Mr. Magoo as Public Dream
FROM THE TIME OF ITS introduction into America in the late thirties, the psychoanalytic approach to the study of mass entertainments has steadily won adherents and sometimes transformed them into partisans. Its root proposition is now very well known: the contents of popular entertainments may be sy...
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creator | Milton J. Rosenberg |
description | FROM THE TIME OF ITS introduction into America in the late thirties, the psychoanalytic approach to the study of mass entertainments has steadily won adherents and sometimes transformed them into partisans.
Its root proposition is now very well known: the contents of popular entertainments may be symbolically reduced and translated so as to provide a picture of the unconscious needs and fears of their audiences. Production workers, critics, and social scientists have, in the main, been willing to accept this proposition; to grant that entertainments are public and saleable dreams. But, in recent years, they have come to suspect that |
format | Book Chapter |
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Its root proposition is now very well known: the contents of popular entertainments may be symbolically reduced and translated so as to provide a picture of the unconscious needs and fears of their audiences. Production workers, critics, and social scientists have, in the main, been willing to accept this proposition; to grant that entertainments are public and saleable dreams. But, in recent years, they have come to suspect that</description><identifier>ISBN: 0520232739</identifier><identifier>ISBN: 9780520232730</identifier><identifier>EISBN: 0520936329</identifier><identifier>EISBN: 9780520936324</identifier><language>eng</language><publisher>University of California Press</publisher><subject>Arts ; Behavioral sciences ; Cartoons ; Cognitive psychology ; Communications ; Communicative content ; Dreams ; Entertainment ; Humor ; Leisure studies ; Psychological research ; Psychology ; Recreation ; Social sciences ; Unconscious mind ; Visual arts</subject><ispartof>Hollywood Quarterly, 2002, p.84</ispartof><rights>2002 the Regents of the University of California</rights><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>775,776,780,789</link.rule.ids></links><search><contributor>Ann Martin</contributor><contributor>Eric Smoodin</contributor><creatorcontrib>Milton J. Rosenberg</creatorcontrib><title>Mr. Magoo as Public Dream</title><title>Hollywood Quarterly</title><description>FROM THE TIME OF ITS introduction into America in the late thirties, the psychoanalytic approach to the study of mass entertainments has steadily won adherents and sometimes transformed them into partisans.
Its root proposition is now very well known: the contents of popular entertainments may be symbolically reduced and translated so as to provide a picture of the unconscious needs and fears of their audiences. Production workers, critics, and social scientists have, in the main, been willing to accept this proposition; to grant that entertainments are public and saleable dreams. But, in recent years, they have come to suspect that</description><subject>Arts</subject><subject>Behavioral sciences</subject><subject>Cartoons</subject><subject>Cognitive psychology</subject><subject>Communications</subject><subject>Communicative content</subject><subject>Dreams</subject><subject>Entertainment</subject><subject>Humor</subject><subject>Leisure studies</subject><subject>Psychological research</subject><subject>Psychology</subject><subject>Recreation</subject><subject>Social sciences</subject><subject>Unconscious mind</subject><subject>Visual arts</subject><isbn>0520232739</isbn><isbn>9780520232730</isbn><isbn>0520936329</isbn><isbn>9780520936324</isbn><fulltext>true</fulltext><rsrctype>book_chapter</rsrctype><creationdate>2002</creationdate><recordtype>book_chapter</recordtype><sourceid/><recordid>eNpjZOAyMDUysDQ2MzayZIZwjIyNzI0tORh4i4uzDIDA0NzI1MKSk0HSt0hPwTcxPT9fIbFYIaA0KSczWcGlKDUxl4eBNS0xpziVF0pzMyi6uYY4e-hmFZfkF8Un5ednF8dnxSeXlBgWFKSnmMUbGhsTowYA-dYsNw</recordid><startdate>20020417</startdate><enddate>20020417</enddate><creator>Milton J. Rosenberg</creator><general>University of California Press</general><scope/></search><sort><creationdate>20020417</creationdate><title>Mr. Magoo as Public Dream</title><author>Milton J. Rosenberg</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-jstor_books_j_ctt1ppgd6_133</frbrgroupid><rsrctype>book_chapters</rsrctype><prefilter>book_chapters</prefilter><language>eng</language><creationdate>2002</creationdate><topic>Arts</topic><topic>Behavioral sciences</topic><topic>Cartoons</topic><topic>Cognitive psychology</topic><topic>Communications</topic><topic>Communicative content</topic><topic>Dreams</topic><topic>Entertainment</topic><topic>Humor</topic><topic>Leisure studies</topic><topic>Psychological research</topic><topic>Psychology</topic><topic>Recreation</topic><topic>Social sciences</topic><topic>Unconscious mind</topic><topic>Visual arts</topic><toplevel>online_resources</toplevel><creatorcontrib>Milton J. Rosenberg</creatorcontrib></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Milton J. Rosenberg</au><au>Ann Martin</au><au>Eric Smoodin</au><format>book</format><genre>bookitem</genre><ristype>CHAP</ristype><atitle>Mr. Magoo as Public Dream</atitle><btitle>Hollywood Quarterly</btitle><date>2002-04-17</date><risdate>2002</risdate><spage>84</spage><pages>84-</pages><isbn>0520232739</isbn><isbn>9780520232730</isbn><eisbn>0520936329</eisbn><eisbn>9780520936324</eisbn><abstract>FROM THE TIME OF ITS introduction into America in the late thirties, the psychoanalytic approach to the study of mass entertainments has steadily won adherents and sometimes transformed them into partisans.
Its root proposition is now very well known: the contents of popular entertainments may be symbolically reduced and translated so as to provide a picture of the unconscious needs and fears of their audiences. Production workers, critics, and social scientists have, in the main, been willing to accept this proposition; to grant that entertainments are public and saleable dreams. But, in recent years, they have come to suspect that</abstract><pub>University of California Press</pub></addata></record> |
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source | UC Press E-Books Collection, 1982-2004 (Public) |
subjects | Arts Behavioral sciences Cartoons Cognitive psychology Communications Communicative content Dreams Entertainment Humor Leisure studies Psychological research Psychology Recreation Social sciences Unconscious mind Visual arts |
title | Mr. Magoo as Public Dream |
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