#the fixer 1968

[transmutationisms]

i think you do a really impressive job balancing comprehensive/concise while referencing a lot of complex frameworks(contexts? schools of thought? lol idk what to call that. big brain ideas) but if you have any readings specifically on the institution of psychiatry topic that you would recommend/think are relevant, I'd be interested. it's absolutely not a conversation that's being had enough and I want to be able to articulate myself around it

yes i have readings >:)

first of all, the anti-psychiatry bibliography and resource guide is a great place to start getting oriented in this literature. it's split by sub-topic, and there are paragraphs interspersed throughout that give summaries of major thinkers' positions and short intros to key texts.

it's from 1979, though, so here are some recs from the last 4 decades:

overview critiques

mind fixers: psychiatry's troubled search for the biology of mental illness, by anne harrington

psychiatric hegemony: a marxist theory of mental illness, by bruce m z cohen

desperate remedies: psychiatry's turbulent quest to cure mental illness, by andrew scull

psychiatry and its discontents, by andrew scull

madness is civilization: when the diagnosis was social, 1948–1980, by michael e staub

contesting psychiatry: social movements in mental health, by nick crossley

the dsm & pharmacy

dsm: a history of psychiatry's bible, by allan v horwitz

the dsm-5 in perspective: philosophical reflections on the psychiatric babel, by steeves demazeux & patrick singy

pharmageddon, by david healy

pillaged: psychiatric medications and suicide risk, by ronald w maris

the making of dsm-iii: a diagnostic manual's conquest of american psychiatry, by hannah s decker

the myth of the chemical cure: a critique of psychiatric drug treatment, by joanna moncrieff

the book of woe: the dsm and the unmaking of psychiatry, by gary greenberg

prozac on the couch: prescribing gender in the era of wonder drugs, by jonathan metzl

the creation of psychopharmacology, by david healy

the bitterest pills: the troubling story of antipsychotic drugs, by joanna moncrieff

psychiatry & race

the protest psychosis: how schizophrenia became a black disease, by jonathan metzl

administrations of lunacy: racism and the haunting of american psychiatry at the milledgeville asylum, by mab segrest

the peculiar institution and the making of modern psychiatry, 1840–1880, by wendy gonaver

what's wrong with the poor? psychiatry, race, and the war on poverty, by mical raz

national and cross-national contexts

mad by the millions: mental disorders and the early years of the world health organization, by harry yi-jui wu

psychiatry and empire, by sloan mahone & megan vaughan

ʿaṣfūriyyeh: a history of madness, modernity, and war in the middle east, by joelle m abi-rached

surfacing up: psychiatry and social order in colonial zimbabwe, 1908–1968, by lynette jackson

the british anti-psychiatrists: from institutional psychiatry to the counter-culture, 1960–1971, by oisín wall

crime, madness, and politics in modern france: the medical concept of national decline, by robert a nye

reasoning against madness: psychiatry and the state in rio de janeiro, 1830–1944, by manuella meyer

colonial madness: psychiatry in french north africa, by richard keller

madhouse: psychiatry and politics in cuban history, by jennifer lynn lambe

depression in japan: psychiatric cures for a society in distress, by junko kitanaka

inheriting madness: professionalization and psychiatric knowledge in 19th century france, by ian r dowbiggin

mad in america: bad science, bad medicine, and the enduring mistreatment of the mentally ill, by robert whitaker

[citizenscreen]

Director John Frankenheimer and screenwriter Dalton Trumbo on set of THE FIXER (1968)

[skippyhawk]

yes, I absolutely agree about Tim and Hawk's dynamic being kind of flipped in the 60s (and I think it's part of why it's my favorite episode so far). Even though Tim is in a sense dependent on Hawk because Hawk is giving him a place to hide while being on the run, he's the one who is guarded/with his walls up/pushing Hawk away (with good reason), and even though Hawk still can't verbalize his feelings (I cannot get the look on his face in response to "why do you care? about any of this?" OUT OF MY HEAD), to me he seems more emotionally open about his feelings for Tim in 1968 than we've ever seen him be thus far, and he's the one trying to reach out for Tim (emotionally *and* physically more than once) even if he doesn't know how to fix everything.

I also find Hawk's determination to fix everything for Tim and keep him out of jail to be fascinating given that we and Tim knew him as a fixer in the 1950s (which he acknowledged), and he wants so badly to fix this for Tim, and yet the episode ends with him watching with pain in his eyes as Tim turns himself in (and then, even more interestingly, using Tim's words from seminary to try and fix his relationship with Jackson by creating a moment of connection and comfort).

