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Even during the past decade, when the creative impulse in film has seemed to be the province of European directors, Hollywood has turned out movies that at least in retrospect, have the qualities of classics. Hitchcock's Psycho inaugurated America's cinema of cruelty, with a demonic amalgam of bloodshed and violence that was not equaled until Bonnie and Clyde. Stanley Kubrick's Lolita treated the forbidden subject of nymphet-mania with cool humor; his Dr. Strangelove demonstrated that the biliousness of black comedy was as American as the H-bomb. John Frankenheimer's The Manchurian...

Author: /time Magazine | Title: Hollywood: The Shock of Freedom in Films | 12/8/1967 | See Source »

...looks forward to the rigors of daily criticism. Her taste in movies is eclective: she professes to like westerns along with Fellini. There is one obstacle. Like her predecessor, she is repelled by excessive violence, and walked out during the knifing in the shower scene in Hitchcock's Psycho. "I have a problem about horror movies," she says, "that I suppose I will have to get over...

Author: /time Magazine | Title: The Press: MAGAZINES | 12/1/1967 | See Source »

...survey some years ago, American psycho-therapists were asked to name the theorists whose work they found most useful. Sigmund Freud, of course, headed the list; second was Gordon Allport...

Author: NO WRITER ATTRIBUTED | Title: Gordon W. Allport | 10/10/1967 | See Source »

...faculty expert, who asked not to be identified, said a substance resembling what in large quantities is the "poison" in plants like marijuana and which heating or boiling breaks down to a psycho-active agent might possibly be present in ivy bark. He cautioned, however, that the practice was unknown to him and he was not aware of any research on the plant...

Author: By George H. Rosen, | Title: Ivy - Heads | 4/1/1967 | See Source »

...essay I find so exciting is Prof. C.L. Barber's "Perfection of the Work," an Erikson-style psycho-analysis of Shakespeare. Barber takes the Sonnets as his data, Lorenz as his theoretician, and Keats as his stimulus, rather echoing Keats's famous "Negative Capability" letter when he wonders "how it was possible for Shakespeare to endure his openness to life, his selfless sense of other identities." Barber is wildly speculative, but modestly, openly so, and produces some stimulating starting points for inquiries into the relationship of artist and society...

Author: By Jeremy W. Heist, | Title: The Harvard Advocate | 1/13/1967 | See Source »

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