Cinematherapy and Other Creative Therapies Scholarly Paper

We begin with a chapter review by Pritzker (2007) who explains the therapeutic benefits in the forms, “teletherapy”, “cinematherapy”, “and videotherapy”, and “audience flow.” (p. 19-123) Part two includes comments by the author's.

Keywords: Television, Nelson Media Research, Bibliotherapy, Cinematherapy, Videotherapy, Teletherapy, Humor, Drama, Psychodrama, Standup Comedy, Audience Flow.

Critics claim that watching television is a negative activity. Television watching is generally viewed as a passive activity that could contribute to depression, laziness, and obesity. It could perhaps, even be blamed for bad behavior, illiteracy, isolation, and retard cognitive skills.

According to A.C. Nelson, U.S. homes played television on average of “8 hours and 14 minutes per day.” (Nelison Media Research 2005-2006). This does not even include You Tube and Netflix or other online viewing streams. With the average person spending the equivalent of a work day (or school day) being entertained in this passive manner is there any chance that it could be therapeutic or creatively stimulating?

Pritzker introduces his argument that “viewing” could be a form of “creativity” and “self therapy.” Pritzker suggests that “passive” viewers may at times be “actively” engaged in creativity as defined by Richards (1999) “Originality of everyday life…vital for our flexible adaptation to life, and sense of personal well being” (p. 683). Especially when they are absorbed in something that is mentally stimulating. It is suggested by Pritzker that this is an opportunity for psychologists to become more effectively involved insofar as designing new “media literacy programs” (p. 109) to set the stage for optimal use of this potential creative medium.

Pritzker does not deny the disadvantages of watching television but offers a “new view” of watching television and explains that, in some cases, watching television introduces the concept of audience flow. “Flow” a term first coined by Csikszentmihalyi (1996).

“Flow involves a highly focused and almost effortless state of conscious merging action, and awareness around activities that are challenging, yet within a persons capacity, involving immediate feed-back, some element of novelty, and which are self sustaining and rewarding in themselves” (1996).

Audience flow is defined as the experience of viewing a play, program, dance, reading a book, listening to music, a poetry reading, any similar activity that is stimulating, mentally engaging, and creates a new perspectives and insights for the viewer. (110). Flow can also be created by gardening, working out, meditating and or praying.

Pritzker shares additional explanation of Csikszentmihalyi idea of “flow” (190, 196) that generally speaking flow would add enjoyment, concentration skills, involvement, and would be challenging to the degree of the person’s capability. Because the viewer brings his or her own perspectives, opinions, life experiences, expectations, and tastes that no two viewers will have the “exact” same viewing experience.

“A conversation develops between the viewer and the work that is so engaging that all sense of time is lost. The cognitive engagement means that being part of an audience can by enjoyable, educational, active and creative.” (p. 110).

Pritzker was a television writer and producer for decades. His resume includes but is not limited to: “The Mary Tyler Moore Show” and “Room 222.” Pritzker earned his doctorates and currently teaches psychology at Saybrook Graduate School and Research Center as well as heads the creativity department (2009).

Pritzker shares memories of people calling television watchers the “boob tube” generation and shared that acquaintances would proudly claim that they never watched television but then after revealing that he was a television writer/producer that many of these same people soon shared that they had seen every episode.

In this chapter review Pritzker discusses the negative and positive effects of watching television. The concepts of active and passive viewing is discussed and advice on understanding the concept of “positive audience flow” (p. 110) as therapeutic phenomena.

The concepts of Teletherapy, Bibliotherapy. Cinematherapy, Videotherapy, Drama, and Comedy, are introduced. This paper concludes with comments by the authors.

The studies on television viewing and children are numerous. The majority of these studies spout only negative effects that include physical aggression, bulling in boys and girls (Coyne & Archer, 2005: Manzo, 2005) adolescents increasing alcoholic beverages (van der Bulck & Buellens, 2005) lowered school grades and academic success (Shin, 2004), reality confusion (Low & Durkin, 2001).

34 countries linked television watching with obesity. (Janssen et al., 2005). A summary of obesity and television watching in children is recommended, The Handbook of Children and the Media (Singer & Singer 2001). (p. 112).

The number one concern for the majority of parents is the link between television and violence (p. 112). Friedrich-Cofer and Huston (19986) showed a direct link between watching television and violence on television. (p. 112). Albeit Haridakis and Rubin (2003) proved that factors such as “disinhibition” and “locus of control” in each person determines the influence of watching violence on television. (p. 112).

(Johnson, Nelson, & Bradley, 2006) linked watching 2 hours or more of television per day with obesity in female war veterans (p. 112). According to research adults have a preference for violent sports games and it can cause negativity (Raney & Depalma, 2006). Post traumatic stress disorder (PTSD) was linked between watching television and adults after the 9/11 attacks. (p. 112).

Pritzker fully acknowledges the negative effects of watching television but begs the question can anything positive come from this source (p. 112). (Fisch, et. al., 2000) showed that kids watching Sesame Street produced many positive outcomes up to a certain point. However, further research showed that after a certain point of watching Sesame street that it produced negative outcomes.

