According to Sherif’s 1996 conflict theory (here derived from Psych Exchange UK website), two groups competing for the same resources diverge even further from their original differences and exhibit fierce competitive tendencies. In scene 9 of White Oleander, Claire and Ingrid demonstrate this principle as they compete for a valuable 'resource': Ingrid's daughter Astrid.
Claire and Ingrid--like the boys in the study discussed below--could have chosen to put aside their animosity for the sake of a common goal—Astrid’s happiness—but instead choose to channel their energies into competition. In the process, they forsake the common ground they might have shared—for instance, their mutual concern and love for Astrid, or even their artistically-based careers. However, the women mistrust each other, therefore they are unable from the get-go to establish a collaborative relationship, and instead resort to hostility. Sensitive, loving, dependent Claire appears to melt even further into her sugary persona in front of Ingrid. Ingrid’s natural toughness, coldness, and independence, which might have ordinarily faded in the presence of her daughter, are brought out to the fullest prominence possible. The conversation then takes an “in-group/ out-group” turn for the worse as Ingrid tries to influence her daughter’s conception of Claire by painting her foster mother as alien to their own shared history and goals.
The resemblance of the animosity between Claire and Ingrid to the Eagles and the Rattlers of Sherif’s “Robbers’ Cave” study should be noted. In both cases, the involved parties increased the differences in their behaviors in order to differentiate themselves from the other group. In the Robbers’ Cave study, one group of boys at a summer camp (the Eagles) prided themselves on praying before a contest and not using foul language (they believed their opponents, the Rattlers were foul-mouthed). In response, the Rattlers began parading their toughness. The groups of boys only resolved their differences when presented with an outside enemy in the form of a glitch in the water system of the camp the required the efforts of all campers—Rattlers and Eagles alike—to be resolved. If Ingrid and Claire were to face a situation that would rouse them to action (for example, if Astrid were in danger), then perhaps the two mothers could put their animosity aside to achieve a common goal.
Astrid faces a number of obstacles that would seem to prevent her from obtaining a healthy, sound psychological state, but as she moves throughout the film she gradually confronts them all. From obtaining food, water, shelter in often unstable homes where she is placed (physiological needs) to gaining enough self-efficacy to fend off the bullies in her foster care center(partly fulfilling the need of safety, and also the need of esteem), Astrid exhibits all the traits to be expected of someone struggling to ascend the height of Maslow’s pyramid of hierarchical needs. She adapts to the eccentricities of each new foster family, sometimes in positive (her incredible resilience when adapting to the foster care center) and sometimes in negative ways (notably, the incident with Ray). One of the major achievements for Astrid throughout the film is when she obtains love and a sense of belonging with Claire. However, Astrid remains fundamentally unstable and therefore vulnerable to her upbringing until this scene.
Herein is the moment that Astrid self-actualizes: when she states: “No. I stopped when Claire showed me what it felt like to be loved.” Here she finally fully separates herself from her mother and declares her own rights and needs. Astrid struggles with identity issues throughout the whole film, often adopting the attitudes and personas of her various foster families, unable to differentiate herself as an individual. The culprit behind this failure to retain a stable identity is of course, Ingrid, a strong personality who never wants her daughter to explore lifestyles and philosophies different from her own. Therefore this scene is the pivotal breakthrough that Astrid has been unknowingly working towards, a crystallized moment of self-actualization. The textbook, The Science of Psychology: An Appreciative View, defines self-actualization as “the motivation to develop one’s potential as a human being”(379). Soon after she asserts her own worth in the face of her mother’s selfish behavior, she moves in with the only living person who has loved her as she deserves, namely Paul, and is able to move forward, create art, and, most importantly, retain a stable identity. Thus it is safe to say that after three foster homes, and easily as many changes of identity and values, Astrid has finally ascended to the highest level on Maslow’s hierarchical pyramid of needs.
http://www.psychexchange.co.uk/glossary/realistic-conflict-theory-500/
http://www.overcomingbias.com/2007/12/the-robbers-cav.html
Laura King, editor. The Science of Psychology: An Appreciative View.
Monday, May 11, 2009
Authoritative Parenting in White Oleander
The movie White Oleander is the epitome of many psychological principles, but specifically it is a great example of parenting styles. In the movie, the main character, a troubled teenager named Astrid, moves from place to place looking for family and comfort after her mom is taken away to prison for murder. One person in particular that Astrid stays with is named Claire. Claire will be focused on as an example of authoritative parenting styles. Claire conforms to and accurately displays authoritative parenting styles.
Authoritative parents are generally considered the most loving and to offer the best environment for the child. The main way that authoritative parents are set apart from the other three types of parenting styles, authoritarian, neglectful, and permissive, is that the authoritative parent negotiates with the child. An authoritative parent wants their child to be independent and able to think for themselves, but they also want the child to make wise decisions. In order for this to happen, the parents offer suggestions as opposed to commands; and they consider the child’s opinions, likes, and dislikes. It is assumed that most children of authoritative parents have great social competence, self reliance, and social responsibility. They do not let the child run buck-wild but guide and encourage them lovingly towards good choices.
The first way that Claire exemplified an authoritative parent in this clip is how she leaves Astrid’s room. The room is very white with only a few things of taste, like the rabbit painting. Claire tells Astrid that she left it this way so that Astrid could have the opportunity to express herself. Secondly, Claire offers Astrid an array of drink options. In both of these instances, Claire has provided the slate on which Astrid can carve, metaphorically speaking. As a good authoritative parent, Claire allows Astrid to be independent and expressive.
