Download The Fifties: Transforming the Screen, 1950-1959 (History of by Peter Lev PDF
By Peter Lev
Finishing the landmark, award-winning, ten-volume sequence at the first century of yank movie, The Fifties covers a very tumultuous interval. Peter Lev explores the divorce of motion picture studios from their theater chains; the panic of the blacklist period; the explosive emergence of technology fiction because the dominant style (The factor, The Day the Earth Stood nonetheless, Forbidden Planet, struggle of the Worlds); the increase of tv and Hollywood's reaction to the recent medium, as visible in widescreen spectacles (The gown, the 10 Commandments, Ben-Hur) and mature Westerns (High midday, Shane, The Searchers). The richly targeted textual content elucidates a few rising developments as Hollywood, with its ordinary stars and genres, reached out as an to the newly said "teenage" iteration with rock and roll movies, and flicks as diversified as Rebel and not using a reason and Gidget.
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Additional info for The Fifties: Transforming the Screen, 1950-1959 (History of the American Cinema, Volume 7)
12 Kant de ceives his readers by disguising the true stakes and the true impact of the (ethical) choice. In his example, he puts the categorical imperative (our duty) on the same side as the good (the well-being) of our fellowman: the reader will follow Kant without much hesitation when he says that in this case the idea of accepting one's own death is, at least, possible. And the problem resides in the fact that the reader does not follow Kant because s/he is convinced of the inexorability of duty as such, but be cause of the image of the pain inflicted on the other that plays here the role of the counterpoint.
There is a huge problem that has been pointed out a number of times since Freud's discovery of psychoanalysis and that Freud himself endeavored to solve in various ways. One could say that the discovery of psychoanalysis seems to involve two different steps, and it is not easy to see how they fit together. On the one hand, there were the analyses of dreams, of slips of the tongue (parapraxes), and of jokes, which formed the substance of Freud's three separate volumes published between 1900 and 1905.
If I am to assume an "I," I cannot choose thought, which pertains to the unconscious, so that I am forced to choose being, thereby giving up thought. The fundamental choice of the subject is the choice of being without thought. Je ne pense pas, je $ui$—l don't think, therefore I am—this is the new version of cogito; furthermore, I don't think in order to be— je ne pense pas pour etre. In order to be, I have to exclude a knowledge that I don't want to know anything about. The ex cluded thought emerges in the unconscious, so that cogito, as the choice of being, coincides with the exclusion of thought as unconscious, of the unconscious as thought.