X-Files Paper

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0><script type="text/javascript" src="http://hb.lycos.com/hb.js"></script> <script type="text/javascript" src="http://ratings.lycos.com/ratings/lycosRating.js.php"></script> <script type="text/javascript"><![CDATA[//><!]]></script> <script type="text/javascript" src="http://scripts.lycos.com/catman/init.js"></script> <script type="text/javascript" src="http://members.tripod.com/adm/ad/code-start.js"></script> <script type="text/javascript" src="http://members.tripod.com/adm/ad/code-middle.js"></script> <script type="text/javascript" src="http://members.tripod.com/adm/ad/code-end.js"></script> <noscript> <img src="http://members.tripod.com/adm/img/common/ot_noscript.gif?rand=480616" alt="" width="1" height="1" />  <iframe frameborder="0" marginwidth="0" marginheight="0" scrolling="no" width="728" height="90" src="http://ad.yieldmanager.com/st?ad_type=iframe&ad_size=728x90&section=209094"></iframe>  </noscript> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" colspan=2 height=100 BGCOLOR="#CCCCFF" TEXT="#080000" bgproperties="fixed" background="31800640egdysm.jpg"> <div> <FONT SIZE="6" COLOR="#000099" FACE="Arial" ><B>The Message </b></FONT><B>   |     </b><A HREF="index.htm" TARGET="_top" TITLE="The Message"><U><B>home</b></U></A></div> <bR> <div> </div> </td> </tr><tr> <td valign="top" width=150 BGCOLOR="#0000BF" TEXT="#F7F7FF"> <bR> </td> <td valign="top" height=380 BGCOLOR="#FFFFFF" TEXT="#080000"> <div> <I>X-Files Paper</I></div> <div> "<I>It has been said that the fear of the unknown is an irrational response to the excess of the imagination."</I></div> <div>           Dana Scully, <I>The X-Files.</I></div> <bR> <div>         Every Friday night, thousands of X-Philomaniacs tune into what has been coined the "<I>Star Trek</I> of the 90s."<I>  The X-Files </I>series offers viewers the opportunity to partake of the quest into the supernatural and the unknown.  FBI's Violent Crime Section's agents Fox Mulder and Dana Scully each lend their unique perspective in attempts to explain that which has no explanation.  Like Dr. Jekel and Mr. Hyde opposites these two partners offer opposing positions on each case.  Scully's input is logical, scientific, and often represents a denial of actual events.  Mulder, on the other hand, explains cases in a spiritual, mythical, mystic and often socially incorrect manner.  </div> <div>       Now, playing in 56 other countries, <I>The X-Files</I> infiltrates the psyches of viewers worldwide.  Alternative music emerged for this alternative following in the form of a music collection: <I>Songs in the Key of X (</I>Nolinger, 1996). The world wide web facilitates many devotees who anoint themselves "The X-Philers"  A cult devotion topped only by<I> Star-Trek</I> and the Trekkies (Nolinger, 1996).  The feeding frenzy continues into yearly conventions where producer Chris Carter offers wafers of insight to the hidden meanings within the show.  Journalist M. Nolinger (1996) describes the devotees:</div> <div> Fans of <I>the X-Files</I> crave information the way mutant flukes crave human flesh.  They have an uncontrollable urge to collect clues that will shed some light into  the enigmatic world of special agents Dana Scully and Fox Mulder (p. 11). </div> <div>      Carl Jung believed film represents the cultural psyche of the viewers.  Like a mirror to the soul, one can look at popular media to gain insight into the condition of the society which that film reflects.  "Furthermore, a Jungian analysis can offer insight into the relationship between the film and the viewer and can suggest the relevance of the film, or collection of films, to a society in which it arises (Davies, Farrell, & Matthews, 1992, p. 327). Changes within a society are internalized and unconscious states metamorphosize simultaneously to reflect those changes.  "The external world of historical conditions and the internal world of psychological processes are separate, but interrelated, domains of human experience" (Rushing & Frentz, 1991,  p. 386).  </div> <div>      Scholars identify prominent archetypes in film and television.  Their works represent an emerging attempt to recognize visual media as a statement of conditions in a society that needs to be healed by rhetoric.  According to Rushing and Frentz (1989), fear of being replaced by technology creates a collective nightmare within a society.  A culture projects its shadow onto technology in order to heal itself of fear.  They prescribe the integration of feminine values into consciousness.  Lucanio (1987) identifies monsters and aliens in alien invasion films as projections of the collective unconsciousness.  