The Bates Motel a Case Study in the Importance of the Ordinary by Stephen Leonard and Keith A
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First Episode Psychosis an Information Guide Revised Edition
First episode psychosis An information guide revised edition Sarah Bromley, OT Reg (Ont) Monica Choi, MD, FRCPC Sabiha Faruqui, MSc (OT) i First episode psychosis An information guide Sarah Bromley, OT Reg (Ont) Monica Choi, MD, FRCPC Sabiha Faruqui, MSc (OT) A Pan American Health Organization / World Health Organization Collaborating Centre ii Library and Archives Canada Cataloguing in Publication Bromley, Sarah, 1969-, author First episode psychosis : an information guide : a guide for people with psychosis and their families / Sarah Bromley, OT Reg (Ont), Monica Choi, MD, Sabiha Faruqui, MSc (OT). -- Revised edition. Revised edition of: First episode psychosis / Donna Czuchta, Kathryn Ryan. 1999. Includes bibliographical references. Issued in print and electronic formats. ISBN 978-1-77052-595-5 (PRINT).--ISBN 978-1-77052-596-2 (PDF).-- ISBN 978-1-77052-597-9 (HTML).--ISBN 978-1-77052-598-6 (ePUB).-- ISBN 978-1-77114-224-3 (Kindle) 1. Psychoses--Popular works. I. Choi, Monica Arrina, 1978-, author II. Faruqui, Sabiha, 1983-, author III. Centre for Addiction and Mental Health, issuing body IV. Title. RC512.B76 2015 616.89 C2015-901241-4 C2015-901242-2 Printed in Canada Copyright © 1999, 2007, 2015 Centre for Addiction and Mental Health No part of this work may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system without written permission from the publisher—except for a brief quotation (not to exceed 200 words) in a review or professional work. This publication may be available in other formats. For information about alterna- tive formats or other CAMH publications, or to place an order, please contact Sales and Distribution: Toll-free: 1 800 661-1111 Toronto: 416 595-6059 E-mail: [email protected] Online store: http://store.camh.ca Website: www.camh.ca Disponible en français sous le titre : Le premier épisode psychotique : Guide pour les personnes atteintes de psychose et leur famille This guide was produced by CAMH Publications. -
Greater Griffith Park Neighborhood Council Name: Jessica Kornberg
Contact Information Neighborhood Council: Greater Griffith Park Neighborhood Council Name: jessica kornberg Phone Number: 917 446 8991 Email: [email protected] Date of NC Board Action: 09/21/2010 Type of NC Board Action: General Comments Impact Information Date: 09/27/2010 Update to a Previous Input: No Directed To: City Council and Committees Council File Number: 07-2858-S1 Agenda Date: 09/28/2010 Item Number: Brief Summary: The GGPNC reaffirms its opposition to supergraphic signs. In addition, we urge the City Council to retain the sign reduction program. In the event an entity erects different signage than permitted, then the permit should be revoked and the entity and signage should be deemed illegal and subject to the appropriate fines and penalties. Finally, the City Planning Commission should see all proposed signage before any permit is issued. Additional Information: GREATER GRIFFITH PARK NEIGHBORHOOD COUNCIL “Your Neighborhood. Your Voice. Your Council” GOVERNING BOARD MEETING CERTIFIED COUNCIL #36 PRESIDENT Ron Ostrow MINUTES PO Box 27003 VICE PRESIDENTS Los Angeles, CA 90027- Tor Hyams - Administration 0003 Luisa Nubaravacharyan - Outreach September 21, 2010 – 7:00 p.m. TREASURER Los Feliz Community Police Center (323) 908-6054 Christina Khanjian 1965 n. Hillhurst Ave. (2nd floor of Citibank) www.ggpnc.org SECRETARY Los Angeles, CA 90027 Jessica Kornberg [email protected] 1. Call to Order. Quorum Check. 7:10pm Napier, Mims, DeOcampo excused. Here: RO, CK, TW, JG, MV, TO, JK, RD, FM, LVKC, HM, TH, MM 2. Reports from Public Officials City Attorney, Bill Larson: Update on Bates Motel. Order in place for abatement has been appealed. -
The Overbearing in Coriolanus and Psycho
The Corinthian Volume 17 Article 2 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho Mikaela LaFave Georgia College and State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation LaFave, Mikaela (2016) "Mother Knows Best: The Overbearing in Coriolanus and Psycho," The Corinthian: Vol. 17 , Article 2. Available at: https://kb.gcsu.edu/thecorinthian/vol17/iss1/2 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. The Corinthian: The Journal of Student Research at Georgia College Volume 17 • Spring 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho ercises enough influence over Martius to drive him toward self-de- Mikaela LaFave structive pride. The First Citizen establishes that Martius’ pride originates from his sense of obligation towards Volumnia: “Though Dr. Jenny Flaherty soft-conscienced men can be content to say it was for his country, Faculty Mentor [Martius] did it to please his mother and to be partly proud, which he is, even to the altitude of his virtue” (1.1.36-40). Shakespeare establishes that Martius’ pride possesses an indelible link to Volum- nia; rather than feeling pride for himself, or seeking out pride for Psychoanalytic critics have focused on the mother-son himself, he does so for his mother, framing their relationship as one relationship throughout its criticism, stemming from Freud’s rein- of fear and domination rather than love. -