The Children’s Television Act (Federal Communications Commission, 1996), was introduced in 1990 charged with the mission to produce more educational programming for children. (p. 12).

Calvert et al (2001) conducted research of children watching educational shows mainly on Nickelodeon and PBS . The children watched at least 4 educational programs per week and answered online surveys. The results showed that “children are learning lessons of social and informational programs value from programs” (p. 103, p. 112).

(Vergheses, 2006) concluded that television viewing decreased anxiety and stress in adults (p. 112). (Benoit, Hansen, & Verser, 2003) showed that adults watching presidential debates promotes knowledge and political change (p. 112).

Pritzker notes that most of the studies on television viewing were skewed towards negative fact finding and may have hampered findings. Creativity, according to Pritzker is about having an open mind (p. 113).

“The concept describes a particular kind of experience that is so engrossing and enjoyable that it becomes autotelic, that is, worth doing it for its own sake even though it may have no consequence outside itself. Creative activities music, sports games, and religious rituals are typical sources for this kind of experience.” According to Csikszentmihalyi (1999).

Studies show that on average people watch television 3 hours each day (p. 113). Pritzker explains that 46 % these people include parents and children performing other activities while simultaneously watching television.

Research by (Schmitt, Woolf, & Anderson, 2003) conclude that although there is obviously much passive viewing going on that many people watch to “escape reality” (p. 113) and ironically today this is managed while watching “reality television” (p. 113).

Others tend to surf channels as a way promoting relaxation with no goal of finding the perfect show. On a side note this may be the reason why men and women appear content surfing channels at the annoyance of their families. He or she is actually finding the motion of surfing almost hypnotic while his or her partner and family want to watch an actual show.

Mcllwraith (1998) claimed that 24 out of 237 adults actually describe themselves as television addicts. Expanded research showed that these self proclaimed addicts tended to be more “neurotic”, “introverted”, and “more easily bored” than the rest of the sample (p. 113).

They apparently used television to “distract themselves from unpleasant thoughts”, “regulate moods”, and alas simply to “fill time” (p. 113).

Henning and Vorderer (2001) concluded that television may be a good option when people simply do not want to think as a way of escaping harsh realities. (p. 113).

“When you’re in flow, you become so deeply immersed in your writing, or whatever activity you’re doing that you forget yourself and your surroundings… You feel challenged, stimulated, definitely not bored” (p. 113).

I believe that writing web pages creates flow and perhaps this is why blogging has become so popular world-wide.

As Pritzker began noticing his own flow when writing his television shows he began to question the flow that his audience may feel when they are watching his shows on television. He discovered psychological truths as a happening of his work that acted as portals for new behavioral insights.

Pritzker questioned whether or not audiences could possibly learn more about themselves or make connections that would in return create a positive flow between audience and artist (p. 114). Pritzker points out a dissertation that was conducted by Zhu (2002) in which flow states between teachers and students were examined. Findings concluded that 25 % of the students became more cognitively engaged when the teachers were experiencing “flow” as they taught (p. 114).

Pritzker suggests that this same kind of flow could be found between writers, musicians, and artists but more research is needed to prove this one way or the other (p. 114). Pritzker shares his own experiences with creating “flow” while watching television as part of his discovery process and suggests two variables that must be present to activate “flow” while being entertained.

“I believe several elements need to be present to inspire the kind of involvement that develops into a flow state. Attention and identification with at least one of the characters must be strong enough to lead to a galvanizing emotion, and active response, to the situation presented. Then there has to be a connection to an issue of personal or cosmic connection.” Pritzker (p. 114).

The distinction has been made by between passive television viewing and active viewing. The difference is watching a selected show for a particular reason versus passive watching utilized as a distraction. According to Csikszentmihalyi (1996) presents both possibilities one being a “fantastic tool” or a “redundant addiction” (p. 115).

Pritzker concludes by pointing out that most of us have times of active and passive television watching. “The decision to watch a specific show because of the viewer is interested in the subject or likes the characters is an active choice” as explained by Pritzker. Sitcoms such as “The Mary Tyler Moore Show”, “Mash”, “Frasier”, “Seinfeld”, and “Curb Your Enthusiasm” are used as high quality examples which held high acclaim by viewer share and critics. (p. 115).

Pritzker asks if there is an audience flow that creates cognitive growth what factors would make it happen. (p. 115). Television has been under fire for many negative affects including poor representation or lack thereof of groups such as the GLBT community, Asians, African-Americans and Blacks, middle easterners, just to name a few and as Pritzker points out even Psychologists have found portrayals of mental health workers insulting. Questions were raised as to whether it made therapists look bad when Tony Soprano temporarily left his therapist on “The Sopranos” (p. 116).

These are facts and yet no one doubts the power, trust, and intimacy that television creates just ask any advertiser and check out the rates that they are willing to pay for a minute of time in your living room. (p. 115). Rosenkotter (1999) shared his findings in which shows such as “Full House” and “The Cosby Show” were examples of creating “pro social behavior” in second and third graders.

