Therapeutic Revolutions Film Dramas in the Borderlands

Description based upon print version of record.

Includes bibliographies and index.

Therapeutic Revolutions examines the evolving relationship between American medicine, psychiatry, and culture from World War II to the dawn of the 1970s. In this richly layered intellectual history, Martin Halliwell ranges from national politics, public reports, and health care debates to the ways in which film, literature, and the mass media provided cultural channels for shaping and challenging preconceptions about health and illness.

Illustrations; Preface; Acknowledgments; Introduction. The Therapeutic Revolutions of Postward America; Part 1. Fragmentation 1945-1983; Chapter 1. Going Home, World War II and Demobilization; Figure 1.1{u2002}{u2002}Dr. Brock (Everett Sloane) tries to counsel a stubborn Bud Wilcheck (Marlon Brando). The Men (Fred Zinnemann, United Artists, 1950).; Figure 1.2{u2002}{u2002}Al Schmid (John Garfield) and Ruth Hartley (Eleanor Parker) appear in Al's blindness dream. Pride of the Marines (Delmer Daves, Warner Brothers, 1945).

Figure 1.3{u2002}{u2002}A hospitalized Larry Nevins (Arthur Kennedy) struggles to come to terms with his blindness. Bright Victory (Mark Robson, Universal, 1951).Chapter 2. In the Noir Mirror, Neurosis, Agression, and Disguise; Figure 2.1{u2002}{u2002}Philip Marlowe (Dick Powell) struggles to regain consciousness after being drugged. Murder, My Sweet (Edward Dmytryk, RKO, 1944).; Figure 2.2{u2002}{u2002}Dr. Constance Petersen (Ingrid Bergman) tries to unravel a psychiatric case as John Ballantine (Gregory Peck) sleeps in Spellbound (Alfred Hitchcock, United Artists, 1945).

Chapter 3. Ground Zero, Science, Medicine, and the Cold WarFigure 3.1{u2002}{u2002}Grant Williams as Scott Carey contemplates his diminished size, surrounded by ineffectual medical cures. Publicity still for The Incredible Shrinking Man (Jack Arnold, Universal, 1957).; Figure 3.2{u2002}{u2002}Dr. Miles Bennell (Kevin McCarthy), wearing a tie, and friends contemplate a biological invasion early in Invasion of the Body Snatchers (Don Siegel, Allied Artists, 1956).; Part 2. Organization 1953-1961; Chapter4. Organization Men, Individualism vs Incorporation

Figure 4.1{u2002}{u2002}Fred Staples (Van Heflin) discovers that an older co-{u00AD}worker, William Briggs (Ed Begley), is close to a breakdown. Patterns (Fielder Cook, United Artists, 1956).Figure 4.2{u2002}{u2002}Tom Rath (Gregory Peck) struggles to tell his life story during a job interview. The Man in the Gray Flannel Suit (Nunnally Johnson, Twentieth Century-{u00AD}Fox, 1956).; Chapter 5. In the Family Circle, The Suburban Medicine Cabinet; Figure 5.1{u2002}{u2002}Herblock, "Split-{u00AD}Level Living," Washington Post, 9 March 1960. (c) The Herb Block Foundation.

Figure 5.2{u2002}{u2002}An anxious Betsy Rath (Jennifer Jones) in her suburban Connecticut kitchen. The Man in the Gray Flannel Suit (Nunnally Johnson, Twentieth Century-{u00AD}Fox, 1956).Figure 5.3{u2002}{u2002}A psychotic Ed Avery (James Mason) destroys his suburban house and his family during a fight with Wally Gibbs (Walter Matthau). Bigger Than Life (Nicholas Ray, Twentieth Century-{u00AD}Fox, 1956).; Chapter 6. Outside the Circle, Growing pains, Deliquency, and Sexuality; Figure 6.1{u2002}{u2002}Herblock, "Ever Think of Starting the Motor?," Washington Post, 16 July 1956. (c) The Herb Block Foundation.

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