An examination of the groundbreaking 1960 film directed by Alfred Hitchcock, including the story's origins in real-life graverobber Ed Gein. The book presents material from the script and how it was adapted from Robert Bloch's novel; details of the film's production, particularly the shower scene and other technical difficulties; actors and the challenges of their roles; extended literary analysis of the film covering such devices as irony, symbol, theme, motif and foil; and the film's effect on audiences. Features 16 photographs, notes, bibliography and index.
Provides a biography on Ed Gein, the Wisconsin serial killer responsible for various atrocities, and offers an analysis of his psyche and describes how his childhood and mother influenced him to murder.
In November of 1957, serial killer Ed Gein was arrested for the murder of Bernice Worden. Her body was found decapitated and hanging like a gutted deer in Gein's barn. When investigators searched the rest of Gein's house they found furniture made from human skin and many more horrifying items which Gein created. For the first time in print, The Ed Gein File presents Gein's full confession and other official case documents. Includes: Ed Gein's Full Confession, Gein's Psychological Report, Autopsy Report of Bernice Worden, and Foreward by Stephen J. Giannangelo, Author of Real Life Monsters. Illustrations and artwork by Lou Rusconi, Roger Scholz, Sam Hane, Charles D. Moisant, and Nicolas Castelaux.
It was made like a television movie, and completed in less than three months. It killed off its star in forty minutes. There was no happy ending. And it offered the most violent scene to date in American film, punctuated by shrieking strings that seared the national consciousness. Nothing like Psycho had existed before; the movie industry -- even America itself -- would never be the same. In The Moment of Psycho, film critic David Thomson situates Psycho in Alfred Hitchcock's career, recreating the mood and time when the seminal film erupted onto film screens worldwide. Thomson shows that Psycho was not just a sensation in film: it altered the very nature of our desires. Sex, violence, and horror took on new life. Psycho, all of a sudden, represented all America wanted from a film -- and, as Thomson brilliantly demonstrates, still does.
François Recanati presents his theory of mental files, a new way of understanding reference in language and thought. He aims to recast the 'nondescriptivist' approach to reference that has dominated the philosophy of language and mind in the late twentieth century. According to Recanati, we refer through mental files, which play the role of so-called 'modes of presentation'. The reference of linguistic expressions is inherited from that of the files we associate with them. The reference of a file is determined relationally, not satisfactionally: so a file is not to be equated to the body of (mis)information it contains. Files are like singular terms in the language of thought, with a nondescriptivist semantics. In contrast to other philosophers, Recanati offers an indexical model according to which files are typed by their function, which is to store information derived through certain types of relation to objects in the environment. The type of the file corresponds to the type of contextual relation it exploits. Even detached files or 'encyclopedia entries' are based on epistemically rewarding relations to their referent, on Recanati's account. Among the topics discussed in this wide-ranging book are: acquaintance relations and singular thought; cognitive significance; the vehicle/content distinction; the nature of indexical concepts; co-reference de jure and judgments of identity; cognitive dynamics; recognitional and perceptual concepts; confused thought and the transparency requirement on modes of presentation; descriptive names and 'acquaintanceless' singular thought; the communication of indexical thoughts; two-dimensional defences of Descriptivism; the Generality Constraint; attitude ascriptions and the 'vicarious' use of mental files; first-person thinking; token-reflexivity in language and thought.
August Mulvaney has always been exceptional. As the genius son of an eccentric billionaire, his off-putting behavior is often blamed on his high IQ. They say there’s a thin line between genius and madness. August is both—a brilliant professor loved by his students and a ruthless, obsessive killer tasked with righting the wrongs of a failing justice system. And he’s just found his latest obsession: Lucas Blackwell. Lucas Blackwell was once the golden child of the FBI, using his secret talent as a clairvoyant to help put away society’s worst. Until, with a touch, he discovers his co-worker is a killer and his life falls apart. Now, the world thinks he’s crazy and that co-worker wants him dead. He seeks refuge at a small college, hoping to rebuild his life and his reputation. But then he runs into August Mulvaney. Literally. August is immediately intrigued with Lucas and his backstory. He doesn’t believe in psychics, but there’s no missing the terror in his eyes when they collide in the hallway. Now, August has a problem. Lucas knows his secret, and August knows he wants Lucas. And August always gets what he wants. Can he convince Lucas that not all killers are created equal and that having a psychopath in his corner—and in his life—might be just what he needs? Psycho is a fast-paced, thrill ride of a romance with an HEA and no cliffhangers. It features a psychopath hell-bent on romance and a disgraced FBI agent attempting to redeem himself. As always, there’s gratuitous violence, very dark humor, and scenes so hot it will melt your kindle. This is book two in the Necessary Evils series. Each book follows a different couple.
Psycho-Logic is an attempt to formulate explicitly the implicit common-sense psychology embedded in everyday language and taken for granted by its users. The key concepts in this system are given definitions, and the basic assumptions are presented in the form of axioms. A number of corollaries and theorems are formally proved. The text also contains numerous notes in which the formal propositions and their broader implications are discussed. It is assumed that the relationship between psycho-logic and empirical psychology is analogous to that existing between geometry and geography. Psycho-logic and geometry both provide a formal system in terms of which one may describe and analyze respectively psychological phenomena and geographical terrains. The book should be of particular interest to practicing psychologists since it provides an analysis of the main characteristics of persons and person-interactions, emphasizing such concepts as care, respect, understanding and control.
This early work on Papers of Psycho-Analysis is both expensive and hard to find in its first edition. The papers here collected have already appeared in print, for the most part in psychological journals that do not circulate widely among the medical proffession. They constitute a selection of the authors contributions, and are now issued in a more accessible form in the hope of arousing further interest in this overneglected and important branch of scientific investigation. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
A high-ranking scientist has been kidnapped, and a secret British intelligence agency has just recruited Deighton’s iconic unnamed protagonist—later christened Harry Palmer—to find out why. His search begins in a grimy Soho club and brings him to the other side of the world. When he ends up amongst the Soviets in Beirut, what seemed a straightforward mission turns into something far more sinister. With its sardonic, cool, working-class hero, Len Deighton’s sensational debut and first bestseller The IPCRESS File broke the mold of thriller writing and became the defining novel of 1960s London.
Bridging landmark territory in film studies, Psycho-Sexual is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man. Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of Psycho and the 1956 remake of The Man Who Knew Too Much to introduce the filmmaker’s evolutionary development of American masculinity. Psycho-Sexual probes De Palma’s early Vietnam War draft-dodger comedies as well as his film Dressed to Kill, along with Scorsese’s Taxi Driver and Friedkin’s Cruising as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches. Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context. Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance. The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. Psycho-Sexual also explores the broader gender crisis and disorganization that permeated the Cold War and New Hollywood eras, reimagining the defining premises of Hitchcock criticism.