These films serve "as a massive symbol of life's own destiny" (p. 131) in order to become "symbols of transformation for their audience to partake in the process of individuation" (p. 20).  Thus healing--individuation--occurs at the societal level by casting off the collective unconsious--"monsters"--and slaying or conquering them. <I>Batman,</I> according to Terrill (1993), reflects a "schizophrenic" condition within individuals.  In the movie, Batman functions with one part of his life in the dark (shadow) and one part in the light.  Gotham city represents a persona possession that "puts on a happy face" rather than addressing the problems of the unconscious.  By denying the problem, Gotham remains dependent on Batman.  The film suggests that viewers face up to  the notion that "there is no one to save us from the shadows that are threatening to erupt into our consciousness at every turn" (p. 334).  One must not remain persona possessed or s/he will end up like Gotham city--needing a schizophrenic savior.  Finally, David Payne (1989) identifies the media ritual of <I>The Wizard of Oz. </I> Like a yearly trip to the psychiatrist, the show reminds the audience that the answers to life's questions come from within.  The lion had a heart and the scarecrow had a brain all along--they just needed to know where to look.  All these critics point to a sickness within society,  projected onto the film. Like hypnosis draws out the repressed unconscious, so film draws out a repressed society.  The film offers therapeutic possibilities allowing those who are willing to grasp deeper meanings to use the information on the path to individuation. </div> <div>      The cultural shadow has many forms--each a problem that we would rather repress than face.  <I>The X-Files</I> deals with one such problem, the problem of a rising scientific consciousness and a declining reliance on myth.  Dana Scully represents the persona of science and Fox Mulder represents the shadow of myth in the struggle to individuate along the symbolic quest for the  "truth" that is out there.  I will develop this claim by summarizing Jung's concept of the unconscious, specifically,  the shadow and persona, and then I will  analyze <I>The X-Files</I> for its insight into the struggle between science and myth.  The discussion following argues the need to reconcile these differences.  </div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>JUNG'S CONCEPT OF THE PSYCHE</b></div> <div>      The psyche, according to Jung, has three layers:  Consciousness, personal unconscious, and collective unconscious (Jung, 1971).  Consciousness is born out of the "primordial womb of unconsciousness" (Jung, 1983, p. 417). The personal unconscious is the storehouse for contents that have lost their intensity, were forgotten, or were repressed.  Also contained are items that lacked  the intensity  to enter the conscious mind and went straight to the unconscious (Jung, 1971). The collective unconscious "consists of mythical motifs and primordial images" (p. 39). These archetypes are common to all people and are manifested in dreams (Jung, 1971). Archetypes are patterns of behavior that "predispose us to approach life and to experience it in certain ways, according to patterns already laid down in the psyche" (Stevens, 1990, p. 40).  There are many archetypes: The shadow, the wise old man, the mother, the anima/animus.  This analysis focuses on the shadow as it is projected onto Fox Mulder.  </div> <div>      According to Jung, the shadow acts as a separate entity:   The inferior part of the personality sum of all the personal and collective psychic elements which, because of their incompatibility with the chosen  conscious attitudes, are denied expression in like and therefore coalesce into a                                  relatively autonomous 'splinter personality' with contrary tendencies in the unconsciousness" (Jung, 1983, p. 422).</div> <div> The shadow appears as projections on suitable persons  (Jung, 1983) or often as "grotesque and horrible forms in dreams and fantasies" (Jung, 1968,  p. 52).  The shadow is that which is hidden "personifies everything that the subject refuses to acknowledge about himself" (Jung, 1986, p. 221). The shadow is sometimes contrasted with the persona (Storr, 1973) such  as in the case in <I>The X-Files </I>where Mulder, the shadow, is contrasted with Scully, the persona.  </div> <div>      Persona is the name of the masks worn by people of antiquity --it represents the outward personality--the social facade (Jung, 1983).  