Claire, as an authoritative parent, also wants to show Astrid good living habits, which Astrid has not learned from her previous home environments. Claire talks and laughs with Astrid but also provides her with nice clothes, exercise, and good food. This is Claire helping Astrid develop social competence. Claire talks to Astrid about her job in show business. One study conducted by Ellen Greenberger and Wendy A. Goldberg (1989) suggests that parents that discuss their jobs in a loving setting with their children are more likely to be authoritative and enjoy their commitment to parenting.
Claire, as an authoritative parent, also wants to show Astrid good living habits, which Astrid has not learned from her previous home environments. Claire talks and laughs with Astrid but also provides her with nice clothes, exercise, and good food. This is Claire helping Astrid develop social competence. Claire talks to Astrid about her job in show business. One study conducted by Ellen Greenberger and Wendy A. Goldberg (1989) suggests that parents that discuss their jobs in a loving setting with their children are more likely to be authoritative and enjoy their commitment to parenting.
in this clip, Claire’s husband Mark returns from business in Nova Scotia. At this time Claire must also give attention to Mark in addition to Astrid. In this way she is displaying to Astrid how to be self reliant. In the presence of Mark, Claire also asks Astrid to help her carry food out to the table. She politely asks, “Can you get that?” This helps Astrid develop social responsibility.
At the dinner table, Claire encourages Astrid’s artistic tendencies, thus encouraging her on to achieve realistic goals that will benefit her. The authoritarian parent offers positive reinforcement so that the child will feel accepted and valued.
Immediately following this scene at the dinner table, Astrid goes out to the porch because she was thinking about her mother. Like a good authoritative parent, Claire comes out and asks her if she is feeling alright. Claire offers both physical and emotional support to Astrid throughout the entire scene. In “Exploring the associations between maternal personality, child temperament, and parenting: A focus on emotions,” it is said that authoritative parents teach their children emotional regulation (Coplan, Reichel, and Rowan, 2008).
Claire, as an authoritative parent, also has the authority and responsibility to do what she sees fit for Astrid. This explains why she withheld telling Astrid about the letters from her mother even though Astrid would have preferred to know. The authoritative parent wants what is best for their child but also wants to influence in the way they best see fit.
Claire provides for Astrid what she did not find anywhere else in the movie, a loving and encouraging authoritative parent.
Who Is Morally Right, Anyway?
In the movie, “White Oleander”, there was one scene that really stood out to me, and it dealt with the main character Astrid Magnussen. Magnussen was involved in a situation that dealt with a character’s moral development. In the scene, I want to address Astrid, and her foster mother’s boyfriend, Ray ‘s involvement romantically. I am going to focus on Astrid’s moral development. What she had to weigh in her mind the difference between right and wrong. She had to consider whether or not acting on her feelings meant more to her than respecting her foster mom’s wishes. The feelings she had to fight were
with Ray. The feelings began by just casually talking around the house, but then Ray began going to where Astrid was just to talk to her. One night Astrid stayed home from a night out to work on homework when Ray came in the house with pizza. They were the only two in the house, and they began to act upon their physical feelings. Astrid and Ray both knew that if the foster mom found out about their interaction, she would be furious. Astrid needed to decide if her own personal pleasure was worth the risk of being caught. Obviously, her physical want outweighed what was morally right. The morally right action was to keep her feelings out of the situation and continue working on her homework. Ray seemed like a nice enough guy that if Astrid would have said “no” he would have respected that response.
with Ray. The feelings began by just casually talking around the house, but then Ray began going to where Astrid was just to talk to her. One night Astrid stayed home from a night out to work on homework when Ray came in the house with pizza. They were the only two in the house, and they began to act upon their physical feelings. Astrid and Ray both knew that if the foster mom found out about their interaction, she would be furious. Astrid needed to decide if her own personal pleasure was worth the risk of being caught. Obviously, her physical want outweighed what was morally right. The morally right action was to keep her feelings out of the situation and continue working on her homework. Ray seemed like a nice enough guy that if Astrid would have said “no” he would have respected that response. I would classify Astrid’s thought process of pursuing her physical feelings with stage six of Kohlberg’s Theory. Stage six is the Universal Ethical Principle that states “The person has developed moral judgments that are based on universal human rights. When faced with the dilemma between law and conscience, a personal, individualized conscience is followed” (King, 2008). This is saying that Astrid knew the consequences between having an affair, but she allowed her feeling for Ray to override what she knows is right. She acted on her personal conscience instead of following the universal human rights. There is a story that Kohlberg used to test his theory, and that story is summarized as this:
A man did not have enough money to buy his wife medicine to treat her cancer. A druggist was selling it for way more than the suggested price. The husband did not have enough money to pay for it, so one night he broke in and stole the drug for his wife. (King, 2008)
After the story was read Kohlberg would ask question pertaining to the story about whether or not it was right for the husband to steal the drug for his dying wife. After asking multiple questions, he was able to categorize people’s moral level into six different stages. The people that were in stage six, just like Astrid, would answer that they “evaluate alternatives but recognize that Heinz’s wife’s life is more important than a law” (King, 2008). This is another reason to back up why I thought Astrid is acting in stage six, because even though she knows the alternatives to avoiding her feelings, she still acts upon it because her feelings are more important than what is right. (King, 2008).
by: Anna Dellapenta
White Oleander Connects With Erik Erikson's Theory of Psychosocial Development
Originally a novel written by Janet Fitch, and later developed into a wonderful Hollywood film, White Oleander, is an exceptional film not only for those psychologists and psychiatrists throughout the world to refer to, but those individuals who need to relate similar behaviors and issues to their own motivations and emotions. 
