 Teacher's Guide to Inside Out | When an 11-year old girl is uprooted to move with her parents, the cartoon character emotions in her mind must figure out how to work together to guide her through this difficult transition. Riley is thrown for a loop when she and her parents move from Minnesota to San Francisco. Five primary emotions – happiness (joy), anger, disgust, sadness, and fear – appear as cartoon characters within Riley Andersen’s mind (“headquarters”). The emotions must figure out how to work together to guide her through this difficult transition. When Joy and Sadness get lost in Riley’s mind, Anger, Fear and Disgust are left to navigate Riley’s new experiences. Joy and Sadness finally return after their adventures through various aspects of Riley's memory, sleep and dreams. |
Neuropsychological Review
Inside Out of Memory and Emotions
By Victoria A. Grunberg, M.S.
Inside Out (2015) is an entertaining cartoon film that demonstrates the emotional complexity and development of an 11-year old girl, Riley Andersen, as she experiences the stress of moving across the country with her parents and adjusting to a new school and new friends. From a neuropsychological perspective, the movie demonstrates several facts regarding the impact of emotions on memory, how sleep is related to memory consolidation, and the role of emotions for interpersonal functioning. This film appeals to all ages, and could be used to open discussions with children regarding emotions, challenging situations, and how to cope.
Inside Out of Memory and Emotions
By Victoria A. Grunberg, M.S.
Inside Out (2015) is an entertaining cartoon film that demonstrates the emotional complexity and development of an 11-year old girl, Riley Andersen, as she experiences the stress of moving across the country with her parents and adjusting to a new school and new friends. From a neuropsychological perspective, the movie demonstrates several facts regarding the impact of emotions on memory, how sleep is related to memory consolidation, and the role of emotions for interpersonal functioning. This film appeals to all ages, and could be used to open discussions with children regarding emotions, challenging situations, and how to cope.
The representation of the primary emotions is consistent with Paul Ekman’s (1992) universal families of emotions -- enjoyment, anger, fear, disgust, sadness. Ekman also has noted other basic emotions that are important for human functioning, including embarrassment, surprise, excitement, and awe. For simplicity, the film depicts the primary emotions that are universal across cultures.
Inside Out metaphorically demonstrates how memories are made and the key role of emotions to create, store, and retrieve memories. In the beginning of the film, each memory is coded as a different color, representing one of the five primary emotions. When Riley experiences an event, it becomes a colorful ball that is carried into the “Headquarters” (i.e., her mind) and is associated with one of the emotions. In reality, humans often experience multiple emotions while creating memories. For example, meeting a new person can be intimidating, anxiety-provoking, and also joyful. Humans also experience memories that are not emotionally charged. Memories can consist of mundane information and experiences that may not be associated with any specific emotion. Further, the film suggests that specific emotional memories (i.e., “core memories”) are especially important for dictating behavior. This idea of “core memories” is not supported by brain science. The idea of "core memories" comes from computer science. All memories influence how one perceives and interacts with the world. A person’s identity is an integration of these memories (experiences) as well as genetic and biological variables. The film understandably simplifies the process of emotions and memory for entertainment and age-appropriate audiences. It correctly shows that emotions can influence memory encoding and ultimately behaviors.
The film focuses on autobiographical memories, that is, memories related to events from Riley's experiences. Throughout the movie, all of the "important" memories in the headquarters of Riley's brain contain an autobiographical life experience. These memories influence Riley, her personality and her behaviors. Although autobiographical memory (i.e. episodic), and experience, does play an important role in the construction of personal identity (Wilson, & Ross, 2003), other types of memory, such as memory for facts and information (i.e. semantic) are important as well. In one scene Joy and Sadness get lost in Riley’s mind and they come across a library of facts and knowledge. This library is meant to represent semantic memories, rather than autobiographical, but it does not seem to influence Riley’s behaviors or personality.
