We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
MOVIES AND CONDUCT
"2. Scenes of Passion.
(a) They should not be introduced when not essential to the
plot.
(b) Excessive and lustful kissing, lustful embraces, suggestive
postures and gestures, are not to be shown."
It is quite common for the dreamer, male or female, to imagine himself or herself in the place of the hero or heroine of a particular film. Sometimes the story of the film is re-enacted in the mind of the dreamer, without personal modifications: in other cases the dreamer uses the situations presented in the film merely as a starting-point from which he or she creates an entirely new fantasy moulded to the individual's own tastes and experience. The latter type of dream is obviously more subjective and is liable to play a more significant part in the dreamer's emotional life. The danger is that fantasy may eventually become so interwoven with thoughts about real life that the dreamer can no longer separate the one from the other, and ability to cope with everyday problems is vitiated.
It is a notable feature of the majority of day-dreams that they deal with experiences which are generally frowned on by society. Unfortunately, Professor Blumer deliberately excluded material which dealt with sexual life and conduct, although he states in his preface that the evidence shows film influence in this field to be considerable. He does, however, quote one or two examples which serve as an indication of how this type of influence works. This is from a girl of eighteen: T have had dreams of practically every phase of life, worked out in every imaginable way. I've had all sorts of young men as lovers. From an American to an Egyptian, and back'. Another extract comes from a paper by a boy of nineteen, describing his reactions to a film in which sex was stressed: 'Often before I would fall asleep, while lying in bed, I would live through the part of the man under such conditions and I derived pleasure from it'.
A very interesting example of how an individual can build up a whole fantasy world from film material is quoted in TheEducationqf the Emotions, a book by Margaret Phillips. In this case the individual is a schoolmistress with a university education, which perhaps makes particularly significant the violent form in which the cinema influenced her life. It appears from her account that she had been fascinated by films from early childhood on, and from the age of twelve years. She stated that she lived 'completely under the aegis
153