Determined to find the core of Marnie’s fears, Mark asks her to freely associate to a string of words, beginning with those with little charge to them like water and air. He gradually works up to words that he knows will resonate with Marnie.  Upon hearing the word “sex,” she angrily lashes out at him, “I’ll slap your filthy face,” (this word reminds her of intimacy and male contact).  When Mark says the word, “red,” Marnie yells back “White. White…Oh, help me!” Thoughts of sex, followed by the contrast of the color red with its association to blood and violence to the color “white” with its suggestion of purity and innocence seems to lead to her unraveling.  Repeating these words, Marnie climbs up the headboard to bury her face in the fabric behind it, hoping that in making herself invisible, she cannot be harmed by something she refuses to see.  Cardena’s analysis of free association and how it works becomes evident as Marnie encounters these words.  While she may have suppressed “the accident” to such an extent that it is forgotten, such triggers as “sex” and “red” muster up a fear totally unidentifiable. As Cardena explains, Marnie’s disavowal of what happened to her refers to an event external to her that created severe anxiety and that is why the defense mechanism she employs is dissociation rather than repression.

Walker, J. Samuel. . Prompt and utter destruction : Truman and the use of atomic bombs against Japan / J. Samuel Walker. [0807823619 (cloth : alk. paper) ] Chapel Hill : University of North Carolina Press, c1997.
Call#: Van Pelt Library Rosengarten Reserve D767.25.H6 W355 1997

 

The question that lies at the foundation of this book is, was it necessary to drop the atomic bomb on Japan? Walker's accounts of the events leading up to the bombings are concise and pay attention to detail. He never once allows his own opinion on the matter be known, rather he uses the book to clarify the details leading up to the fateful decision.

For instance, it is a common misconception that only two options were discussed concerning how to defeat Japan -either invasion or using the atomic bombs- but Walker responds to this idea by arguing that although a means of ending the war quickly was a major factor, Truman and his advisors posed the idea that perhaps the war would eventually end without utilizing either strategy, considering Japan had in fact been thoroughly weakened.

Although the text itself is not very long, Walker is able to present actual facts about the period before the bombings, and the factors that lead to the final decision. Truman of course, is discussed with great detail as well. Again, Walker is adept at giving us more than adequate information about President Truman and his personality without betraying his own personal opinions. We become aware of the pertinent issues faced by this wartime president, while at the same time unswayed by the authors own opinions. It is very true that Truman was seemingly unprepared to face such a monumental decision, yet he was fully capable of it, taking care to consult his advisors well. Walker does his best to clarify exactly what Truman knew, and when, and analyses this information in regards to his decisions. The main factors in Truman's decision come down to the possibility of many more American casualties, soviet relations, and the fear of just how long Japan could in fact hold out. Walker does however agree with some who find the decision to be questionable, that Truman did fully well understand the potential diplomatic advantages of the atomic bomb. Of course, the atomic bomb would not only impress the soviets, but make America an even more powerful figure.

However, Walker does conclude that the threat of thousands of more American casualties, along with the desire to end the war as soon as possible, became the main factors in his decision. Walker's basic answer to the debate of whether the bomb was necessary is yes, and no. Yes, it ended the war as early as possible, however no because even though American soldier's lives were saved, the numbers of casualties were greatly exaggerated. This response definitely (and intentionally) leaves the entire subject open to debate for years to come.

Shapiro, Jerome F.. Atomic bomb cinema : the apocalyptic imagination on film / Jerome F. Shapiro. [0415936594] New York : Routledge, 2002.
Call#: Van Pelt Library PN1995.9.W3 S52 2002

 

The devastation of the atomic bomb on Hiroshima and Nagasaki and the Cold War may have passed, however they are embedded within the psyches of individuals around the globe. Jerome F. Shapiro's book analyses just how our horror and fear of a nuclear holocaust surface in many aspects of our culture, most specifically, within films from 1945 to the cold war.
Shapiro discusses the themes present in the film Godzilla, relating these themes to the genre of Japanese sci fi horror known as kaiju eiga of "mysterious creature film" the themes are quite moralistic and focus on tradition, nature, family and harmony (not to mention the theme of the dangers of technology and modernity, as present in many sci fi films. Shapiro states that the theme of balance and harmony is the most important. Relating to balance and harmony, Gojira focuses on Tokyo, which is a center of modernity for Japan. He points out that the first to see Gojira are young people on a boat dancing to western music.. The character Serizawa is a parallel to Godzilla in that he is also rebelling from society. When interviewed Honda, the director he explained how the loss of an eye would indicate war experience. Serizawa creates an oxygen destroyer, which he eventually uses to kill Godzilla and himself too.
Shapiro states that there are many ways to interpret Godzilla. one could consider it a rip off of earlier American monster films. However, judging by other scholars' attempts to rationalize the monster in American films by allowing it to represent the main character who by conquering the monster, conquers his own problems. However it is Serizawa who conquers the monster, yet he dies, learning nothing. Therefore, Godzilla as a typical cold war film is useless. Godzilla has a character that develops, unlike American monsters.
In addition, he rejects the theory that Godzilla is about the condemnation of nuclear weapons. Instead, Shapiro believes that Godzilla's sole purpose is to portray the theme of balance and harmony. the two main characters fight, creating a ma in Japanese aesthetics, which signifies a vacuum, or void - and Shapiro states that this concept can be found both in narrative and visual imagery. where as the central character Emiko is the key to restoring balance and harmony, by asserting herself.
We are introduced to the idea that the power of the feminine is able to restore harmony with nature and a balanced society. he goes on to relate this dynamic to following kaiju films, most specifically, mothra series.

            In Loser Take All: The Comic Art of Woody Allen, Maurice Yacowar traces Woody Allen’s transformation from a “cult favorite into America’s foremost humorist” (1).  The turning point of this transformation is generally attributed to the success of Annie Hall.  Not only did Annie Hall do phenomenally well at the box office, but it was also nominated for five Oscars and won four, including Best Picture, Best Screenplay, and Best Director, all which could be directly attributed to Woody Allen.  Yacowar asserts that just because comedy is lighthearted in nature, there is an underlying seriousness and significance inherent in humor, especially in the case of Woody Allen, which makes it essential to critically study his films.  While humor can initially seem dismissible due to its comedic and blithe nature, Woody Allen instills such meaning and honesty in his humor that it often holds more meaning than dramatic counterparts.  This humor is apparent in every single one of Allen’s films, although some to a greater degree than others.  Allen is able to consistently convey meaning about serious topics such as loneliness, anxiety, love, and existentialism through his humor.  Allen also explores the relationship between life and art through this humor, and it is through such humor that the viewer is able to define the meaning and implications his work.  Yacowar specifically addresses each of Allen’s individual films and demonstrates how they uniquely use humor to create and communicate deeper meaning.  Due to the chronological structure of the book, Yacowar shows how each film influences and leads to the next film in Woody Allen’s repertoire.  One major issue in Annie Hall is the blurring of reality and fantasy.  Allen makes it difficult to discern to what degree the film is autobiographical and therefore a realistic portrayal of his life and thoughts.  This ambiguity is further compounded by his direct addresses to the audience.  This blurring of the line between reality and fantasy manifests itself multiple times throughout the film, thereby repeatedly challenging the viewer.