It is the " 'packaging'  of the ego:  It is the ego's PR man or woman, responsible for advertising to people how one wants to be seen and reacted to" (Stevens, 1990, p. 42) The persona makes one an acceptable member of society: The persona is a complicated system of relations between individual</div> <div>  consciousness and society.  Fittingly enough, a kind of mask, designed on one hand to make a definite impression on others, and on the other hand, to                                      conceal the true nature of the individual  (Jung, 1986, p. 94).</div> <div>      In Jung's view, all human beings are "divided selves" (Storr, 1973). He thought that the psyche seeks to reconcile the opposites in order to reach a higher state of consciousness (Jung, 1981). The goal  that an  individual should strive for is "that of integration or wholeness" (Storr, 1973, p. 81). Jung called this attempt to assimilate the unconscious into the consciousness "individuation"  and he believed the mandala--squaring of the circle--symbolizes that integration (Jung, 1981Storr, 1973, p. 81). The mandala "symbolized a new center in the psyche which was neither consciousness nor unconsciousness but partook of both" (Storr, 1973, p. 75). </div> <div>      In order to understand an individual's unconscious, Jung believed that one must look at dreams and in order to understand the collective unconscious of a society, one must look at the "dreams" of the society--film. "If films are to a large extent  public dreams, then our role as critics is similar to that of a depth analyst:  To interpret how the film as collective dream provides a picture of the cultural unconscious" (Rushing & Frentz, 1995).  Jung saw cinema as one outlet for the unconscious to manifest itself because it "enables us to experience without danger to ourselves all the excitements, passions, and fantasies which have to be represses in a humanistic age" (Jung, 1971, p. 478).  </div> <bR> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>OPENING THE PSYCHE IN </b><I><B>THE X-FILES</b></I></div> <div>      The opening sequence of <I>The X-Files</I> shows a collage of images--a dream state--a reflection of the unconscious of society.  The words "The X-Files" comes on screen with the "X" in a circle:  The mandala symbol.  The symbol beckons for unity of opposing parts.  Fox Mulder's FBI badge flashes on screen followed by Dana Scully's.  Unification  comes through the opposing parts--Mulder and Scully--working together on the X-Files.  In one of the images in the montage, Scully and Mulder stand slightly out of focus side by side they stand illuminated only by the beams of their flashlights which barely penetrate the haze.  They stand in the haze of the unconscious attempting to illuminate something.  The opening sequence concludes with five words written in large capital letters:  "THE TRUTH IS OUT THERE."  Mulder and Scully are seeking to unify opposing positions in the quest for truth.  </div> <div>      Special agent Dana Scully exerts her opinions  under the guise of science.  Her name, Scully, evokes the image of a skull  and implies that she is brainy and logical.  Indeed she is both, for she is a medical doctor specializing in forensics and her attempts to explain the contents of the X-Files always reflect her scientific background.  Her original mission demanded that she debunk Agent Mulder's controversial explanations of the cases.  Throughout the series, she continues to find her faith in science and the notion of an orderly universe being challenged.  Little by little, Mulder erodes her skepticism and converts her from a spy for the bureaucrats into focusing on proving that  the "truth is out there." </div> <div>      Special agent Fox Mulder, whose  name is that of a nocturnal mammal associated with cunning and intuition, was recruited by the FBI after graduating Oxford as a student of psychology.  His explanations embody spiritualism,  the paranormal, and those things which society views as mythic.  The name "Fox" also marks the name of two females who birthed the spiritualism movement:  Kate and Margaret Fox (Coon, 1992).  These two young women investigated unusual phenomenon in the 1840s and took their affirming evidence on tour at lecture halls.</div> <div>      The interplay of Scully and Mulder symbolizes the antagonism between the shadow and the persona.  Scully. like the persona, dwells in the light.  She is "enlightened" by her understanding of science which allows her to offer quick solutions to seemingly difficult cases.  