Zombies, werewolves and chainsaw-wielding maniacs are tried-and-true staples of horror films. But none can match the visceral dread evoked by a child with an innocent face and a diabolical stare. Cinema's evil children attack our cherished ideas of innocence and our innocent bystander status as the audience. A good horror film is a scary ride--a "devil child" movie is a guilt trip. This book examines 24 international films--with discussions of another 100--that in effect "indict" viewers for crimes of child abuse and abandonment, greed, social and ecological negligence, and political and war crimes, and for persistent denial of responsibility for them all. For 75 years evil children have ritually rebuked audiences and, in playing on our guilt, established a horror subgenre that might be described as a blood-spattered rampage on an ethical mission.
In the years leading up to the World Wars, Germany and Austria saw an unprecedented increase in the study and depiction of the criminal. Science, journalism and crime fiction were obsessed with delinquents while ignoring the social causes of crime. As criminologists measured criminals' heads and debated biological predestination, court reporters and crime writers wrote side-splitting or heart-rending stories featuring one of the most popular characters ever created--the hilarious or piteous crook. The author examines the figure of the crook and notions of "Jewish" criminality in a range of antisemitic writing, from Nazi propaganda to court reporting to forgotten classics of crime fiction.
This book represents a revision and expansion of an earlier set of diagrams for tempera 0 0 tures from 25 to 300 C along the equilibrium vapor-liquid curve for H 0 (Helgeson, Brown, 2 and Leeper, 1969). The activity diagrams summarized in the following pages were generated over a six year period from 1977 to 1983 in the Laboratory of Theoretical Geochemistry (oth erwise known as Prediction Centra!) at the University of California, Berkeley. They represent the culmination of research efforts to generate a comprehensive and internally consistent set of thermodynamic data and equations for minerals, gases, and aqueous solutions at high pres sures and temperatures. Among the many who contributed to the successful completion of this book, we are especially indebted to David Kirkham, John Walther, and George Flowers, who wrote program SUPCRT, Tom Brown, who created program DIAGRAM, and Eli Mess inger, who generated the Tektronix plot routine to construct the diagrams. Ken Jackson and Terri Bowers both devoted an enormous amount of time and effort over the past six years to produce the diagrams in the following pages; some of which went through many stages of revision. Consequently, they appear as senior authors of this volume. It should be mentioned in this regard that their equal dedication to the project made it necessary to determine their order of authorship by flipping a coin.
Zombies, werewolves and chainsaw-wielding maniacs are tried-and-true staples of horror films. But none can match the visceral dread evoked by a child with an innocent face and a diabolical stare. Cinema's evil children attack our cherished ideas of innocence and our innocent bystander status as the audience. A good horror film is a scary ride--a "devil child" movie is a guilt trip. This book examines 24 international films--with discussions of another 100--that in effect "indict" viewers for crimes of child abuse and abandonment, greed, social and ecological negligence, and political and war crimes, and for persistent denial of responsibility for them all. For 75 years evil children have ritually rebuked audiences and, in playing on our guilt, established a horror subgenre that might be described as a blood-spattered rampage on an ethical mission.
In the years leading up to the World Wars, Germany and Austria saw an unprecedented increase in the study and depiction of the criminal. Science, journalism and crime fiction were obsessed with delinquents while ignoring the social causes of crime. As criminologists measured criminals' heads and debated biological predestination, court reporters and crime writers wrote side-splitting or heart-rending stories featuring one of the most popular characters ever created--the hilarious or piteous crook. The author examines the figure of the crook and notions of "Jewish" criminality in a range of antisemitic writing, from Nazi propaganda to court reporting to forgotten classics of crime fiction.
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