Astrid, a 15 year old girl, living in California with her mother, Ingrid, is a beautiful young girl with a high spirit. The life of both Ingrid and Astrid was very satisfying until one day, a man named Barry comes into their lives, and Ingrid falls in love with him, going against all of her morals and original beliefs that no man should interfere with her life. For the revenge of her broken heart, Ingrid murders Barry with the deadly poison of The White Oleander. She is sent to prison for life, leaving Astrid alone for the most important years of her life; adolesence. The area in life when every human being needs a role model- their mother. Astrid travels through foster homes searching for a new life. Through her journey she learns and experiences new lessons and takes in new beliefs that she’ll keep for the rest of her life- meanwhile Astrid experiences loss, distrust, and a broken heart.
The journey of Astrid’s life in White Oleander, can be primarily related to Erik Erikson's theory of Psychosocial Development. Known as one of the best theories of personality, Erikson believed that personality develops in a series of stages; and from here he developed eight specific stages. In each particular stage, Erikson believed people experience a conflict serving as a turning point in development. In Erikson’s view, these conflicts are centered on either developing a psychological quality or failing to develop that quality. During these times, the potential for personal growth is high, but so is the potential for failure.
Pay Close attention to the Following 8 Stages-Then refer to the link to a video clip from White Oleander to make connections.
Both Stage 1 & 2 relate to this particular video clip:
Astrid, a 15 year old girl, living in California with her mother, Ingrid, is a beautiful young girl with a high spirit. The life of both Ingrid and Astrid was very satisfying until one day, a man named Barry comes into their lives, and Ingrid falls in love with him, going against all of her morals and original beliefs that no man should interfere with her life. For the revenge of her broken heart, Ingrid murders Barry with the deadly poison of The White Oleander. She is sent to prison for life, leaving Astrid alone for the most important years of her life; adolesence. The area in life when every human being needs a role model- their mother. Astrid travels through foster homes searching for a new life. Through her journey she learns and experiences new lessons and takes in new beliefs that she’ll keep for the rest of her life- meanwhile Astrid experiences loss, distrust, and a broken heart. The journey of Astrid’s life in White Oleander, can be primarily related to Erik Erikson's theory of Psychosocial Development. Known as one of the best theories of personality, Erikson believed that personality develops in a series of stages; and from here he developed eight specific stages. In each particular stage, Erikson believed people experience a conflict serving as a turning point in development. In Erikson’s view, these conflicts are centered on either developing a psychological quality or failing to develop that quality. During these times, the potential for personal growth is high, but so is the potential for failure. Pay Close attention to the Following 8 Stages-Then refer to the link to a video clip from White Oleander to make connections.
Both Stage 1 & 2 relate to this particular video clip:
http://www.youtube.com/watch?v=i0W-KfKjyN0&feature=PlayList&p=676ADC30097B6E6C&index=10
Stage 1-Infancy: This psychosocial development occurs between birth and one year of age. The development of trust is based on the dependability and quality of the child’s caregivers. Caregivers, who are unavailable, contribute the feelings of mistrust in the children they care for. Failure to develop trust will result in fear and a belief that the world is inconsistent and unpredictable.
Stage 2 -Early Childhood: This stage of development takes place during early childhood and is focused on children developing a greater sense of personal control. Children who successfully complete this stage feel secure and confident, while those who do not are left with a sense of self-doubt.
Here we see Astrid's mother have a greater interest in her boyfriend rather than her own daughter; and we see the result of this turn ugly-for, Astrid's mother is arested. Therefore leaving her alone to survive by herself with a family she doesn't know and end up hurting Astrid mentally and physcially. Although Astrid is much older in the film, then what these stages refer to, we can still relate the main concept of these stages from Erikson's theory to the behaviors between Astrid and her mother Ingrid.
Both Stages 3 & 4 relate to this particular video clip: http://www.youtube.com/watch?v=Z9Cx4a4hiUo&feature=related
Stage 3-Play Age: During the preschool years, children begin to assert their power and control over the world through social interaction. Children who are successful at this stage feel capable to lead others. Those who fail these skills are left with a sense of guilt.
Stage 4-School Age: This stage covers the early school years from approximately age 5 to 11. Children who are encouraged by parents and teachers develop a feeling of belief in their skills. Those who receive no encouragement from their guardians will doubt their ability to be successful.
In this particular clip we see that Astrid has finally found christ to believe in. She believes that he will guide her through life and help her survive her difficulties-but unfortunately, thinking that her mother will support her, she ends up shutting her down mentally, and forcing her to rethink her beliefs. Throughout the movie Astrid's mother forces her to "not forget who she is"- but brainwashes her into becoming unhappy instead of confident and positive with her life. Because hermother is suffering in jail, it can be assumed that Ingrid wants her daughter to sufer just as she is. With a lack of encouragment, we can assume that in the future, Astrid will fail to develop any confidence of her own unless she can escape her controlling mother.
Both stages 5 & 6 realte to this particular video clip: http://www.youtube.com/watch?v=5u9bubIxxy8&feature=related
Stage 5-Adolescence: During adolescence, children are exploring their independence and developing a sense of self. Those who receive proper encouragement will emerge from this stage with a feeling of independence. Those who remain unsure of their beliefs will become insecure about themselves.