INTERVIEW with ROBERT BLOCH - 1 - by Jean-Marc Lofficier
INTERVIEW WITH ROBERT BLOCH - 1 - By Jean-Marc Lofficier INTERVIEW WITH ROBERT BLOCH Randy and Jean-Marc Lofficier RL: Who do you consider to be at the root of your inspiration for your writing of terror and horror fiction? RB: Well, I spent eleven years in an advertising agency! Actually, as a child I was interested in reading that sort of thing. But, I was more interested, and I think most imaginative children are, in the mysteries of death, age and cruelty. Why do these things happen? Why do people do these things to one another? An innocent child believes in the protection and security of his daddy and mama, his friends and his safe home environment. Then to read and learn about these things is a great shock. I've done a good deal of talking with many other contemporary writers of this sort of fiction, people like Stephen King, Peter Straub, Richard Matheson and half-a- dozen others. They all had the same experience; they all feel this was their motivation. Some kids don't think about these things particularly, but I did. Particularly when I was hiding under the bed or in the closet after seeing something like Lon Chaney in The Phantom of the Opera for the first time at the age of 8 or 9. I decided, as I guess most of these people did, if you can't lick ‘em, join ‘em. So, I learned the method of what it is that terrifies other people as well. Yet, I tried to do it in a way that is safe. -
Psychos' Haunting Memories: A(N) (Un)Common Literary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Científico da Universidade de Évora Sanglap Vol. 1 No. 1 Psycho’s Haunting Memories Psychos’ Haunting Memories: A(n) (Un)common Literary Heritage Maria Antónia Lima // University of Évora Sanglap: Journal of Literary and Cultural Inquiry Issue: Terror and the Literary, Vol. I No. I Editors: Arka Chattopadhyay and Sourit Bhattacharya Email: [email protected] Link: http://sanglap-journal.in/ 0 Maria Antónia Lima Sanglap Vol. 1 No. 1 Psycho’s Haunting Memories Psychos’ Haunting Memories: A(n) (Un)common Literary Heritage In his homage to Edgar Allan Poe, Lou Reed attached a text to the album entitled Raven (2003), where he says: “Edgar Allan Poe is that most classical of American writers – a writer more peculiarly attuned to our new century’s heartbeat than he ever was to his own. Obsessions, paranoia, wilful acts of self-destruction surround us constantly. Though we age we still hear the cries of those for whom the attraction to mournful chaos is monumental.” Because of this common contemporary feeling, our age can be called, what Teresa Brennan has termed “the age of paranoia” (Brennan 20). Everything we experience seems to belong to a global world of technological information that gives us access to instantaneous “contact”, giving also the feeling that we live in a reality that does not exist, or only exists in our minds as a kind of imaginary construct, leading to what Freud called a fixation in a narcissistic state of being. -
The Birth of Haptic Cinema
The Birth of Haptic Cinema An Interactive Qualifying Project Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE In partial fulfillment of the requirements for the Degree of Bachelor of Science by Panhavuth Lau Jordan Stoessel Date: May 21, 2020 Advisor: Brian Moriarty IMGD Professor of Practice Abstract This project examines the history of The Tingler (1959), the first motion picture to incorporate haptic (tactile) sensations. It surveys the career of its director, William Castle, a legendary Hollywood huckster famous for his use of gimmicks to attract audiences to his low- budget horror films. Our particular focus is Percepto!, the simple but effective gimmick created for The Tingler to deliver physical “shocks” to viewers. The operation, deployment and promotion of Percepto! are explored in detail, based on recently-discovered documents provided to exhibitors by Columbia Pictures, the film’s distributor. We conclude with a proposal for a method of recreating Percepto! for contemporary audiences using Web technologies and smartphones. i Contents Abstract .......................................................................................................................................... i Contents ........................................................................................................................................ ii 1. Introduction .............................................................................................................................. 1 2. William Castle .......................................................................................................................... -