In the film, memories are played like movies when Riley is “remembering” and, therefore, they are completely unaltered. When Riley is having a bad dream after her recent move to San Francisco, Joy plays a happy “core memory” of Riley skating with her parents in an effort to replace a bad dream. But in real life memories are not replayed in this way. In fact, every time one thinks about a memory, it is slightly changed. Memories are changeable and time greatly impacts how they are remembered (Loftus, 1994). A more accurate example of this concept is when Sadness begins to change Riley’s memories. In one scene Sadness begins touching all the memories so they would now be remembered as sad, This scene is a metaphor for how easy it is to change a memory and how emotions can greatly impact how they are retrieved.
In general, research supports the overall message of this film – emotions are important for memory. Events that are remembered more often and/or memories with emotional significance are more likely to be stored in long-term memory (Reisberg & Hertel, 2005) however the emotional quality of a memory, and the story of the episode itself can change after later emotional experiences that may "color" the memory. Although “core memories” do not exist, the film appropriately highlights how emotions can be used to encode and retrieve information from one’s mind.
Another important neuropsychological concept demonstrated in the film is the relationship between sleep and memory. When Riley sleeps, her memories are processed into her long-term memory. This scene of sleep and memory storage has elements of truth. Brain research supports the ideas that that sleep is a vital component in forming and shaping memories (Stickgold, 2005). In the movie, Riley is in REM sleep (i.e., Rapid Eye Movement sleep which is usually associated with dreaming) while her memories are being stored. However, most brain research suggests that memories of this type are most often encoded into long-term memory during non-dreaming (i.e., non-REM) slow wave sleep (i.e., stages 3 and 4) (Stickgold, 2005).
An important scene about dreams occurs when Joy, Bing Bong, and Sadness stumble upon “Dream Productions,” which are events from Riley’s day at school. These events are combined with abstract images to create a dream. This portrayal is consistent with research that demonstrates that dreams are abstract representations of events that occur in daily life are not typically representations of specific autobiographical memories (Stickgold, 2005). As noted above, the scene when Joy tries to play a verbatim “core memory” to prevent Riley's bad dream is not accurate. Memories are changed every time they are brought to consciousness and, therefore, do not have the ability to be played verbatim. Memories that are called forth within our dreams are more likely to be merged to create visual scenes (Llewellyn, 2013).
"Inside Out" also highlights the critical role of emotions for the perception of social cues, interpersonal interactions, and behavioral responses. When Riley loses Joy and Sadness (i.e., they are literally lost in her mind), she responds to her parents with angry outbursts and responses. The movie flashes to the parents’ minds and shows how their emotions are used to pick up on the social cue that Riley is upset. Research indicates that social information processing as well as emotional regulation are key for social competence, especially among children (Lemerise & Arsenio, 2000). Children with poor regulatory behaviors or negative experiences with peers may have more social information processing deficits (Lemerise & Arsenio, 2000). In the movie, when Riley has high negative emotionality and is unable to inhibit these extreme emotions, she argues and fights with her father. In contrast, when she is in a good mood and is asked by her mother to stay positive for her father, she is able to regulate her negative emotions. Notably, sadness facilitates a sense of empathy in others, which is a key point in this film. The development of emotions and the increase of complex emotions (as indicated by mixed emotional memory at the end of the film) reveals Riley’s character development and suggests that, as she gets older, her emotional experiences become more complex. These scenes provide valuable information about the importance of all emotions to understand other people, facilitate social interaction, and regulate behaviors.
Inside Out is an excellent and creative film that deserves 5/5 stars for entertainment, 3.5/5 for accuracy, and 5/5 for education. The movie includes witty language, puns, engaging graphics and animation, and an entertaining plot line that offers deep messages about growing up, family, and brain processes that influence human behavior. The film addresses many neuropsychological and psychosocial constructs relevant to understanding human cognition, emotion, and behavior through the metaphor of the brain. Because these concepts are greatly simplified for the audience and entertainment, 3.5 stars are given for scientific accuracy. However, this film provides valuable information and can be effective to educate children about emotions and memory. The film appeals to all ages, especially children, and does not include any inappropriate language or images.