Stage 6-Young Adulthood: This stage covers the period of early adulthood when people are exploring personal relationships. Those who are successful at this will develop relationships that are committed.
Here we see that Astrid has found a new foster home-a home that is much different-culturally. Astrid reveals the truth about her mothers actions and we see a large change that Astrid's personality has developed. One must understand her actions of change for she has been through so much-mentally and physically. She has developed very different relationships in the past months that she has traveled from foster home to foster home-but this one is the relationship that has changed her significantly to defend herself and take control of her own life.
Although we do not see Astrid in Middle and Late Adulthood, we can assume that unlike most individuals who are fortunate enough to grow up with a mother to care for them-and not a mother is prison, although there are plenty of children out there in Astri'd position- Astrid most likely grew up with a lack of trust in other individuals she meets in her life journey. We can also assume that because Astrid has been through so much difficulties, that she has developed self-doubt, and has lacked a feeling of satisfaction. Although, her art work seems to be a crucial factor in her life that will enable her to release any emotions into a realistic image.
Stage 7-Middle Adulthood: Those who are successful during this phase will feel that they are contributing to the world by being active in their home and community. Those who fail this skill will feel unproductive.
Stage 8-Late Adulthood: Those who are unsuccessful during this phase will feel that their life has been wasted and will experience regrets. Successfully completing this phase means looking back with a feeling of satisfaction.
Continuously throughout the movie, Astrid looses the trust of her mother, along with her parents within the foster homes she attends. Throughout her journey she begins to feel incapable of the successes she potentially has, such as her wonderful art work. Her mother leaves her feeling guilty about any success she may begin to develop by encouraging her not to follow those inspirations. Ingrid, Astrid's own mother, does everything she possibly can to keep her daughter all to herself, even though she is clearly not a good influence for her daughter. One can see throughout the movie that Astrid's personality changes significantly after particular experiences that hurt her emotionally and psychically. Sadly, Astrid will always be alone-with no inspiration except her creative mind in her artistic work. It seemed that she cold never find the happiness she was looking for. Although there is always a chance that the strength of the human spirit can be reignited, the audience of White Oleander is given the impression that Astrid has changed so much, that she will never be her old self again.
"Only the Oleanders Thrived"
I think in order to understand the psychological importance of White Oleander, you need to first be able to wrap your mind around its underlying theme. Directed by Peter Kosminsky in 2002, White Oleander, starring Michelle Pfeiffer and Alison Lohman, was released into theaters, with the tagline reading, “Where does a mother end and a daughter begin?” It is based on a twisted, unconventional mother-daughter relationship that sees murder, abuse, violence, and so much more.
The Santa Anna winds can blow strong and extremely dry. Depending on the time of year, they can range from terribly hot or terribly cold. They have been known to be associated with some of Southern California’s largest, deadliest fires. In the opening scene of the movie, Astrid, played by Alison Lohman, describes the weather as she remembers it of the year her flashbacks take place. “The Santa Anna was blue and hot from the desert that fall; only the oleanders thrived.” Oleanders are small but incredibly tough, poisonous evergreens that can grow without summer water. “Maybe the wind was the reason my mother did what she did,” Astrid ponders. In her mind, she is making the connection between her mother, the powerful, dangerous force—the Santa Anna winds—and herself—the thick skinned oleander.
Ingrid, played by Michelle Pfeiffer in the movie, is not your typical mother. Her psychological abnormalities are what we will focus in on. At different times throughout the movie, she is paranoid, schizotypal, histrionic, or narcissistic. Specifically, in Parts 10 & 11, Ingrid’s histrionic and narcissistic psychology traits are most apparent.
At 7 minutes, Astrid forces her mother to answer her questions truthfully in exchange for her testimony in court. She asks Ingrid why she killed Barry, and Ingrid proceeds to tell her self-absorbed lies. Her narcissistic personality comes out, and she makes everything about herself. She can’t seem to own up to her mistakes, especially murder, and admit that she was wrong. 2 minutes and 50 seconds into Part 11, Astrid flat out accuses her mother of always making everything about herself. "It wasn't about you; it was about me, and I wanted to see him! ... Everything's always been about you, never about me. I knew you were going to kill Barry, but you didn't even care. You didn't give a damn about what it would do to me."
In the beginning of Part 11, Ingrid tries exaplaining to Astrid how she felt like a “hostage” to her newborn, always feeling like a “spider clinging to her.” Only a histrionic person would overreact in such a way as to leaving her infant child at a neighbor’s house for an entire year.
Ingrid’s parenting styles, which sway back and forth between authoritarian and neglecting at times, also come into question. The first poor parenting style we see in the movie comes in Part I when Astrid asks Ingrid if she will be attending parents’ night at school. When Astrid finds out that Ingrid had made other plans to go to an art show, she reminds her mother that all the other parents always show up. “What can they tell me about you that I don’t already know?” Ingrid tells her. This quote briefly shows how Ingrid is not involved in Astrid life, thinking that an art show is obviously more important than her only daughter’s parent night.
