Mindfuck [mahynd fuhk] IPA: /maɪnd fʌk/ -noun 1. A concept or argument which is fraught with contradictions, and is used as a control tool. 2. An idea or concept that shakes one's previously held beliefs or assumptions about the nature of reality. 3. A cinematic technique that uses misdirection to lead to an ending that is at first glance completely unexpected or contradictory, but is coherent and reasonable given hindsight and careful observation of the clues presented.
In pop culture a Mindfuck is a film which often employs a plot device where the [perception of] reality is distorted to such an extent that sequences can only make sense if viewed in a larger context of the story [usually climactic moments]. (Phew!! I hate long definitions.)
From the beginning of the cinema countless filmmakers have experimented with the perception of reality. There are quite a few films that have been successful in the execution of this concept. Some of the notable films are:
- The Matrix
- Dark City
- Machinist
- Eternal Sunshine of the Spotless Mind
- Prestige
- Memento
- Inception (2010)
- Lost (TV Series)
- Carnival of Souls
- Twilight Zone (Original Series)
- Jacob's Ladder
- Lost Highway
- An Occurrence at Owl Creek Bridge
- ... and many more
I remember watching Jacob's Ladder years ago and when it finally finished I just thought -- Whoa! What did I just see?
I think this kind of audience reaction in itself is a big motivation for a writer or filmmaker to create something as mind bending as Jacob's Ladder.
Couple of years later I watched Carnival of Souls and An Occurrence at Owl Creek Bridge and both employed the same plot device. Rightfully Jacob's Ladder borrowed the idea from these films and applied its own unique design principle.
So the big question is what is fascinating about the perception of reality that both audience and filmmakers are drawn towards it.
Good filmmakers will always push the boundary of the medium. Kubrick, Christopher Nolan, Kurosawa have effectively experimented with the idea of reality. Nolan used this technique in Memento and then again in The Prestige and now in his forthcoming film Inception. Kurosawa in a way gave birth to this technique. Kubrick tried to experiment this in The Shining and again in Eyes Wide Shut (not very effectively).
In psychology two types of perception exists
- Phenomenal (something quantifiable)
- Psychological
Point of View and Unreliable Narrator Device
Filmmakers works in the realm of psychological perception. Psychological perception leads to another important concept in films -- point of view. Kurosawa used this technique in Rashomon. It became so popular that a name is given to this concept called Rashomon Effect which basically means subjectivity of perception.
Most of the film using this device often deals with various characters watching the same incident from different frames of reference. Writer often adds another layer of complexity by introducing one or more unreliable narrator. Some examples are: Courage under fire, Hero [2002], Surveillance, Vantage Point.
Famous poet John Godfrey Saxe in the poem The Blind Men and the Elephant says:
It was six men of Hindustan To learning much inclined, Who went to see the Elephant (Though all of them were blind), That each by observation Might satisfy his mind.
Bertrand Russell says in The Analysis of Mind
When we perceive any object of a familiar kind, much of what appears subjectively to be immediately given is really derived from past experience.
This presents the very basic paradox of perception:
Your perception of reality will always be limited by openness of your senses. Freedom of the Soul Motif
Jacob's Ladder, Carnival of Souls, An Occurrence at Owl Creek Bridge, Angel Heart employed a similar motif - liberation of soul. In all these films the protagonist is stuck in a form of purgatory. The liberation of soul demands detachment from worldly connections, memories.
Most of the films mentioned above really stood out for me in terms of execution of the idea. I hope to revisit this concept some other time and probably do a more in-depth study.
As someone who is struggling with writing I can safely say screenwriting is difficult but what is more difficult is to find a hinge for your entire story. If you planning to write a "mindfuck" make sure the hook is fresh and enticing but not intimidating because last thing you want is a studio exec throwing your years of sweat and blood just because he thinks the idea is "too difficult to make sense".
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