Thank you for indulging me with these asks, I love hearing your thoughts and if you don't mind my rambling I'll probably send more as we wait for the last 2 eps ahhh

it was definitely one of my favorites as demonstrated by that fever-induced unusually poetic defensive textpost i dropped straight after... i even had a brief discussion about it with some of my irls and my sister lmao

anyways yes, firstly on the dynamic flips. i do think there’s more to come on that. it seems like these shifting roles they seem to take on in each other’s lives (“carer”, savior, etcetc) will be a reoccurring theme post-50s.

secondly, to me a lot of hawk’s actions in the sixth episode seem slightly panicked (understatement of the century) because he’s truly trying to hold on to tim but it’s not working this time, which in turn literally has him agitated; he wants tim to stay. not only because the threat of prison is very real, especially to him and his wellbeing, but because he doesn’t want to let tim go again. despite this he, as per, hides behind his words and simultaneously leaves the most crucial things unsaid. i believe hawk’s a very “show, don’t tell” type of person. except he usually tends to avoid the showing part as well. (lol)

his franctic behavior seemingly begins with worrying about what might happen if tim does get sent to prison but it leaks through very quickly how he’s actually particularly shaken by tim’s resistance. in all honesty i think he’s been so used to having that certain control over him, most likely finding comfort in knowing that if he wants tim to stay, he will. there’s probably some primal freakout happening inside his head there lol. he does also seem visibly worried about how deep into his faith and denying himself tim has sunk again.

thirdly, i think hawk actually seems at his most vulnerable in the ’80s. i think the reality of tim being ill and possibility of him simply not being around anymore truly shook something deep inside him and spurred some kind of overgrown shrouded gears inside his head into action. to me it seems he’s having some pretty fucking heavy realizations but it’s also obvious after decades he’s finally prioritizing this huge part of himself and the truths, good and bad, that come with it. with finally letting himself just be you can tell how he’s immediately opening himself up more to tim too, sharing his thoughts instead of shoving them down, being there when it matters most. a perfect example of this is him walking into tim’s apartment and within minutes practically stating that actually, he’s not afraid of the disease– he’s afraid of losing him.

in my opinion hawk telling tim he’s “not sure of anything anymore” is truly a pivotal moment in his life. there’s a certain sense of beginning there. something has changed everything and nothing will be the same again.

it’s also why despite the bitterness, tragedy and supposed finality of it all ’80s tim and hawk are already so dear to me personally.

obviously i’m still positively petrified just imagining where they might go with the story next but i certainly hope you and obviously anyone else that’s willing will have thoughts to share or discussions to spark as the final episodes roll out...!

[alanbates]

heyy what movie is ur header pic from

hiiii!!! It's a screencap from The Fixer (1968) 🤙🏼

[passed-out-real]

Alan Bates Filmography Part 2

The Fixer (1968)

Women in Love (1969)

The Go-Between (1971)

A Day in the Death of Joe Egg (1972)

Story of a Love Story (1973)

Butley (1974)

Royal Flash (1975)

An Unmarried Woman (1978)

The Shout (1978)

The Rose (1979)

[pygartheangel]

The Fixer (1968)

[nicklloydnow]

“One of the strangest things about these five downhill years of the Nixon Presidency is that despite all the savage excesses committed by the people he chose to run the country, no real opposition or realistic alternative to Richard Nixon's cheap and meanhearted view of the American Dream has ever developed. It is almost as if that sour 1968 election rang down the curtain on career politicians.

This is the horror of American politics today—not that Richard Nixon and his fixers have been crippled, convicted, indicted, disgraced and even jailed — but that the only available alternatives are not much better; the same dim collection of burned‐out hacks who have been fouling our air with their gibberish for the last twenty years.

How long, oh Lord, how long? And how much longer will we have to wait before some high‐powered shark with a fistful of answers will finally bring us face‐to‐face with the ugly question that is already so close to the surface in this country, that sooner or later even politicians will have to cope with it?

Is the democracy worth all the risks and problems that necessarily go with it? Or, would we all be happier by admitting that the whole thing was a lark from the start and now that it hasn't worked out, to hell with it.

(…)

George Orwell had a phrase for it. Neither he nor Aldous Huxley had much faith in the future of participatory democracy. Orwell even set a date: 1984—and the most disturbing revelation that emerged from last year's Watergate hearings was not so much the arrogance and criminality of Nixon's henchmen, but the aggressively totalitarian character of his whole Administration. It is ugly to know just how close we came to meeting Orwell's deadline.” - Hunter S. Thompson, ‘Fear and Loathing in the Bunker’ (The New York Times; 1 January 1974)

[lcmb]

1968

Tales of Mystery and Imagination

Shalako

The Girl on a Motorcycle

Farewell, Friend

Wonderwall

Sebastian

The Fixer

[tempsdesfetesdixieland2023]