Much later in the movie (Part 8 to be specific), Ingrid’s parenting style changes to authoritarian. She becomes extremely angry when she finds that her daughter is somewhat happy. “If you love me, you’ll help me,” Astrid begs. “Help you? I would rather see you in the worst kind of foster hell than living with that woman,” Ingrid yells to Astrid talking about Claire, Astrid’s most recent foster mother. Another example refers back to Part 11 when Astrid is accusing her mother of being narcissistic. When Astrid tries to leave, Ingrid becomes an angry, authoritarian figure: "No, no you don't just walk away from me. I made you; I'm in your blood. You don't go anywhere until I let you go."
This movie is definitely filled with many different abnormalities and psychological disorders. Although very difficult to watch because of its twisted characters and plot, it is extremely helpful in exemplifying exactly what we've gone over in general psychology!
Permissive Parents and A Self-Serving Bias: The Story of Astrid Magnussen
White Oleander is a beautiful and somewhat frightful story of the trials, tribulations and adaptations of a young girl named Astrid as documented through her experiences with her biological mother and three foster families. The film follows her as she grows and morphs to fit the molds of the many lifestyle changes she encounters due to her mothers seemingly insane style of parenting and stint in jail for the murder of her boyfriend. Throughout the film every new surrounding offers Astrid new struggles and challenges that force her to grow further apart from her mother and more importantly her true identity.
Despite not ever discovering her real age it becomes quite easy for one to understand the dramatic differences in her maturity as the film progresses, and this mostly due to her interactions with her jail ridden mother. The further into the movie the viewer gets the further Astrid grows apart from her mother. However, the realization that her mothers parenting techniques were selfish and authoritarian were not truly recognized until she was place in a foster home with Renée Zellweger’s character Claire Richards.
Start at 5:10
After being shot by her first foster mother Star, Astrid is certainly ready for a more loving home, which is what she gets when she arrives at Claire’s home; however, Astrid has no idea the hardships and issues that will face her and her foster mother in the months to come. Most notably Claire is a permissive or indulgent parent meaning that she places little to no behavior restrictions on Astrid and demands virtually nothing from her all the while being incredibly loving and giving (Santrock, J.W.). Permissive parents are incredibly responsive to the child, or in this case teenagers, needs because at the end of the day they just want the child to like him or her (Feldman, Robert). Claire would take Astrid shopping and play, if you will, with her all day, but never expect her to do anything in return. Unfortunately for Astrid, she had never experienced a parenting style that was so involved and loving so she mistook it for true love when in reality Claire was simply wanting a friend due to her failing marriage. For example, there are many times while the two were together that the viewer would find Astrid actually giving advice to Claire as opposed to the other way around! Claire would spend the majority of the time that she was not pampering Astrid talking to her about her issues with her husband and speculating about an affair. One of the most striking displays of Claire’s want for a friend and not a daughter is when the two are arriving from a day out-on-the-town and Claire sees that her husband is home from filming overseas. She immediately jumps out of the car leaving Astrid behind so as to go greet her husband who only a few scenes ago she was hypothesizing about a possible affair. Astrid serves only as a distraction from the pain Claire is suffering from enduring a rough marriage. Dr. J.W. Santrock even states that, “the influence of their spouse affects parenting style” (Santrock) and this could not be any more apparent than through Claire’s behavior with Astrid. Similarly, the most awful yet apparent display of Claire’s struggle with her marriage and utter disregard for the relationship she has created with Astrid comes after Claire and Astrid’s mother, Ingrid. One morning Astrid wakes to find Claire unconscious and after only a few moment of investigation realizes that Claire has killed herself and Ingrid was responsible for planting the seed that led to this tragedy. Some may argue that after everything the two had gone through the selfishness of this act displays characteristics of a neglectful parent, however, it is very apparent that previous to this unspeakable act Claire cared for Astrid a great deal. As stated before spouses have a great deal of influence on permissive parents and Claire was completely controlled by paranoia of her failing relationship not that she was unsupportive of Astrid (NPSA). Even after the fact Astrid believes wholeheartedly that the suicide had nothing to do with the relationship that Claire and her had and that it was strictly the influence of her mother Ingrid over a weaker woman in Claire.
To continue the discussion on Astrid’s mother Ingrid one should look no further than one of the finals scenes in the movie when Astrid is asked to come and talk to her mother about testifying in order for her mother to get out of jail early. This is one of the most powerful scenes in the film and serves as an explanatory and educating scene where the view learns all of the skeletons in Ingrid’s seemingly massive closet. There are a countless number of psychological theories that could be applied this scene, but the one that explains Ingrid’s actions, behavior and personality the most clearly is the self-serving bias. The self-serving bias: “refers to the tendency to take credit for our successes and to deny responsibility for our failures” (King 448). This social psychology theory provides an explanation to nearly all of the topics brought up during the heated conversation between this mother and daughter. Astrid is simply seeking the truth from her mother who has kept nearly everything that has happened to her since she was born a secret, and the more Astrid digs the harder it is for Ingrid to respond. For example, Astrid asks her mother who a woman named Annie is and Ingrid instantly breaks down into tears. Astrid comes to find out that Annie took care of her while Ingrid took a year long hiatus from being a mother because it was too much to handle and she did not understand the consequences or responsibilities of becoming a mother. Because of the self-serving bias Ingrid instead of understanding that she made a mistake and trying to make the best out of her situation instead blamed her unhappiness and the difficulties of being a mother on her child and abandoned her for over a year in order to live the life she used to live before having a child. Self-serving bias tends to be thought of in more casual terms, however, in Ingrid’s case she is a self-empowered artist with an enormous ego and perhaps blaming her inability to parent on the child is helping her maintain such a high self-esteem (Miller & Ross, 1975; Roese & Olson, 2007). Additionally, Ingrid even states that Astrid’s conception was purely to try and keep Ingrid and her husband (Astrid’s father that she never met) together. She believed that by having a baby that the love of her life would never leave her and when he did instead of taking into account the impact it would have on Astrid’s life she only thought about how it would impact herself. Astrid comes to find out that when she was eight years old her father attempt to visit her, but her mother refused to let him see her because of what he did to her. Once again we see Ingrid attempting to protect herself by damaging her daughter. By not letting Astrid meet her father she is keeping a massive part of her a secret and in doing so has no understanding for the impact it is having on Astrid, and only seeks to preserve her self-esteem and happiness.