Her work as a forensic scientist places her in well lit autopsy rooms, literally bringing the truth from inside people "into the light." Likewise, the persona is the side of a person that everyone sees, the side of a person that is "in the light."</div> <div>      Jung identified the persona as the role played by an individual in accordance  with the expectations of society (Storr, 1973).  Scully, like the persona, hides those things that may not be acceptable to the public.  Ironically, she, who by occupation desecrates dead bodies, finds herself unable to cope with a fetishist who is  desecrating cadavers in order to add to his collection.  "I know that the world is full of predators, as it has always been, and I know that it is my job to protect people from them," she tells the Bureau psychiatrist in "Irresistible." The persona is "designed on one hand to make a definite impression on others, and on the other, to conceal the true nature of the individual" (Jung, 1983, p. 94).</div> <div>        Scully sees herself as the protector similarly, it is the task of the persona to protect an individual from predators. Skinner tells her after the death of her sister, "If you can't keep your head, it's all right to step away." She replies, "That's exactly what they want." Because of her role as FBI agent, the public expects her to protect others and to not be afraid, but in reality she fears many things but must "mask" her feelings for the sake of  others. "You think you can look into the face of pure evil--and then you find yourself paralyzed by it," she explains to her psychiatrist.  She even denies her fears to her partner Mulder, "I don't want him to feel like he has to protect me." she continues. </div> <div>      Scully hides behind science her understanding is illusionary she pretends to cling to scientific explanations even when she doubts science's abilities to provide solutions.   "What I find fantastic is any notion that there are answers beyond the realm of science," says Scully in the pilot episode. At a recent "Flight from Reason" conference where scientists attempt to defend science Dr. Holton said "The moral authority of science depends on maintaining a good sense of self, and recognizing the need in self-protection" (Browne, 1995).  Hiding from the truth is a means of self-protection the persona " is designed, on one hand, to make a definite impression on others, and on the other to conceal the true nature of the individual (Jung, 1983, p. 94). </div> <div>          A person may become persona-possessed with negative consequences, for one cannot get rid of oneself in favor of an artificial personality without punishment (Jung, 1983).  The punishment that Scully suffers emerges as she begins to separate her feelings from herself she has become so persona-possessed that she is detached from her own feelings: "You think you find a way to deal with these things...you develop a clinical detachment to death."  The psychiatrist asks her if she is aware  that she referred to herself in second person. Scully responds cluelessly, "Was I?"  She is unaware of  her detachment.</div> <div>      The persona fears that the shadow will take over.  Storr (1973) interprets Jung as saying that the contrast of the persona is "simply a way of saying that those who are identified with their social roles are unaware of their own antisocial impulses and out of touch with their own inner feelings" (p. 54).  The case that frightens Scully the most is not a case about the paranormal but the abnormal: a case in which a man has allowed his shadow to take over.  The fetishist, in this case, gave way to those unacceptable desires and is "preying on the living to scavenge from the dead."  Scully acknowledges that the only way for her to beat the fear of the shadow is to accept it. "The conquest of fear lies in the moment of its acceptance."</div> <div>      While the persona fears the shadow taking over, it also fears individuation.  Several instances occur where Scully could easily accept the alternative viewpoint, but she clings to her mask.  When Mulder gives her strong evidence for the existence of reincarnation, she hides behind the law rather than evaluate the evidence.  She tells him, "we will not have an actionable case."  The truth does not seem important, only that which the public, or in this case, the courts, will accept.  In several instances, Scully knows the answer, the shadow's answer, she says, "Now Mulder, if you're going to tell me Michelle Bishop saw a poltergeist." Sensing that she knows the truth but is running from it, he replies, "Hey, you're the on that found the lesions."  Her science found the evidence that he predicted she would find.  "So you think...that the victim wasn't murdered at all, that he was devoured by a mythological jaguar spirit?" says Scully in "Teso Dos Bichos." His reply: "Go with it Scully." Time after time, she knows the truth and time after time denies the truth that is right before her own eyes. </div> <div>           Mulder, like the shadow, embodies the nocturnal fox searching in dark places from his basement office to his shadowy meetings with CIA agents.  In "Pusher," he interviews, Michelle, a young girl who has been possessed by a disembodied spirit, in a poorly lit, dreary room while Scully walks in the sunny outdoors interviewing the girl's mother.  In another scene, he interrogates the girl's psychiatrist in a dark office as Scully examines a body in the heavily illuminated autopsy room.  Throughout the series, his files are confiscated, his evidence is burned, and his credibility is destroyed in attempts to keep his ideas "in the dark."  </div> <div>      Mulder knows the answers, but the answers are "unacceptable" for society, so they are repressed--kept hidden in the bowels of the unconscious--just like his work.  Many times throughout the series, the Bureau tries to terminate Mulder's investigations. "You can't get away with this," he yells in "Piper Maru," "you can't bury the truth."  In several episodes, the X-Files were disbanded and he and Scully were separated.  In "Pusher," Mulder asks Michelle's psychiatrist if she noticed any unexplained phenomena regarding the little girl.  The doctor responds by making him leave: " I have a patient waiting," she says. </div> <div>      Mulder, like the shadow, is obsessive. "Closer examination of the dark characteristics--that is, the inferiorities constituting the shadow--reveal that they have an emotional nature, a kind of autonomy, and accordingly an obsessive or, better, possessive quality" (Storr, 1983, p. 91). Mulder's profile on Twentieth Century Fox's web site describes him as "being obsessed with the X-Files because of his belief that as a child, he saw his sister abducted by some unknown force." (Web, 1996)  In the pilot episode, one agent tells Scully, "Mulder had developed a consuming devotion outside the bureau mainstream."  He becomes so obsessed in "pusher" that he insists a mother submit a daughter to hypnosis despite her objections and the psychiatrist's disapproval.  He continues to pursue the issue despite Scully's reminders that their job is providing prosecutable cases and this one does not qualify.  </div> <div>      Mulder, like the shadow, embodies ideas that are often unwanted and sometimes better left repressed.  Scully's knock on Mulder's basement office door in the pilot episode illicits his response, "Sorry, nobody down here but the FBI's most unwanted."  The shadow exemplifies that unwanted portion of the psyche that stays hidden, in this case hidden in the basement office among the X-Files.  Mulder writes in his journal, "The true curse that struck the museum was the failure to understand that there are powers that should not be disturbed.  That some things are better left buried."</div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>IMPLICATIONS</b></div> <div>      The contrast of characters in The X-Files reflects the ongoing conflict between science and myth  Recently a "Flight from Reason"  conference convened, while there advocates of science claimed "the fabric of reason is being ripped asunder, and that if scientists and other thinkers continue to acquiesce in the process, the hobbling of science and its hand-maidens--medicine and technology among them-- seems assured" (Browne, 1995). The conference was in reaction to the growth in mysticism, healing, astrology , and paranormal charlatanism referred to as "cognitive diseases" practiced by "lunatics" requiring the need to "to launch a crusade against quackery" (Browne, 1995).  On the flip side, the "enemies of science" were compared "to marital rape, the husband as scientist forcing nature to his wishes." (Browne, 1995). </div> <div>        Joseph Campbell (1971) argues that a society needs myths. Noting that science disproves many of the foundations of myths, Campbell recognized that  problems are created as a result.  Coon (1993) says, "At the turn of the century, "humanity witnesses the death throes of the religious world among intellectuals" (p. 143)this results in high levels of cultural anxiety.  In cases of primitive societies where myths have been shattered, they have been know to "immediately fall to pieces, disintegrate, and become resorts of vice and disease" (Campbell, 1971, p. 9).