The Psychology of Satan Jennifer Putnam This Paper Was Written for Dr
The Psychology of Satan Jennifer Putnam This paper was written for Dr. Thomas! Milton course. It was presented at the 2009 Sigma Tau Delta International Convention. John Milton!s Satan is a psychologically complex character. Satan has qualities which make him a brilliant leader, but which also cause him great pain. He is a militant ruler with powerful speeches, and a cunning deceiver with rich disguises. The actions Satan takes, however, cause him great an- guish. It is through his soliloquies that Satan takes off his mask and reveals the troubled person he really is. John Milton in Paradise Lost portrays Satan as a proud, passionately manipulative, and complex character that endures an internal conflict from which he cannot escape. Though Milton begins his masterpiece in medias res, we must start from the beginning with Satan as the angel Lucifer. Lucifer enjoys his high stature in Heaven, until the Son is anointed instead of him, and he becomes jeal- ous. It is then that Lucifer draws emotionally away from God and Heaven. James Holley Hanford and James Taaffe show the results of this jealousy by commenting, “Following God!s announcement of the Son!s elevation, Satan initially defected from the angelic forces” (172). His defection is a result of be- ing too proud of being a servant, which leads to anger and thus, his rebellion. Royland Frye points out the irony of Satan!s refusal to become a slave in that Satan actually becomes a slave to his emotions. Frye says, “As a result of his choice, he becomes a slave to what would, psychologically, be called an "ego- deal,! an identification of the self with an impossible image,” (35). -
DREAMS and Occultisml 1 [The Topic of the Last Three Paragraphs Was First Raised by Freud in Chapters II and III of Beyond the Pleasure Principle (1920G)
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. THE STANDARD EDITION OF THE COMPLETE PSYCHOLOGICAL WORKS OF SIGMUND FREUD Translated from the German under the General Editorship of JAMES STRACHEY In Collaboration with ANNA FREUD Assisted by ALIX STRACHEY and ALAN TYSON VOLUME XXII (1932-36) New Introductory Lectures on Psycho-Analysis and Other Works SIGMUND FREUD IN 1929 LONDON THE HOGARTH PRESS AND THE INSTITUTE OF PSYCHO-ANALYSIS 30 NEW INTRODUCTORY LECTURES here offering us an extreme case; but we must admit that child hood experiences, too, are of a traumatic nature, and we need not be surprised if comparatively trivial interferences with the LECTURE XXX function of dreams may arise under other conditions as well,l DREAMS AND OCCULTISMl 1 [The topic of the last three paragraphs was first raised by Freud in Chapters II and III of Beyond the Pleasure Principle (1920g). Further LADIEs AND GENTLEMEN,-To-day we will proceed along a allusions to it will be found in Lecture XXXII, p. 106 below.] narrow path, but one which may lead us to a wide prospect. -
The Academy of Science Fiction, Fantasy & Horror
The Academy of Science Fiction, Fantasy & Horror Films 334 West 54th Street Los Angeles, California 90037-3806 Phone: (323) 752-5811 e-mail: [email protected] Robert Holguin (President) Dr. Donald A. Reed (Founder) Publicity Contact: Karl Williams [email protected] (310) 493-3991 “Gravity” and “The Hobbit: The Desolation of Smaug” soar with 8 Saturn Award nominations, “The Hunger Games: Catching Fire,” scores with 7, “Iron Man 3,” “Pacific Rim,” “Star Trek Into Darkness and Thor: The Dark World lead with 5 nominations apiece for the 40th Annual Saturn Awards, while “Breaking Bad,” “Falling Skies,” and “Game of Thrones” lead on TV in an Epic Year for Science Fiction, Fantasy and Horror LOS ANGELES – February 26, 2014 – Alfonso Cuaron’s Gravity and Peter Jackson’s The Hobbit: The Desolation of Smaug both received 8 nominations as the Academy of Science Fiction, Fantasy & Horror Films today announced nominations for the 40th Annual Saturn Awards, which will be presented in June. Other major contenders that received major nominations were The Hunger Games: Catching Fire, Guillermo del Toro’s Pacific Rim, Star Trek Into Darkness, The Book Thief, Her, Oz The Great anD Powerful and Ron Howard’s Rush. Also making a strong showing was the folk music fable InsiDe Llewyn Davis from Joel and Ethan Coen highlighting their magnificent and original work. And Scarlett Johansson was the first Best Supporting Actress to be nominated for her captivating vocal performance in Spike Jones’ fantasy romance Her. For the Saturn’s stellar 40th Anniversary celebration, two new categories have been added to reflect the changing times; Best Comic-to-Film Motion Picture will see Warner’s Man of Steel duking it out against Marvel’s Iron Man 3, Thor: The Dark WorlD and The Wolverine! The second new category is Best Performance by a Younger Actor in a Television Series – highlighting the most promising young talent working in TV today. -