Ultimately, Astrid’s struggles and eventual triumphs tell a tale of many twisted minds, and the fact that she had the strength to survive and prevail after all she had been through is astonishing. Whether it is Claire’s permissive parenting style that led her to a false sense of love or her biological mothers self-serving bias that kept important life secrets from her only to protect her oversized ego, in the end Astrid was happy with the exception of not being able to see her mother. This movie provides incredibly clear and strong examples of many important and life altering psychological principles particularly in the fields of parenting styles and social psychology.
Conformity and Histrionics in White Oleander
The daughter shows signs of conformity throughout the entire movie. The following scene (time = 3:35) shows how she has completely altered her appearance and general affect to look more like her foster sisters and new foster mother. She picked up both the habits of drinking and smoking in order to “fit in” with her new social group. She sold off the sentimental clothing she had left from her past homes because her new mother held no value in anything other than money.
The other situation where her extreme conformity is evident is in the MacLaren Children's Center when she becomes hard and cuts her hair to match the attitudes of the other young women in the center. This reaction may be the classic attitude one would have when approaching such a situation, either become so strong no one will hurt you or find the protection of someone who is strong. However, when you look at Astrid as she is in less stressful situations you can continue to see her conformity.
With Star’s family, she quickly started to dress like her foster mother and sister, which led to a change in her behavior from quiet to more flirtatious. In no other situations was she overly flirtatious with any male. During her time with Claire, she became very studious (not seen when she was with Ingrid) and caring.
Her time with Ingrid shows her lack of attention in school and a major focus on her art, exactly what her mother wanted out of her. Her art was the only constant through all of her foster homes, she altered almost all of her other behaviors to conform to her current environment.
For more information on Conformity, check out ChangingMinds.org
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Ingrid continues to exhibit traits of a histrionic female through the . As seen in the following clip (time = 0:40), Ingrid has a tendency to be extremely attention seeking, striving to make the world (or at least her own personal world) revolve completely around her. She does this throughout the movie as seen through the various flashbacks, even to the point of claiming her reason for being in prison was for being "strong and beautiful." Even while in prison, she brings the world in with her with her artwork, bringing her audience in to worship her when they should revile her.
In one of her final speeches (3:40) she says something extremely self involved, "you don't just walk away from me, I made you, I'm in your blood." In that moment, she does not think of anyone other than herself, she doesn't value anything outside of herself.
In the end, Ingrid overcomes her self absorbed, narcissistic and histrionic behavior and allows her daughter to live her life, the one moment where she moves above her issues in a single act of selflessness.
for more information on Histrionics, check out MentalHealth.com
note: header images created using photoshop, stock image provided by http://spicegirl.wordpress.com/
-Chris England
Alcoholism and Fatherless Developement: Hurting One Close to Me
Peter Kominsky’s White Oleander is a fictional story laden with real world psychological principles. It was a film that put me through a variety of emotional highs and lows. Although it may not be ideal for the faint hearted, I strongly recommend this film to young people everywhere; it is a work of art that may be especially enjoyable for the curious psychology student.
White Oleander features a narcissistic mother, a young girl who suffers from post traumatic stress disorder, authoritarian parenting, and suicide among other psychologically relevant characters, themes, and plot twists. Alcoholism as a coping device as well as the development of an individual within a fatherless family are psychological principles that interest me greatly. Both of these principles are evident in Kominsky’s film; consequentially, making the film a great starting point to further explore alcoholism and fatherless development.
Alcoholism is an addiction that affects approximately 14 million United States citizens (King). It is important to note, however, that alcohol is not often considered a drug. In reality, alcohol is the most commonly used and widely abused psychoactive drug in the world. The type of abuse that I am most interested in is psychological dependence. Psychological dependence is a strong desire to repeat the use of alcohol for emotional reasons such as feelings of well-being and stress reduction (King). Many factors contribute to psychological dependence. Sadly enough, there may be a genetic predisposition for an individual to become psychologically dependant on alcohol. 50-60% of those who become alcoholics are believed to have a gene for it (King). Environmental factors such as family, friends, the ease of obtaining alcohol and peer influence among other factors can react with one’s genetics to form a complex dynamic system of both physical and psychological dependence. If you are reading this blog thinking that you may have a problem with either physical or psychological dependence alcoholics anonymous (Alcoholics Anonymous) is one of the most recognized, accredited and available support groups.
Within the film, the character of Star uses alcohol as a coping mechanism. Astrid’s dialogue with Davie , found 7:40 minutes into part 4 provides a hint that Star has had problems with psychological dependence to alcohol.
Forward to 7:44
Star’s dialogue with her daughter Kara-Lee, found 30 seconds into part 5, cements the viewers inclination that Star has had, and continues to battle a psychological dependence on alcohol.