Samedi 16 décembre 2023

Pour cette première journée, nous avons eu droit à la flotte : de la grosse pluie du matin au soir causée par une dépression importante qui se retrouvera au Québec ce lundi. Impossible de faire des activités extérieures aujourd’hui. Nous en avons profité pour magasiner en matinée, puis nous sommes allés au NSU Art Museum Fort Lauderdale en après-midi. C’est un charmant musée qui présente notamment des œuvres du peintre américain William J. Glackens (photo 8) et plusieurs œuvres d’artistes d’origine haïtienne (photos 9 et 10). Deux expositions, l’une portant sur la “Color Field painting”, l’autre sur le peintre Walasse Ting, s’y déroulent actuellement. On peut donc y contempler plusieurs œuvres significatives datant des années 1950-1990 (photos 1 à 7). Sans conteste, ces toiles ont ajouté un peu de couleur dans cette journée maussade (j’aimais beaucoup la première, de W. Ting, avec son parapluie, particulièrement de circonstance aujourd’hui). En soirée, petit cours d’histoire pour Maman et Papa pour fixer les bases nécessaires à ce qu’on verra dans les prochains jours à St Augustine et à la Nouvelle-Orléans.

Pour les œuvres:

1. Walasse Ting (1929-2010), La Naissance de Vénus, 1966

2. Hans Hofmann (1880-1966), Iris, 1964-1965

3. Walasse Ting (1929-2010), Fire, 1959

4. Sam Gilllam (1933-2022), Cordial I, 1972

5. Walasse Ting (1929-2010), Looking for a Bee, 1968

6. Frank Stella (né en 1936), Fortin de las Flores, 1966

7. Jules Olitskl (1922-2007), Comprehensive Dream, 1965

8. William J. Glackens (1870-1938), Lake Bathers, No. 2, c.1920

9. Roland Dorcély (1930-2017), La Forêt dans la nuit, 1958-59

10. Gabriel Bien-Aime (né en 1951), Greetings (Damb), 1997

[edwin--artifex]

"FEUERBLUME – DIE ZWEI LEBEN DER MARISA MELL"

Ö 2023 – 64 Minuten – deutsche Fassung R: Markus Mörth D: Marisa Mell, Erika Pluhar, Helmut Berger

Wer war Marisa Mell? Die Personae der berühmten Grazer Schauspielerin und Privatperson Marlis Moitzi werden im Dokumentarfilm Feuerblume – Die zwei Leben der Marisa Mell einander gegenübergestellt. Weggefährt:innen wie Christine Kaufmann und Erika Pluhar erinnern sich.

Der Film versucht, mit aktuellem Blick und vor dem Hintergrund der #MeToo-Bewegung die Rolle der Frau im Filmbusiness der 1960er- bis 1980er-Jahre zu hinterfragen.

"Feuerblume - Die zwei Leben der Marisa Mell" ("Fireflower: The Two Lives of Marisa Mell") Documentary (2022-2023) Portrait / Directed & written by Markus Mörth/ Production Markus Mörth Filmproduktion GmbH/ ORF - Österreichischer Rundfunk /

Production Designer & Art Director: Burkhard Stulecker

locations/fixer: Roma: Edwin Alexander Francis

SPECIAL THANX TO: Annamode for letting us film Marisa Mell's beautiful costumes inside their workshop and to VPI Voice Professionals Italy for letting us film in their 'office' on Piazza Vittorio, Rome

local crew: from left to right: Edwin, Burkhard (Art), Astrid (DOP), Markus (Director/Producer) and 'X' our Sound-stand-in

...and here's a 'historical' snapshot featuring Marisa (centre left) (c) Burkhard Stulecker (second from the right) and Helmut Berger (on the right) ->

Marisa M. & Marcello M. starring in 'Casanova 70 ->

a brief bio ->

Marisa Mell was born in 1939 in Graz, Austria. Her film debut was in 1954 in “Das licht der Liebe”. She went on to make “Dr”, “City of Fear”, “French Dressing”, “Masqurade” and “Danger Diabolik”. In 1967 she was on Broadway as “Mata Hari” a musical with Pernell Roberts. It was not a success. Marisa Mell died in 1992 in Vienna.

....and a brief portrait (c) Tina Aumont (from an article published in the series: Tina Aumont’s Eyes)

Beautiful and exiting, the stunning Marisa Mell appeared in an array of cult classics and exploitation favourites, from both Italy and abroad. Never shy with nudity, she is also remembered for her glamorous pictorials that featured in many glossy publications during her long and varied career.

