Showing posts with label docudrama. Show all posts
Showing posts with label docudrama. Show all posts

Thursday, July 23, 2015

THE STANFORD PRISON EXPERIMENT

Billy Crudup     Ezra Miller     Tye Sheridan     Thomas Mann     Michael Angarano     Olivia Thirlby




The Stanford Prison Experiment is a docudrama about a well publicized research project conducted at Stanford University by psychologist Philip Zimbardo attempting to show that the environment in prison shapes guards’ and prisoners’ behavior more than their dispositions or past experiences.  The film, directed by Kyle Patrick Alvarez with script written by Tim Talbott, is based on Zimbardo’s 2007 book, The Lucifer Effect.  Zimbardo saw this research as a follow-up to a study in the previous decade by another psychologist, Stanley Milgram, who showed that subjects would comply with an authority figure even to the point of increasing shocks to other subjects to lethal levels when instructed to do so by the research observer.  (The person pressing the button was unaware he/she was not actually delivering a shock.)  The point in both studies was that authority figures and the institutional environment wield a considerable degree of influence over an individual’s behavior. 
           Undergraduate students at Stanford were recruited for a psychological study of the effects of the prison environment on prisoners and guards and paid $15 a day for their participation.  They were only superficially screened for psychological problems, criminal background, or medical problems.  Nine students and one alternate were randomly assigned to be guards, and the same number for the prisoners. 
         To test his hypothesis of inherent characteristics of the participants determining behavior, Zimbardo instructed the guards to foster disorientation, depersonalization, and loss of identity.  This was done by having them arrested in their homes, strip searched, put in dresses and stocking caps, given numbers for their names, and chains put around one of their ankles—all done in order to make the prisoners feel powerless.  To reinforce this, guards were put in standard khaki garb, given mirrored sunglasses to avoid eye contact with the prisoners and wooden batons.  They were instructed not to hit or harm the prisoners in any way.
            The experiment was conducted in a building on campus, with offices converted into cells and using the hall for dining.   The prisoners were to stay in their cells day and night for the duration, except when they were eating, and then they couldn’t talk to one another. 
Early on, within a day or so, the guards—who were told they would be observed by research staff at all times—began using abusive tactics, including hitting and psychological torture.   Even when this was brought to Zimbardo’s attention, he frequently chose not to intervene or he would make promises to the prisoners that he had no intention of keeping.  Any act of rebellion on the part of the prisoners was met with harsh punishment, such as taking away their beds and giving them a bucket for toileting but not allowing it to be emptied. 
            In a short amount of time, some of the prisoners started to fall apart, and ask to leave the study.  It was determined later that not only had 1/3 of the guards resorted to sadistic behaviors, Zimbardo acknowledged that even he had lost his objectivity.  When an observer who came on the scene toward the end of the first week, deemed the experiment as unethical, Zimbardo was convinced to end the research on the sixth of the planned 14 days. 
          In retrospect, Zimbardo concluded that his expectation that the study would prove that, under certain conditions, even good people might behave badly was met.  He subsequently testified as an expert witness in the court martial of one of the Abu Ghraib guards that the man’s behavior was a function of the system, as opposed to his being a “bad apple”, as the government claimed.
           Criticisms of the Zimbardo study include a small sample size, a biased selection of the participants (all white middle class young men), and my own thought that the research staff and guards acting as if the “prisoners” had actually committed and been convicted of crimes, invalidates the study.  Additionally, no personality measures were administered or background information of the participants was obtained.  Without this information, the conclusion that it was the environment that brought out sadistic behavior is weak.
           To me, this is a horrific film to watch; the cruelty and unjustified behavior on the part of the guards made me take a number of breaks during the screening (I watched it at home via a link).  This made me question why the film was made at all; it’s an example of what not to do when people have power over others.  There is a well-known, accepted principle in psychology that to improve people’s behavior it’s more effective to model good leadership than to show poor/bad/evil modeling. 
           Unfortunately, there is no explanation of the study results at the end of the film by Dr. Philip Zimbardo.  I doubt the general public will be able to come away with a clear understanding of the rationale of the work or Zimbardo’s interpretation of it.  This would have greatly enhanced the film, and provide give an illuminating picture of the Abu Graib phenomenon that would be helpful.  
          As far as the film, the actors do a fine job in depicting the characters in the study.  Billy Crudup is especially noteworthy as Zibardo.

Viewer beware.

Grade:  D                                    By Donna R. Copeland

Tuesday, June 23, 2015

ESCOBAR: PARADISE LOST

Josh Hutcherson     Benecio Del Toro     Claudia Traisac     Brady Corbet







The “Paradise Lost” in Escobar:  Paradise Lost is paradise lost times two.  Pablo Escobar was living in a mansion surrounded by family (which he adored), and with enough power to make or destroy anyone in the vicinity.   When this story takes place, he is head of the Medellin Cartel in Colombia and incredibly wealthy; but eventually, he is forced to make a deal for his life and be incarcerated.  So his paradise is lost to him (some religions might say for his sin of selling an addictive substance all over the world). 
           This story centers as much around young Nick (Hutcherson) meeting a native woman named Maria (Traisac) as it does Escobar.  Maria is standoffish at first, complaining about northerners coming to Colombia and thinking it is paradise where they simply want to come and have fun without investing in the people or the culture.  Nick and his brother Dylan (Corbet) are Canadians who have come to set up a shack on the beach to sell snacks and for Nick to give surfing lessons.  Maria soon gives in to Nick’s charm, and they become a couple.  It turns out she is Escobar’s niece, and before he knows it Nick is employed at their hacienda and welcomed like a member of the family.  Pablo is thrilled and tells Nick he is like a son to him. 
           Well, one of the morals of this story is never to get involved with criminals, and Dylan strongly advises his younger brother not to get drawn in.  But Nick is naïve and Pablo and the family so warm and welcoming, he doesn’t heed the advice.  Little does he know that his own paradise may be snatched away.
           Andrea Di Stefano, the director making his debut with this film, has been an actor for years, and clearly shows he has directorial talent.  With co-writer Francesca Marciano, he has brought an absorbing, riveting drama to the screen, based at least partly on the real story of Pablo Escobar’s life.  (I presume the part about Nick and Dylan was created for the film.)  The film is greatly enhanced by Max Richter’s music.  He is well known for the music in The Lunchbox, Wadjda, and the recent Testament of Youth. 
           The gifted Del Toro, with a long string of credits to his name, is in his element playing Escobar, showing his devotion to family, his status as hero of the common people (donating everything from soccer stadia to hospitals and clinics for the poor), contrasting with his cold ruthlessness when he orders a death.  Josh Hutcherson of Hunger Games fame, gives one of his best performances, especially when his life is endangered and he is on the run.  He and Claudia Traisac (Maria), who is optimally expressive, have good chemistry and look like a “real” couple together. 
           In my opinion the insertion of a romantic/thriller drama within a dramatized version of the Pablo Escobar story is remarkably successful.

A riveting dramatization within a brief look at the real Pablo Escobar’s life.

Grade:  B                                                                       By Donna R. Copeland