View from :30-2:08
In the waning moments of the above clip, Start attempts to take Astrid’s life. The correlation between alcohol consumption and homicides is a very interesting area of study. A whopping 60% of homicides in the United States involve alcohol consumption by either the offender or the victim (King). Here are a few extremely disturbing statistics concerning the correlation between alcohol consumption and homicide…
• Alcohol availability is closely related to violent assaults. Communities and neighborhoods that have more bars and liquor stores per capita experience more assaults.
• Alcohol use is frequently associated with violence between intimate partners. Two-thirds of victims of intimate partner violence reported that alcohol was involved in the incident.
• In one study of interpersonal violence, men had been drinking in an estimated 45 percent of cases and women had been drinking in 20 percent of cases.
• Women whose partners abused alcohol were 3.6 times more likely than other women to be assaulted by their partners.
• In 1997, 40 percent of convicted rape and sexual assault offenders said that they were drinking at the time of their crime.
• In 2002, more than 70,000 students between the ages of 18 and 24 were victims of alcohol-related sexual assault in the U.S.
• In those violent incidents recorded by the police in which alcohol was a factor, about nine percent of the offenders and nearly 14 percent of the victims were under age 21. 7
• Twenty-eight percent of suicides by children ages nine to 15 were attributable to alcohol.
• An estimated 480,000 children are mistreated each year by a caretaker with alcohol problems.
(Kuhn).
Now, in no way can one say that all of these statistics concern individuals with psychological or physical dependence on alcohol; however, the more frequently that one person drinks, the more likely they are to commit an act that correlates with alcohol consumption.
Alcoholism is an issue the affects all ages, races, and economic classes; it is imperative to recognize that the foremost way to address this travesty is in the field of treatment. If you are or anyone that you know is having difficulty with psychological, physical or both forms of addiction, please take action. Research related to White Oleander has showed that alcoholism is an addiction that affects far more lives than one.
The development and maturation of an individual within a fatherless family is a scenario that has always been of significant interest to me. Having grown up in a family where the father gradually became and absentee even destructive variable in the family, I have noticed that such a development has had a grave impact on my development. I find myself yearning for the support, advice, and companionship that only a father can offer. As much as our society is attempting to reach a state of genderless parenting, I am a strong believer that the most fruitful development is seen within a family fathered by a male and mothered by a female, both being present throughout the developmental stages. I wish daily that I had a father figure in my life.
Throughout White Oleander, I could not help but to relate to Astrid’s fatherless development. Astrid’s case is a bit more extreme as she has never had a father figure in her life. It is evident that Astrid is pondering her absentee father 4:15 into scene 6.
Forward 4:15
Astrid brings Freud’s ideas to fruition with her desire of the sexual attention of a father figure. Astrid seeks out the sexual affection of her foster father at the very beginning of scene 5.
According to the U.S. department of Health and Human Services, "Fatherless children are at dramatically greater risk of suicide" (NCHS). At the time of the marital separation, when, as typically occurs, the father leaves the family home and becomes progressively less involved with his children over the ensuing years, it appears that young girls experience the emotional loss of father as a rejection of them. While more common among preschool and early elementary school girls, this phenomenon has been observed in later elementary school and young adolescent children; furthermore, the continued lack of involvement is interpreted as ongoing rejection. Many girls attribute this rejection to their not being pretty enough, affectionate enough, athletic enough, or smart enough to please father and engage him in regular, frequent contacts (Kalter).
Similarly, girls whose parents divorce may grow up without the day to day experience of interacting with a man who is attentive, caring and loving. The continuous sense of being valued and loved as a female seems an especially key element in the development of the conviction that a young girl is lovable. Hence, without this regular source of nourishment, a girl's sense of being valued as a female seems to falter (Drill).
Daughters of single parents are 53% more likely to marry as teenagers, 164% more likely to have a premarital birth, and 92% more likely to dissolve their own marriages (Blankenhorn). As a result, all the intergenerational consequences of single motherhood increase the likelihood of chronic welfare dependency (Whitehead). Finally, daughters of single parents are 2.1 times more likely to have children during their teenage years than are daughters from intact families (Blankenhorn).
There are obvious, physical and emotional consequences to fatherless development within females. In conclusion, I would like to site the unique example of someone close to me who has been touched by each of these psychological principles. My sister uses alcohol as a coping device. Her psychological dependence is in direct response to an increasingly fatherless development. She is a fine example that the presence of violence in families predicts substance abuse (Kalia). I am planning on showing her this blog entry; I hope that it will induce positive reformation in the form of treatment.
Andrew North Glander
White Oleander features a narcissistic mother, a young girl who suffers from post traumatic stress disorder, authoritarian parenting, and suicide among other psychologically relevant characters, themes, and plot twists. Alcoholism as a coping device as well as the development of an individual within a fatherless family are psychological principles that interest me greatly. Both of these principles are evident in Kominsky’s film; consequentially, making the film a great starting point to further explore alcoholism and fatherless development.