Born in Austria on February 24th 1939, Marisa Mell’s life was nearly over before her career even took off. In 1963, after having appeared in only a handful of European movies, Marisa was involved in a serious traffic accident while in France. She nearly lost her right eye and would spend the next two years having plastic surgery, which resulted in a slight curl to her upper lip. During this time though, she continued to make films both home and abroad. In 1964 Marisa played a French movie star in Ken Russell’s film debut ‘French Dressing’, a fun comedy with James Booth and Roy Kinnear. Staying in the UK, she was a femme fatale in Basil Deardon’s spy spoof ‘Masquerade’ (’65), with Cliff Robertson. Back in Italy, Marisa was one of Marcello Mastroianni’s conquests, along with Michèle Mercier and Virna Lisi, in the entertaining romp ‘Casanova ‘70’ (’65).

Marisa is perhaps best known for Mario Bava’s stylish 1968 caper ‘Danger: Diabolik’, as the sexy girlfriend of John Phillip Law’s slick criminal; Diabolik. A big hit in Europe, it’s a fun if dated tongue-in-cheek romp that’s developed quite a cult over the years. Also in 1968, Marisa co-starred in the corny sex farce ‘Anyone Can Play’, alongside Virna Lisi and former Bond Girls Ursula Andress and Claudine Auger. The following year she gave a good performance in Lucio Fulci’s first giallo ‘One on Top of the Other’ (’69), looking sexy and dangerous in dual roles. Marisa would again have a double role in the Spanish thriller ‘Marta’, co-starring Stephen Boyd. An interesting though sometimes frustrating movie, it had Marisa play a murderess who resembles the estranged wife of a wealthy man (Boyd), who has murdered his own mother. More of a character study with added intrigue, than the usual giallo, both Boyd and Mell are very good and there are a few surprises along the way.

The following year Marisa would yet again play two roles, this time as twins, in exploitation king Umberto Lenzi’s pretty good giallo ‘Seven Blood-Stained Orchids’ (’72). Marisa looked stunning as a honeymooning bride who’s attacked on a train by a mysterious figure dressed in black. A rare Hollywood film came in 1975 when she had a small role in the Diana Ross fashion drama ‘Mahogany’, as the owner of an Italian modelling agency. It did little to help her career, but at least she got to work with her early crush; Anthony Perkins. Back in Europe Marisa was brutalized by a psychotic Helmut Berger in the sleaze-filled exploitation flick ‘Mad Dog Killer’ (’77), a typically grimy revenge picture from Italy, filled with rape, murder and car chases. In 1979 Mell appeared in ‘Ring of Darkness’, an Italian late entry in the whole ‘Exorcist’ rip-off cycle. A bit of a mess and hard to follow, it at least had a respectable cast including Frank Finlay, Ian Bannen and Anne Heywood. A silly but fun actioner followed with the terrorist-themed ‘Hostages!’ (’80), an international co-production with Stuart Whitman and Mexican favourite; Hugo Stiglitz.

Like many cult stars of the sixties and seventies, Marisa’s career had waned considerably by the 80’s, with only small roles in a few TV shows and Z-grade movies (including a guest spot in the 1983 porn flick ‘Nude Strike’), coming her way. After the dire Joe D’Amato fantasy ‘The Hobgoblin’ (’90), Mell’s final appearance was in the obscure 1991 comedy ‘I Love Vienna’. Married briefly to director Henri Tucci (’59-63) Marisa Mell sadly died in Vienna from throat cancer, on May 16th, 1992, aged just 53. A very good actress and a B-movie favourite, Marisa added charm and sex appeal to many European movies, and her legacy continues to be rediscovered by cult movie fans worldwide.

So, the "Feuerblume - Die zwei Leben der Marisa Mell" (Fireflower: The Two Lives of Marisa Mell) documentary directed & written by Markus Mörth is a must! The film tries to question the role of women in the film business between the 1960s to 80s while opening on current perspectives against the background of the #MeToo movement.

below: setting for the interview with Karin Aicardi (née Moitzi, Marlies Theresa Moitzi, aka Marisa Mell's cousin)

...and here are a few filmposters, just as reminder ->

......and ->

[spears62]

Check out this listing I just added to my Poshmark closet: Vintage 1968 Mattel The World of Barbie Doll Trunk Case 1002.

[citizenscreen]

John Frankenheimer and Dalton Trumbo working on THE FIXER (1968).

[alanbates]

I am once again asking you for a movie link...does anyone have a link where I can watch The Fixer (1968) for free

[asinglemanpdf]

Dirk Bogarde in The Fixer, 1968

[glendajackson]

The Fixer (1968), dir. John Frankenheimer, filming stills

[theoscarsproject]

The Fixer (1968). In Czarist Russia, around 1911, a Russian-Jewish handyman, Yakov Bok, is wrongly imprisoned for a most unlikely crime.

The premise of this film isn’t bad, but unfortunately the execution leaves a lot to be desired. It’s way too long, the characters unsympathetic, the structure really veering into cliche. None of it really works, which is a bit of a shame when the roots of the film are relatively interesting. 4/10.