Psycho by Charles Taylor “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Psycho By Charles Taylor “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author The impact of Alfred Hitchcock’s “Psycho” owes so much to its two big surprises that when the film opened in 1960 Hitchcock not only refused to allow press screenings but had theaters hire Pinkerton security guards to prevent latecomers from entering the theater once the picture had started. He wanted to keep the people who hadn’t bought tickets from finding out that Janet Leigh’s Marion Crane is stabbed to death in the shower only forty-five minutes into the movie, and that the murderer is Antho- ny Perkins’s Norma Bates, who has succumbed to the personality of the mother he murdered years before. In many ways, “Psycho” seems like a death knell for the studio system that would lumber on for a few more years before collapsing later in the decade under the weight of filmmakers and audiences sick of the old stultified formu- Alfred Hitchcock holding a clapper on the set of “Psycho.” las. It isn’t just that Hitchcock made the film fast and on Courtesy Library of Congress the cheap (it cost only $800,000), using the crew from his television anthology series “Alfred Hitchcock Presents.” We are as anxious for Norman not to be found out cover- And it’s not just the shock of the shower murder, its bril- ing up “mother’s” crime as we were for Marion not to get liant and savage elisions heralding and in many cases sur- caught stealing the $40,000 that started her on the jour- passing the screen violence to come. -
Film Music: Hitchcock's Psycho Transcript
Film Music: Hitchcock's Psycho Transcript Date: Wednesday, 15 October 2008 - 12:00AM FILM MUSIC: HITCHCOCK'S PSYCHO Professor Roger Parker At the end of the last lecture, my first in this series about film music, we were in the early 1930s, in the company of an exuberantly screaming Fay Wray as she heralded the appearance of her exceptionally tall and exceptionally dark leading man. The musical accompaniment was an equally exuberant symphonic score by Max Steiner, one of the great composers of the period. As I said then, there are plenty of ways in whichKing Kong now looks dated in both visual and musical terms; but there are equally striking ways in which Steiner's score marks the appearance of a set of codes about how music was to interact with the visual element of films: codes that to some extent remain with us to this very day. One of the most obvious of these codes was in Steiner's use of what we in the music trade call leitmotifs: prominent themes that become attached to aspects of the unfolding drama and that then recur, sometimes with significant development, when those aspects recur in the narrative. And so, in King Kong, the gentle string theme that accompanied the heroine's onboard love scene comes back, played by the full orchestra and horribly distorted, as the camera settles on her, struggling to escape becoming the next sacrificial victim to the monster of Skull Island. This was, of course, an old trick borrowed (as were so many film-music devices) from opera: the obvious point of reference is the leitmotif system elaborated at huge length in Wagner's operas, but the technique goes back a good deal further. -
Epilogue Psycho (1960) and the New Domestic Gaze
Epilogue Psycho (1960) and the New Domestic Gaze By the time Fort Apache appeared in theatres, the Hollywood studios were in deep crisis. As Schatz puts it, “business was declining rapidly. In fact, the fall- ing gross revenues and profits for all the studios would not only continue but accelerate over the coming years” (1999: 331). When the studios did begin to recover, Hollywood had lost its monopoly on the moving sound image. Television began to penetrate everyday life. So, in the late 20th century, cinema was no longer as central to the habits and practices of Americans as it had been during the period in which it alone had the power to move pictures, and thus people. In response, cinema began to dramatize this very transformation through its interrogation of the cinematic gaze. The Gaze Rather than defining the “cinematic gaze” in conceptual terms, let me describe the picture that most famously theorizes this gaze. I’m thinking of course of that seminal moment from Alfred Hitchcock’s film Psycho (1960) that takes place about 45 minutes into the picture. Marion Crane (Janet Leigh) has arrived at the Bates Motel with a bag full of money stolen from her employer. After having dinner with Norman, she decides to shower, presumably to wash away her guilt. Norman Bates (Anthony Perkins), in an adjoining room, takes a painting from the wall. Behind the frame, a hole in the plaster through which Norman watches Marion undress. Here I offer the context, but the scene is important not only for its function in this specific narrative, but because of its formal structure; what that structure says about cinema itself, and about the viewer’s symbolic participation in cinematic violence.