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Gaslighting has in recent years become part of popular vocabulary. Google Trends shows a great increase in searches for the term over the last two years in comparison to the years before, with an absolute peak in January 2017.5 Referring to the phenomenon where one person manipulates another into questioning their own soundness of judgment, the term is mentioned often in self-help books and online discussions, as well as on news websites and in everyday conversation. But the name, as well as the underlying concept, are far from new: gaslighting has been discussed in psychological literature since the 1960’s and was appropriated into American idiomatic usage as early as 1953, while the play and movies which originally inspired the term were already released in the late 1930s and 1940s.6 In this chapter I will critically discuss these various uses of the term, starting with providing a plot summary of the 1944 movie, from which a first outline of the gaslighting phenomenon should become apparent. The second section will consist of an overview of the most influential psychological work on gaslighting. I will then proceed by studying some concrete instances of gaslighting, including some supposed cases of day-to-day and political gaslighting, in order to finally evaluate what, if any, are the common characteristics of all the phenomena referred to as “gaslighting”.

Gaslight the Movie

At the origin of the term gaslighting is the 1944 movie Gaslight, the most famous adaptation of Patrick Hamilton’s eponymous 1938 play.7 Throughout the film, we see the protagonist questioning her own sanity as she seems to grow increasingly paranoid and forgetful.

The story starts with a murder: Alice Alquist, a famous opera singer, dies under mysterious circumstances in her own home; her killer is never caught. The film’s protagonist is the victim’s niece Paula (played by Ingrid Bergman), who was raised by her aunt and never knew her parents. After her aunt’s death, Paula moves to Italy to pursue a singing career of her own, but instead she falls in love with the pianist Gregory Anton (Charles Boyer). They get married after only a few weeks, and move back into Alice’s old London mansion. Apart from the bad memories the house evokes in Paula and her occasional forgetfulness, things seem to go well with the recently married couple at first. However, her forgetfulness gets worse. A picture is suddenly missing from the wall and she does not remember having moved it, yet everyone else denies having done so; she finds Gregory’s watch in her purse but cannot recall taking it; she loses an expensive brooch he had given her as a gift; and she hears noises and footsteps coming from the boarded-up attic; she even believes she can see the gaslights dim even though no one has touched.