Inside Out metaphorically demonstrates how memories are made and the key role of emotions to create, store, and retrieve memories. In the beginning of the film, each memory is coded as a different color, representing one of the five primary emotions. When Riley experiences an event, it becomes a colorful ball that is carried into the “Headquarters” (i.e., her mind) and is associated with one of the emotions. In reality, humans often experience multiple emotions while creating memories. For example, meeting a new person can be intimidating, anxiety-provoking, and also joyful. Humans also experience memories that are not emotionally charged. Memories can consist of mundane information and experiences that may not be associated with any specific emotion. Further, the film suggests that specific emotional memories (i.e., “core memories”) are especially important for dictating behavior. This idea of “core memories” is not supported by brain science. The idea of "core memories" comes from computer science. All memories influence how one perceives and interacts with the world. A person’s identity is an integration of these memories (experiences) as well as genetic and biological variables. The film understandably simplifies the process of emotions and memory for entertainment and age-appropriate audiences. It correctly shows that emotions can influence memory encoding and ultimately behaviors.
The film focuses on autobiographical memories, that is, memories related to events from Riley's experiences. Throughout the movie, all of the "important" memories in the headquarters of Riley's brain contain an autobiographical life experience. These memories influence Riley, her personality and her behaviors. Although autobiographical memory (i.e. episodic), and experience, does play an important role in the construction of personal identity (Wilson, & Ross, 2003), other types of memory, such as memory for facts and information (i.e. semantic) are important as well. In one scene Joy and Sadness get lost in Riley’s mind and they come across a library of facts and knowledge. This library is meant to represent semantic memories, rather than autobiographical, but it does not seem to influence Riley’s behaviors or personality.
In the film, memories are played like movies when Riley is “remembering” and, therefore, they are completely unaltered. When Riley is having a bad dream after her recent move to San Francisco, Joy plays a happy “core memory” of Riley skating with her parents in an effort to replace a bad dream. But in real life memories are not replayed in this way. In fact, every time one thinks about a memory, it is slightly changed. Memories are changeable and time greatly impacts how they are remembered (Loftus, 1994). A more accurate example of this concept is when Sadness begins to change Riley’s memories. In one scene Sadness begins touching all the memories so they would now be remembered as sad, This scene is a metaphor for how easy it is to change a memory and how emotions can greatly impact how they are retrieved.
In general, research supports the overall message of this film – emotions are important for memory. Events that are remembered more often and/or memories with emotional significance are more likely to be stored in long-term memory (Reisberg & Hertel, 2005) however the emotional quality of a memory, and the story of the episode itself can change after later emotional experiences that may "color" the memory. Although “core memories” do not exist, the film appropriately highlights how emotions can be used to encode and retrieve information from one’s mind.
Another important neuropsychological concept demonstrated in the film is the relationship between sleep and memory. When Riley sleeps, her memories are processed into her long-term memory. This scene of sleep and memory storage has elements of truth. Brain research supports the ideas that that sleep is a vital component in forming and shaping memories (Stickgold, 2005). In the movie, Riley is in REM sleep (i.e., Rapid Eye Movement sleep which is usually associated with dreaming) while her memories are being stored. However, most brain research suggests that memories of this type are most often encoded into long-term memory during non-dreaming (i.e., non-REM) slow wave sleep (i.e., stages 3 and 4) (Stickgold, 2005).
An important scene about dreams occurs when Joy, Bing Bong, and Sadness stumble upon “Dream Productions,” which are events from Riley’s day at school. These events are combined with abstract images to create a dream. This portrayal is consistent with research that demonstrates that dreams are abstract representations of events that occur in daily life are not typically representations of specific autobiographical memories (Stickgold, 2005). As noted above, the scene when Joy tries to play a verbatim “core memory” to prevent Riley's bad dream is not accurate. Memories are changed every time they are brought to consciousness and, therefore, do not have the ability to be played verbatim. Memories that are called forth within our dreams are more likely to be merged to create visual scenes (Llewellyn, 2013).
