a fellow immigrant nurse that suffers the consequences of unresolved mental health issues from the lovers’ secret pasts.

Cast

  • Raffaello Degruttola … Nik Coluzzi.
  • Emilie Sofie Johannesen … Katerina Nielsen.
  • Lotte Verbeek … Marieke.
  • Pernille Broch … Camilla.
  • Simone Lahbib … Sophie.
  • Ania Sowinski … Natasha Kocinska.
  • Christina Chong … Natasha Wong.
  • Iggy Blanco … Miguel Cortez.
  • Bea Watson … Senior PU Nurse Lisa.
  • Tyrone Keogh … Douglas Cornell.
  • Dylan McKiernan … Ryan.
  • Liza Mircheva … Laura.
  • Poya Shohani … Kaivan.
  • Reice Weathers … Jay.

Production & Filming Details

  • Director(s): Raffaello Degruttola.
  • Producer(s):
    • Bill Bossert … executive producer.
    • Sérgio Clinkett … consulting producer.
    • Raffaello Degruttola … producer.
    • Emilie Sofie Johannesen … co-producer.
    • Sadie Kaye … co-producer.
    • Simone Lahbib … consulting producer.
    • Poya Shohani … co-producer.
  • Writer(s):
  • Music:
  • Cinematography: Simon Hayes and Phil Summers.
  • Editor(s): Charles Lort-Phillips.
  • Production: Contro Vento Films, Mental Ideas, and AMG Media.
  • Distributor(s):
  • Release Date: 26 June 2020 (Internet, Socially Relevant Film Festival New York).
  • Running Time: 90 minutes.
  • Rating: Unknown.
  • Country: US.
  • Language: English.

Video Link