By Michael Starks
From the very starting, filmmakers have struggled to loose themselves from censorship and manipulation by means of special-interest teams, and this fight is obviously obvious within the historical past of drug movies. Cocaine Fiends and Reefer insanity is an exhaustive exploration of the historical past of the depiction of psychoactive medicines in films from Thomas Edison's Opium Smoker (1894) to Cocaine Cowboys (1978), integrated are over four hundred silent and 1,000 sound movies in addition to approximately 500 drug-abuse movies, eighty five experimental motion pictures, and one hundred thirty five tv courses. greater than a hundred and fifty stills, such a lot by no means prior to released and plenty of tremendous infrequent, illustrate the textual content. prepared chronologically in addition to by means of drug variety and sometimes through nation, this booklet exhibits that, faraway from being a contemporary phenomenon, drug movies have been made in approximately each kingdom and interval that produced an important physique of films.
Visit Edison's first movie studio, give some thought to the filmic effects of Cocteau's opium dependancy with Kenneth Anger's early reports with magic mushrooms, see Charles Laughton smuggling cocaine within a statute of the Buddha, and watch Douglas Fairbanks, Sr., eating big amounts of opium and cocaine in an international conflict I Sherlock Holmes parody.
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Extra info for Cocaine Fiends and Reefer Madness. History of Drugs in the Movies 1894-1978
Deny the necessary elements of their construction, but openly reveal and affirm them. Such shapes must by necessity transcend individualism and nationalism in their appearance. The value of an object is not measured by its origin. but by its approach to perfection of form, the highest and purest design. The creator disappears completely behind his work. People of today regard the arr'ogant thrusting forward of the man before his work as aesthetically embarrassing. Just as every human being is part of a greater whole, and is conscious of his connection with it.
18. Letter of 3 February 1929 (Getty Center Archives. Santa Monica: file 850831). 19. Postcard of 28 September 1930 (Getty Center Archives. Santa Monica: file 850831). 20. Letter of 16 February 1932 (Getty Center Archives. Santa Monica: file 850831). In the book's statement of copyright. it is stated that "all rights are reserved by the author. in particular those of translation into other languages. " 21. Letter of 29 September 1932. in: El Lissitzky. Proun und Wolkenbugel (Dresden: VEB Verlag der Kunsl.
The heroic 23 efforts of these pioneers failed were right - although in many respects their ideas because the true needs of the time could not yet be exactly grasped, and because of the mistaken borrowing of art forms from nature, The main aim was seen too simply as new forms, a new line (van de Velde: La ligne, c'est une force - a line is power), in other words, an aesthetic renewal, a change in outward shape, instead of the construction of objects in obedience to their purpose, their materials, and their methods of manufacture.