Grief and A Single Man

Article topic: 
A Single Man

This film is a study of a gay man in grief who contemplates suicide but over the course of one day finds solace in small pleasures. From a psychiatric point of view it deals with the overlap between grief and depression and the effect of prejudice on the mental health of society's stigmatized minorities. Concepts of 'normality' change in society over time and influence the practice of psychiatry. Homosexuality only became legal in the UK in 1967. In 1974 the American Psychiatric Association (APA) finally removed homosexuality from it's classification of psychiatric diseases, but this decision was ahead of the prevailing public opinion, which still regarded homosexuality as a deviant abomination. Many psychiatrists had never been happy with the medicalization of this common and enduring sexual preference. Freud himself excluded homosexuality from his own framework of neuroses, regarding it as a condition of self that was determined early in development and which did not lead to pathology provided the individual accepted his orientation. At the same time it was accepted by many psychiatrists that the condition was a result of "glandular secretions" and was a biological fact, not a chosen preference. In fact most members of the APA were hypocritical - concerning themselves with treating the conflict between the reality of an individual's sexuality and his internalized norms/religious beliefs, rather than the sexual orientation itself. The effect of prejudice on the health of the main protagonist in "A Single Man" is stark: we see him projecting of a false self, while secreting his loss. We understand that over time this has led to a worsening of the depressive phase of his grief, which almost ends in suicide. Fortunately the prospect of a new, less 'symbolic' relationship with someone who identifies with his sexuality brings him back from the brink. There is a positive life-affirming message in this story - that depression can lead to courage and spiritual and emotional growth. This topic is touched on in my book, How Sadness Survived*. *Keedwell P A. How Sadness Survived. Radcliffe, Oxford, 2008.

More articles on the same film

Psychiatry and A Single Man

Psychiatry and the movies have grown up together. Both were in their infancy at the turn of the century and then went on to make massive advances within the following decades. Maybe this is why they have always shared a relationship which can be described as both complementary but also hostile. Both disciplines share a voyeuristic interest in appraising the body and are particularly interested when that body does not function as it should prompting a Foucauldian approach to the analysis of psychiatric discourses in film.

Sexuality, Gender and Colours in a Single Man

My research interests are sexuality and gender studies – in particular the relations between sexuality, gender and time – so my response to A Single Man centres on the question: for whom is it a ‘gay film’? Does a viewer have to be gay in order to experience A Single Man as gay cinema, via an identification with the central character, George? I would argue that they don’t, by focusing on the film’s form rather than its content – in other words, by analysing the formal qualities of the film, instead of the content of its characters.

A Sociological Approach to Suicide

A sociological approach to distress and suicidal behaviour inevitably emphasises the social and cultural context of distress. Sociological research from the classic work of Durkheim onwards has drawn attention to the significance of social bonds to suicidality. Durkheim’s work was based on macro-level analysis of comparative suicide rates. At the micro-level, sociology has struggled to make sense of individual cases of people in distress. Some sociologists have seen this as the exclusive domain of psychology.