Author: Stephen Prince File Type: pdf Stephen Prince has written the first book to examine the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. He explains how Hollywoods filmmakers designed violence in response to the regulations of the Production Code and regional censors. Graphic violence in todays movies actually has its roots in these early films. Hollywoods filmmakers were drawn to violent scenes and pushed the envelope of what they could depict by manipulating the Production Code Administration (PCA).Prince shows that many choices about camera position, editing, and blocking of the action and sound were functional responses by filmmakers to regulatory constraints, necessary for approval from the PCA and then in surviving scrutiny by state and municipal censor boards.This book is the first stylistic history of American screen violence that is grounded in industry documentation. Using PCA files, Prince traces the negotiations over violence carried out by filmmakers and officials and shows how the outcome left its traces on picture and sound in the films.Almost everything revealed by this research is contrary to what most have believed about Hollywood and film violence. With chapters such as Throwing the Extra Punch and Cruelty, Sadism, and the Horror Film, this book will become the defining work on classical film violence and its connection to the graphic mayhem of todays movies.About the AuthorStephen Prince is a professor of communication studies at Virginia Tech. His many books include A New Pot of Gold Hollywood under the Electronic Rainbow, 19801989, Savage Cinema Sam Peckinpah and the Rise of Ultraviolent Movies, and Screening Violence (Rutgers).

Author: Salman Akhtar File Type: pdf This book is a multi-faceted attempt to understand the psychological mysteries of land, space, native cultures, changing eras, and geographical dislocation. It shows us that many remote and seemingly peaceful areas of the world have their own dark and silent pasts in which their original inhabitants were often brutally wiped out. Weaving history, geography, myth, philosophy, and psychoanalysis together, this book tries to understand why such atrocities were committed, how those subjected to these crimes might have perceived them, and what are the long-term, trans-generational consequences of these historical events. **Review This book is a multifaceted attempt to understand the psychological mysteries of land, space, native cultures, changing eras, and geographical dislocation. It shows us that many remote and seemingly peaceful areas of the world have their own dark and silent pasts in which their original inhabitants were often brutally decimated and those who remained were not allowed to voice their emotional and cultural legacy. Weaving history, geography, myth, philosophy, and psychoanalysis together, this book tries to understand why such atrocities were committed, how those subjected to these crimes might have perceived them, and what the long-term, transgenerational consequences of these historical events are. The value of this book, however, transcends meaningfully looking at the past. It reminds us that we are all increasingly faced with the Other. By taking a reflective stance, The Geography of Meanings helps the reader to overcome apparently unbridgeable conflicts and to respond with empathy, curiosity, and awe to the many differences and similarities within the human race and its experience in this world! (Alessandra Piontelli) About the Author Salman Akhtar was born in India and completed his medical and psychiatric education there. Upon arriving in the USA in 1973, he repeated his psychiatric training at the University of Virginia School of Medicine, and then obtained psychoanalytic training from the Philadelphia Psychoanalytic Institute. Currently, he is Professor of Psychiatry at Jefferson Medical College and a training and supervising analyst at the Psychoanalytic Center of Philadelphia. He has authored, edited or co-edited more than 300 publications including books on psychiatry and psychoanalysis and several collections of poetry. He is also a Scholar-in-Residence at the InterAct Theatre Company in Philadelphia. Salman Akhtar received the Sigourney Award in 2012.

Author: Eric Dodson Robinson File Type: pdf In Brills Companion to the Reception of Senecan Tragedy, Eric Dodson-Robinson incorporates essays by specialists working across disciplines and national literatures into a subtle narrative tracing the diverse scholarly, literary and theatrical receptions of Senecas tragedies. The tragedies, influential throughout the Roman world well beyond Senecas time, plunge into obscurity in Late Antiquity and nearly disappear during the Middle Ages. Profound consequences follow from the rediscovery of a dusty manuscript containing nine plays attributed to Seneca it is seminal to both the renaissance of tragedy and the birth of Humanism. Canonical Western writers from Antiquity to the present have revisited, transformed, and eviscerated Senecan precedents to develop, in Dodson-Robinsons words, competing tragic visions of agency and the human place in the universe. **

Author: Susannah B. Mintz File Type: pdf Hurt and Pain Literature and the Suffering Body examines the strategies authors have used to portray bodies in pain, drawing on a diverse range of literary texts from the seventeenth century to the present day. Susannah B. Mintz provides readings of canonical writers including John Donne, Emily Dickinson, and Samuel Beckett, alongside contemporary writers such as Ana Castillo and Margaret Edson, focusing on how pain is shaped according to the conventions-and also experiments-of genre poetry, memoir, drama, and fiction. With insights from disability theory and recent studies of the language of pain, Mintz delivers an important corrective to our most basic fears of physical suffering, revealing through literature that pain can be a source of connection, compassion, artistry, and knowledge. Not only an important investigation of authors formal and rhetorical choices, Hurt and Pain reveals how capturing pain in literature can become a fundamental component of crafting human experience. **Review Mintz points to, and develops, the work of Dickinson scholars such as Marianne Noble and Michael Snedicker, reassessing common interpretations of certain poems. Mintzs extensive, intricate knowledge of Dickinsons work [in particular] ... offers new critical insight into the poets hurt and pain. The Years Work in English Studies Mintz offers a stimulating book that is convincing in its use of inspiring individual observations and its unusual combination of primary texts ... Her study provides a wealth of starting points for further interdisciplinary studies. Arcadia (Bloomsbury translation) Susannah Mintz brings together poetry, memoir, drama and fiction to show that pain is inescapable and magnificently variable in the many ways it can destroy and affirm the power of language and selfhood. Discussing writers from John Donne and Emily Dickinson to the present day, she sets the personal experience of pain in tension with the medical understanding of pain. An informed, provocative, important book. Sara van den Berg, Professor of English, Saint Louis University, USA After Elaine Scarry, it has become commonplace to say that pain defies expression - that it is essentially a private, and thus isolating, phenomenon. But, as Susannah Mintz demonstrates in this original, economical, and compelling study, creative writers have long brought their talents to bear on this inevitable human experience, rendering it according to the capabilities of various genres. Literature is no antidote to pain - no anodyne - but Mintz shows how the literary communication of pain may help us live through it and with it. A richly nuanced, beautifully written, and surprisingly heartening book. Tom Couser, Professor Emeritus of English, Hofstra University, USA A brilliant analysis of pain refracted through genre, Hurt and Pain operates as itself a kind of pain scale-it weighs, measures, and strikes chords of familiar dissonance. In this pain-averse culture, those of us who wake up in pain every morning may feel in the wrong, blame-worthy, alone. Susannah Mintz intervenes in such ableist conceptualizations, offering community and solace through a kaleidoscope of aching, stinging, limping, grieving texts. Mintz resists the transcendence paradigm that tells us to rise above-or get over-our pain, reminding us through careful readings of poems, plays, novels, and memoirs that, beyond good and bad or right and wrong, pain is interesting. Far from the dismissive truism that misery loves company, Mintz clearly demonstrates that the literature of pain is, for many readers, a source of psychological support and palliative touch. Merri Lisa Johnson, Associate Professor of Womens Studies, University of South Carolina, USA and author of Girl in Need of a Tourniquet Memoir of a Borderline Personality Book Description A focused examination of literary depictions of physical pain in a range of contemporary and older American and British texts.