In 1847, young Dr. Abraham Van Norstrand left Vermont to seek his fortune in the West, but in Wisconsin his business ventures failed, and a medical practice among hard-up settlers added little to his pocketbook. During the Civil War he organized and ran one of the army’s biggest hospitals but resigned when dark rumors surfaced about him. Back home, he accepted with mixed feelings the one prestigious position available to him: superintendent of the state’s first hospital for the insane.
Van Norstrand was a newcomer to the so-called “Hospital Movement,” perhaps the boldest public policy innovation of its time, one whose leaders believed that they could achieve what had long been regarded as impossible, to cure the insane. He was a driven man with scant sympathy for those he considered misfits or malingerers. Even so, early observers were impressed with his energetic, take-charge manner at the hospital. Here at last was a man who stood firm where his predecessors had weakened and foundered. But others began to detect a different side to this tireless ruler and adroit politician. It was said that he assaulted patients and served them tainted food purchased with state money from his own grocery store. Was he exploiting the weak for personal gain or making the best of a thankless situation? Out of this fog of suspicion emerged a moral crusader and—to all appearances—pristine do-gooder named Samuel Hastings, a man whose righteous fury, once aroused, proved equal to Van Norstrand’s own.
The story of Abraham Van Norstrand’s rise and fall is also the story of the clash between the great expectations and hard choices that have bedeviled public mental hospitals from the beginning.
Teenagers and Teenpics tells the story of two signature developments in the 1950s: the decline of the classical Hollywood cinema and the emergence of that strange new creature, the American teenager. Hollywood's discovery of the teenage moviegoer initiated a progressive "juvenilization" of film content that is today the operative reality of the American motion picture industry.The juvenilization of the American movies is best revealed in the development of the 1950s "teenpic," a picture targeted at teenagers even to the exclusion of their elders. In a wry and readable style, Doherty defines and interprets the various teenpic film types: rock 'n' roll pictures, j.d. films, horror and sci-fi weirdies, and clean teenpics. Individual films are examined both in light of their impact on the motion picture industry and in terms of their important role in validating the emerging teenage subculture. Also included in this edition is an expanded treatment of teenpics since the 1950s, especially the teenpics produced during the age of AIDS.
The War Film
Eberwein, Robert Rutgers University Press, 2004 Library of Congress PN1995.9.W3W36 2005 | Dewey Decimal 791.43658
War has had a powerful impact on the film industry. But it is not only wars that affect films; films influence war-time behavior and incisively shape the way we think about the battles that have been waged.
In The War Film, Robert Eberwein brings together essays by scholars using a variety of critical approaches to explore this enduringly popular film genre. Contributors examine the narrative and aesthetic elements of war films from four perspectives: consideration of generic conventions in works such as All Quiet on the Western Front, Bataan, and The Thin Red Line; treatment of race in various war films, including Glory, Home of the Brave, Platoon,and Hamburger Hill; aspects of gender, masculinity and feminism in The Red Badge of Courage, Rambo, Dogfight, and Courage under Fire; and analysis of the impact of contemporary history on the production and reception of films such as The Life and Times of Rosie the Riveter, Saving Private Ryan, and We Were Soldiers.
Drawing attention to the dynamic interrelationships among politics, nationalism, history, gender, and film, this comprehensive anthology is bound to become a classroom favorite.