"Inside Out" also highlights the critical role of emotions for the perception of social cues, interpersonal interactions, and behavioral responses. When Riley loses Joy and Sadness (i.e., they are literally lost in her mind), she responds to her parents with angry outbursts and responses. The movie flashes to the parents’ minds and shows how their emotions are used to pick up on the social cue that Riley is upset. Research indicates that social information processing as well as emotional regulation are key for social competence, especially among children (Lemerise & Arsenio, 2000). Children with poor regulatory behaviors or negative experiences with peers may have more social information processing deficits (Lemerise & Arsenio, 2000). In the movie, when Riley has high negative emotionality and is unable to inhibit these extreme emotions, she argues and fights with her father. In contrast, when she is in a good mood and is asked by her mother to stay positive for her father, she is able to regulate her negative emotions. Notably, sadness facilitates a sense of empathy in others, which is a key point in this film. The development of emotions and the increase of complex emotions (as indicated by mixed emotional memory at the end of the film) reveals Riley’s character development and suggests that, as she gets older, her emotional experiences become more complex. These scenes provide valuable information about the importance of all emotions to understand other people, facilitate social interaction, and regulate behaviors.
Inside Out is an excellent and creative film that deserves 5/5 stars for entertainment, 3.5/5 for accuracy, and 5/5 for education. The movie includes witty language, puns, engaging graphics and animation, and an entertaining plot line that offers deep messages about growing up, family, and brain processes that influence human behavior. The film addresses many neuropsychological and psychosocial constructs relevant to understanding human cognition, emotion, and behavior through the metaphor of the brain. Because these concepts are greatly simplified for the audience and entertainment, 3.5 stars are given for scientific accuracy. However, this film provides valuable information and can be effective to educate children about emotions and memory. The film appeals to all ages, especially children, and does not include any inappropriate language or images.
References
Craik, F. I., Govoni, R., Naveh-Benjamin, M., & Anderson, N. D. (1996). The effects of divided attention on encoding and retrieval processes in human memory. Journal of Experimental Psychology: General, 125(2), 159.
Ekman, P. (1992). An argument for basic emotions. Cognition & emotion, 6(3-4), 169-200.
LaBar, K. S., & Cabeza, R. (2006). Cognitive neuroscience of emotional memory. Nature reviews. Neuroscience, 7(1), 54.
Lemerise, E. A., & Arsenio, W. F. (2000). An integrated model of emotion processes and cognition in social information processing. Child development, 71(1), 107-118.
Llewellyn, S. (2013). Such stuff as REM and NREM dreams are made on? An elaboration. Behavioral and Brain Sciences, 36(6), 634-659.
Loftus, E. F. (1995). Memory malleability: Constructivist and fuzzy-trace explanations. Learning and Individual Differences, 7(2), 133-137.
Stickgold, R. (2005). Sleep-dependent memory consolidation. Nature, 437(7063), 1272.
Tulving, E., & Kroll, N. (1995). Novelty assessment in the brain and long-term memory encoding. Psychonomic Bulletin & Review, 2(3), 387-390.
Wilson, A., & Ross, M. (2003). The identity function of autobiographical memory: Time is on our side. Memory, 11(2), 137-149.
Ekman, P. (1992). An argument for basic emotions. Cognition & emotion, 6(3-4), 169-200.
LaBar, K. S., & Cabeza, R. (2006). Cognitive neuroscience of emotional memory. Nature reviews. Neuroscience, 7(1), 54.
Lemerise, E. A., & Arsenio, W. F. (2000). An integrated model of emotion processes and cognition in social information processing. Child development, 71(1), 107-118.
Llewellyn, S. (2013). Such stuff as REM and NREM dreams are made on? An elaboration. Behavioral and Brain Sciences, 36(6), 634-659.
Loftus, E. F. (1995). Memory malleability: Constructivist and fuzzy-trace explanations. Learning and Individual Differences, 7(2), 133-137.
Stickgold, R. (2005). Sleep-dependent memory consolidation. Nature, 437(7063), 1272.
Tulving, E., & Kroll, N. (1995). Novelty assessment in the brain and long-term memory encoding. Psychonomic Bulletin & Review, 2(3), 387-390.
Wilson, A., & Ross, M. (2003). The identity function of autobiographical memory: Time is on our side. Memory, 11(2), 137-149.
RSS Feed
