Word: sin
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...intrusion of the anarchical, the evil, on great symbols of order (such as a society's revered monuments) or on the pleasantly quotidian (amusment park, playground, church, home). Born the son of a lower-middle-class London shopkeeper and reared as a Catholic, Hitchcock discovered early on that original sin was very likely an immutable concept, that bourgeois security was perhaps all too mutable. He never quite got over the shock...
...unpopular political associations. Professor Harbenger's critics turned sophistical somersaults to convince themselves and others that they were not impinging on his academic freedom. But the plain fact is that Harberger, no less than Genovese, was penalized and attacked because his ideas were original and controversial. His unpardonable sin was to challenge the conventional wisdom of the institution--which is, of course, why Harberger, like Genovese, should have been graciously welcomed. William J. Appleman
...subjective camera like Hitchcock, and no one could turn the camera back on us with so much contempt. Hitchcock was a moralist who said, "You like this, don't you?" The biggest joke in Hitchcock's films is that we're all guilty of something, call it "original sin"--we are at very least voyeurs. We all have a Bruno or Norman Bates in us and sooner or later someone's going to find out. Hitchcock's films were ridden with symbols--staircases, mothers, skinny blondes, birds, windows; it was a code that viewers happily followed from film to film...
Fatal Flowers, subtitled On Sin, Sex, and Suicide in the Deep South, is the author's attempt to describe the plight of such Southern womanhood by reporting how she grew up poor and frustrated in a region overripe with lust and repression: "What I had once seen as the condition of being female, I now saw as female and Southern. I perceived my mother, grandmothers, sister, daughters-and all the women whose roots I shared-as netted in one mutual silken bondage. Together, we were trapped in a morass of Spanish moss, Bible Belt guilt, and the pressures...
...megaton cry to God for justice, for a reason. He cannot accept the logic of the grinning, trembling priest--David Van Taylor shines as this Father O'Malley through Stanley Kubrick's lens. The priest offers a straight-forward answer to J.B.'s questions and MacLeish's Question: "Your sin is simple. You were born...