Alcoholism is an addiction that affects approximately 14 million United States citizens (King). It is important to note, however, that alcohol is not often considered a drug. In reality, alcohol is the most commonly used and widely abused psychoactive drug in the world. The type of abuse that I am most interested in is psychological dependence. Psychological dependence is a strong desire to repeat the use of alcohol for emotional reasons such as feelings of well-being and stress reduction (King). Many factors contribute to psychological dependence. Sadly enough, there may be a genetic predisposition for an individual to become psychologically dependant on alcohol. 50-60% of those who become alcoholics are believed to have a gene for it (King). Environmental factors such as family, friends, the ease of obtaining alcohol and peer influence among other factors can react with one’s genetics to form a complex dynamic system of both physical and psychological dependence. If you are reading this blog thinking that you may have a problem with either physical or psychological dependence alcoholics anonymous (Alcoholics Anonymous) is one of the most recognized, accredited and available support groups.
Within the film, the character of Star uses alcohol as a coping mechanism. Astrid’s dialogue with Davie , found 7:40 minutes into part 4 provides a hint that Star has had problems with psychological dependence to alcohol.
Forward to 7:44
Star’s dialogue with her daughter Kara-Lee, found 30 seconds into part 5, cements the viewers inclination that Star has had, and continues to battle a psychological dependence on alcohol.
View from :30-2:08
In the waning moments of the above clip, Start attempts to take Astrid’s life. The correlation between alcohol consumption and homicides is a very interesting area of study. A whopping 60% of homicides in the United States involve alcohol consumption by either the offender or the victim (King). Here are a few extremely disturbing statistics concerning the correlation between alcohol consumption and homicide…
• Alcohol availability is closely related to violent assaults. Communities and neighborhoods that have more bars and liquor stores per capita experience more assaults.
• Alcohol use is frequently associated with violence between intimate partners. Two-thirds of victims of intimate partner violence reported that alcohol was involved in the incident.
• In one study of interpersonal violence, men had been drinking in an estimated 45 percent of cases and women had been drinking in 20 percent of cases.
• Women whose partners abused alcohol were 3.6 times more likely than other women to be assaulted by their partners.
• In 1997, 40 percent of convicted rape and sexual assault offenders said that they were drinking at the time of their crime.
• In 2002, more than 70,000 students between the ages of 18 and 24 were victims of alcohol-related sexual assault in the U.S.
• In those violent incidents recorded by the police in which alcohol was a factor, about nine percent of the offenders and nearly 14 percent of the victims were under age 21. 7
• Twenty-eight percent of suicides by children ages nine to 15 were attributable to alcohol.
• An estimated 480,000 children are mistreated each year by a caretaker with alcohol problems.
(Kuhn).
Now, in no way can one say that all of these statistics concern individuals with psychological or physical dependence on alcohol; however, the more frequently that one person drinks, the more likely they are to commit an act that correlates with alcohol consumption.
Alcoholism is an issue the affects all ages, races, and economic classes; it is imperative to recognize that the foremost way to address this travesty is in the field of treatment. If you are or anyone that you know is having difficulty with psychological, physical or both forms of addiction, please take action. Research related to White Oleander has showed that alcoholism is an addiction that affects far more lives than one.
The development and maturation of an individual within a fatherless family is a scenario that has always been of significant interest to me. Having grown up in a family where the father gradually became and absentee even destructive variable in the family, I have noticed that such a development has had a grave impact on my development. I find myself yearning for the support, advice, and companionship that only a father can offer. As much as our society is attempting to reach a state of genderless parenting, I am a strong believer that the most fruitful development is seen within a family fathered by a male and mothered by a female, both being present throughout the developmental stages. I wish daily that I had a father figure in my life.
Throughout White Oleander, I could not help but to relate to Astrid’s fatherless development. Astrid’s case is a bit more extreme as she has never had a father figure in her life. It is evident that Astrid is pondering her absentee father 4:15 into scene 6.
Forward 4:15
Astrid brings Freud’s ideas to fruition with her desire of the sexual attention of a father figure. Astrid seeks out the sexual affection of her foster father at the very beginning of scene 5.
According to the U.S. department of Health and Human Services, "Fatherless children are at dramatically greater risk of suicide" (NCHS). At the time of the marital separation, when, as typically occurs, the father leaves the family home and becomes progressively less involved with his children over the ensuing years, it appears that young girls experience the emotional loss of father as a rejection of them. While more common among preschool and early elementary school girls, this phenomenon has been observed in later elementary school and young adolescent children; furthermore, the continued lack of involvement is interpreted as ongoing rejection. Many girls attribute this rejection to their not being pretty enough, affectionate enough, athletic enough, or smart enough to please father and engage him in regular, frequent contacts (Kalter).
Similarly, girls whose parents divorce may grow up without the day to day experience of interacting with a man who is attentive, caring and loving. The continuous sense of being valued and loved as a female seems an especially key element in the development of the conviction that a young girl is lovable. Hence, without this regular source of nourishment, a girl's sense of being valued as a female seems to falter (Drill).
Daughters of single parents are 53% more likely to marry as teenagers, 164% more likely to have a premarital birth, and 92% more likely to dissolve their own marriages (Blankenhorn). As a result, all the intergenerational consequences of single motherhood increase the likelihood of chronic welfare dependency (Whitehead). Finally, daughters of single parents are 2.1 times more likely to have children during their teenage years than are daughters from intact families (Blankenhorn).
There are obvious, physical and emotional consequences to fatherless development within females. In conclusion, I would like to site the unique example of someone close to me who has been touched by each of these psychological principles. My sister uses alcohol as a coping device. Her psychological dependence is in direct response to an increasingly fatherless development. She is a fine example that the presence of violence in families predicts substance abuse (Kalia). I am planning on showing her this blog entry; I hope that it will induce positive reformation in the form of treatment.
Andrew North Glander
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