Other positive examples of television shows include learning tolerant learning styles from “The Andy Griffith Show”, An educational program used clips from “The Simpson’s” and proved that kids were able to relate and learn from it when intertwined with an educational program (p. 116). Mathis and Tanner (1991). “The Simpson’s showed significant improvement in their systems thinking compared with a control group” (p. 116).

College students reported that they felt an increased fear of death and less concern about their physical body after death. This came about after the students watched 10 episodes of “Six Feet Under.” (p. 116).

Historically television shows have persuaded people to trust what they are watching on television and have influenced career choices based on television portrayals. Stockwell (2005) reported that CSI and their franchise of shows have made it harder for jurors to convict the accused without DNA evidence and that these shows have caused a significant leap in college applications in forensic science.

“Prosecutors say jurors are telling them they expect forensic evidence in criminal cases, just like on their favorite television shows, including “CSI: Crime Scene Investigation.” In real life forensic evidence is not collected at every crime scene, either because criminals clean up after themselves or because of a shortage in resources. Yet, increasingly, jurors are reluctant to convict someone without it, a phenomenon the criminal justice community is calling the “CSI effect” Stockwell (2005) (p. 117).

Pritzker shares that “The Dick Van Dyke Show” inspired his career as a comedy writer and even influenced a self described whirlwind romance and marriage (Pritzker 2000). Pritzker urges Psychologist to see time watching television combined with its effects on behavior as a new field called the “media literacy movement” (p. 118) Pritzker concludes that this is an area where Psychologists can make significant contributions to research (p. 118).

Elements of media literacy include viewers how to become more critically aware and this is especially true for children (p. 118). This is so they can understand what is reasonable to believe and what most likely fantasy is. (p. 118). Pritzker commends the American Psychological Association (1985) for warning the public about the negative effects of children watching too much television.

Reports showed that kids had seen as many as 8.000 murders by age 11. In 2004 the (APA) gave “Law and Order” Special Victims Unit the Golden Psi award for portraying mental health workers in a reasonable manner. Pritzker warns that such shows could send “mixed messages” and suggests that professionals should mindfully responsible in media literacy (APA 2004). The “No Child Left Behind Act” of 2002 made media literacy a requirement. Educational Psychologists claim that active and critical viewing is necessary. (p. 119).

Bibliotherapy is based on the theory that books can stimulate cognitive insights. When bibliotherapy is used in conjunction with counseling the psychologist selects specific reading material for the client. According to Pritzker the wrong book can produce harmful outcomes (p. 119). Traditionally these can include self help books, fiction, religious books, which are discussed in later sessions on a one-on-one basis (p. 119). Pardeck (1994) suggested that clients write diaries, draw maps, role play, and that making colleges were excellent ways to utilize bibliotherapy (p. 119). The combination of bibliotherapy and counseling has been proven effective with depression, alcoholism, and kids if selected carefully by skilled therapists. (p. 119).

Cinematherapy is used much in the same way as bibliotherapy but with films instead of books. Psychologists are able to use carefully selected films to reach their client indirectly. New insights are discussed in later sessions. Cinematherapy has been used effectively with clients that are harder to reach such as aged couples, people suffering from HIV/AIDS, Terminal Illnesses, eating disorders, transgender issues, and mental changes, substance abuse, family problems, divorce, ethics and values. According to Pritzker there is not enough evidence to prove which films are actually the most helpful and is dependent on the expertise of the therapist. More research in this area would be useful (p. 121)

Pritzker describes the confusion between videotherapy and cinematherapy. Self help tapes and instructional videos should be listed under Cinematherapy according to Pritzker. Videotherapy is passive and video making is active. Kids have been instructed to create videos of their families and then the therapist and child discuss it in later sessions is an example of video making. Pritzker coins the term and suggests “videomaking” to differentiate the two (p. 123).

Teletherapy is based on a psychologist suggesting pre-selected television shows based on the clients needs which are discussed in later sessions.

“Teletherapy is a method of healing using television as a means of learning and modeling. Specific dramatic and comedy shows are suggested. By helping clients look at situations applicable to their own lives, teletherapy can help create new options for behavior” Pritzker (p. 110).

“Episodes of dramatic shows can model ways of dealing with issues such as parental loss, alienation, and aging. Thus teletherapy can contribute to everyday creativity by helping clients engage in new behaviors.” Pritzker (p. 110).

Comedy has been proven effective for reducing stress and healing people with serious health problems. Pritzker has been researching creativity in comedy writing for years and suggests that the best comedy writing is based on real life scenarios and can focus on one “key conflict” (p. 123).

Pritzker gives an example of “Everybody Loves Raymond” in which Deborah loses her desire to sleep with Raymond. Deborah finally admits albeit painful to Raymond that he’s rushing the process and making her lose interest. Pritzker warns that of course, sitcoms can over simplify real life events but still they can serve as a model for discussion. (p. 123).

My favorite sitcom of all time is probably "Rosanne" and my husband's is "Seinfeld". As a kid, like many, "The Brady Bunch", “The Partridge Family", and "Little House on the Prairie" were my favorites.

“Humor is, by nature, creative and offers the opportunity to discuss real-life problems in a way that does not threaten the client.” Pritzker (p. 110).