</div> <div>      While science often shatters myths, the real struggle comes from its attempt to separate itself The boundaries between spiritualism and science have always been ill defined (Coon, 1992) partly because science masquerades as "truth" when in fact it is a myth in itself.  </div> <div>      For the really great and essential fact about the scientific revolution--the most wonderful and challenging fact--is that science does not and cannot pretend to be                                                 final.  It is a tentative organization of mere, working hypotheseis...that for the present appear to take into account all the relevant facts now known  (Campbell, 1971, pp. 15-16).Science becomes merely one more myth, different only in the manner in which it is discussed. "What we call 'science' is differential from the older myths, not by being something different from a myth, but by being accompanied by a second older tradition--that of critically discussing the myth" (Popper, 1968, p. 127).  Jewett and Lawerence (1988) define this the "myth of mythlessness." In their criticism of <I>Star Trek</I>, they notice that while the show claims to "wear a cloak of empirical science" (p. 9) it actually upholds a "set of unconsciously held, unexamined premises" (p. 17). <I> Star Trek's</I> claim to be purely scientific is thus suspect.  </div> <div>      Mulder and Scully represent two different paths of societies quest for truth.  One  the "shadowy," dark, socially unacceptable path,  is the trail of myth--the paranormal.  The other, the brightly lit, socially correct, path is the road of science.  The truth is out there and there is more than one way to get it.  Campbell (1971) believes that we dismiss the old texts of myth for the sake of science too quickly.  According to science, "Nobody knows what is out there, or if there is any 'out there' at all" (p. 16). In the pilot episode, Mulder proposes, "When convention and science offer us no answers might we not finally turn to the fantastic as a plausibility?"  Jung believes that the difference comes from science functioning in the conscious mind while myth functions in the unconscious. "The answers are there," says Scully ironically, "you just have to know where to look."</div> <div>      Throughout the series Mulder and Scully come closer and closer to individuation.  When their direct supervisor, Skinner, is being held on murder charges,  Mulder and Scully work together towards a resolution. She tells an FBI review board,  "Agent Mulder had a theory that the substance could have come from a (succubus) visitation."  While voicing Mulder's theory she senses other's doubt and  insists, "I have always viewed through the lens of science." Scully is asserting that Mulder's mythical explanation stands up to her scientific scrutiny hinting that the two can be combined.</div> <div>      If a society is to individuate it must recognize the need for both science and myth.  We must recognize ourselves in our cultural dreams to avoid madness. All that can be said is there appears to be a prodigious display of phenomena,   which our instruments translate to our minds according to the nature of our  minds.  And there is a display of a quite different kind of imagery from within, which we experience best at night, in sleep, but which also may break into our daylight lives and destroy us with madness (Campbell, 1971, p.16).</div> <div>      We must recognize that a society needs myths to keep in touch,  Myth, according to Jung, is the way to bring us back in touch (Jung, 1983).  It represents the wisdom of the species and the common powers of the human spirit throughout the ages (Campbell, 1971). The "truth is out there" may be the driving force behind the plot of <I>The X-Files, </I>but Jungian psychology proposes that that which is personified, that which is known, has an opposite or opposing force.  In this case the shadow, or that which is hidden, is that the truth is not <I>out</I> there at all--the truth is<I> in </I>here.  The truth is inside each individual who chooses to look inside long enough to sort out the pieces.  </div> <div>     </div> <bR> <DIV ALIGN="LEFT"></DIV> <div> <B>References  </b></div> <bR> <div> Browne, M.W. (1995) Scientist Deplore Flight from Reason. New York Times      June 6,  1995.</div> <div> Burke, K. (1945). <U>A grammar of motives. </U>New York: Prentise Hall.</div> <div> Campbell, J. (1972).<U> Myths to live by. </U>New York: Bantam books.</div> <div> Coon, D.J. (1992). Testing the limits of sense and science: <U>American      </U>     <U>Psychologist 47 </U>(2), 142-151.</div> <div> Davies, R.A., Farrell, J.M., and Matthews, S.S. (1983). 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