A friend of mine has a bitter experience dealing with a loss. After laying their hands on a new book, the first thing they do is tear off its back page. That way, they can’t really get rid of it; the story stops but it’s not over.
There are very few things in this world like turning the back of a book you’ve been with. Or looking at the last part that remained stable for hours, if not days. I ended a one week relationship with Anatomy of a Scandal just yesterday; before that, there was a steamy affair with Flaubert Madame Bovary that is what my heart desires. These are stories that have not only played on the screen or the page, but have really built a house in my mind. Looks like I got it
The result of something can be emotional. But for the fictional characters that remain in books and small television series, the ending means mourning another loss. deep earth. This is an unwritten contract between the developer and the thinker; we put ourselves into the universe new and old while buying our mind for this gate that often escapes our real world. Some call the melancholy of finishing a work of fiction the “post-book blues.” But why melancholia in the first place?
Psychologist John Mayer confirms this air of darkness. “We often go into a state of sadness because of the loss we see,” he said. “We call this situational stress because it is triggered by an event that can be seen. It lowers the activation of our brain (depressed) like other types of depression.
On the other hand, the enjoyment that people get from experimenting with fiction is what minimizes the loss. Regularly watching a series — even binge-watching — is linked to the release of dopamine in the brain. Dopamine, the pleasure chemical, acts as the body’s pleasure conductor; “You should always look!” or “come, do the end of the ninth chapter,” it urges people. A Netflix study found that 73% of participants expressed “positive” feelings after watching something. What remains at the end of the binge is a saga of loss and desire.
“When watching your favorite show, your brain keeps producing dopamine, and your body feels a high like a drug. You experience a pseudo-addiction to the show because you develop the desire for dopamine,” said Renee Carr, a psychologist at NBC News.
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Is this normal? “I think of friends with fictional characters”
People and lives, while they live in a book or a show, make connections with strangers. This force is changing its strength; A few days more time with Charlie and Nick Heart like friends and family. Other days, people go on a girl’s night for a night with Agatha Christie’s Murder of Roger Ackroyd. Time and built-in familiarity register the brain in unpredictable ways; The brain does not care whether the world it observes is real or imaginary.
“Our brain considers all information, whether seen on TV, experienced in life, read in a book or imagined, as true memories,” said Gayani DeSilva, a psychiatrist at Laguna Family Health. Center in California. “So when watching a TV program, the same areas of the brain are activated as when we see a live event. We are connected to the stories, connected to the characters, and really care about the characters. result of conflicts.”
The brain doesn’t care that fiction, by its definition, isn’t real – it can’t help but believe. This is because the brain registers reality as it registers representation. Jim Davies, a professor of psychology at Carleton University, says this is an evolutionary trait that humans are taking; the cognitive parts of the brain are programmed to process fact and fiction with the same visual mechanism. So it doesn’t matter if it’s only eight stories or a 426-page book; The paradox of fiction is that people must interpret it as truth.
It is not easy to separate fiction from reality. The idea of a book, or something on the screen, is almost always right; although the truth is not necessary. Then it’s very easy to identify, relate to, or think of these characters as people we know and understand. DeSilva goes on to explain the different ways we can bond with words, and then leave us with the idea of telling them.
“‘Identification’ is when we see a character in a show that we identify with,” he said. In New Family, for example, a person can identify with “a foster parent, a gay man, the father of a gay man, the daughter of a father married to a young woman, etc. .” Then there is the “emotional experience,” stories that respond to the desire to escape or nurture an individual’s feelings. ” he said. When the link is cut, at the end of the show, this idea must die – it will be more difficult to move on from these stories.
Perhaps, the most important way it plays is through the “parasocial relationship”; People see the sense of familiarity and validation and form a mutual relationship with nature. “When we make a parasocial relationship with someone, we think we really know them,” Shira Gabriel, a professor of psychology at the University at Buffalo in the US, told HuffPost. “We know for sure we’re not, but our early brains don’t know so the theory is true.” These relationships are safe and sacred; Nothing can replace our strength with them. Parasocial relationships breed resentment and bitterness, just like real life relationships.
This explains why the background of a book or the end of a show is like blue. We are not only missing a story, but a human connection.