David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
Medical Humanities 30 (1):27-31 (2004)
Early in his film career the actor Sir Michael Caine portrayed a series of antisocial males: Harry Palmer, Alfie Elkins, Charlie Croker, and Jack Carter. The behaviours exhibited by these fictional males resemble those of “real life” patients acquiring the diagnoses of antisocial or dissocial personality disorder. Prominent among their traits is a disregard for others, a lack of guilt, and a resort to instrumental violence. The exhibition of antisocial conduct may be seen as a rejection of the values of the social hierarchy, the dominant or patriarchal order. Demonstrable through a defiance of dominant males and a recurrent seduction of “their” women, these Caine characters act out an Oedipal theme, repeatedly attempting subversion of the symbolic “father”—society itself. So often, the material of “real life” social behaviour is fleeting and hard to elicit reliably; however, these fictional characters provide a stable source of such exemplars, both entertaining and instructive
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
John N. Constantino (1998). Dominance and Aggression Over the Life Course: Timing and Direction of Causal Influences. Behavioral and Brain Sciences 21 (3):369-369.
Jim Hillier (ed.) (1985). Cahiers Du Cinéma, the 1950s: Neo-Realism, Hollywood, New Wave. Harvard University Press.
John Dilworth (2003). Ariadne at the Movies. Contemporary Aesthetics 1 (1).
Mairi Levitt, Genes, Environment and Responsibility for Violent Behaviour:‘Whatever Genes One has It is Preferable That You Are Prevented From Going Around Stabbing People’.
Scott Woodcock (2013). Horror Films and the Argument From Reactive Attitudes. Ethical Theory and Moral Practice 16 (2):309-324.
Jim Hillier (ed.) (1986). Cahiers Du Cinéma: 1960-1968--New Wave, New Cinema, Reevaluating Hollywood. Harvard University Press.
Sander H. Lee (1985). Existential Themes in the Films of Alfred Hitchcock. Philosophy Research Archives 11:225-244.
S. C. Guy & L. Cahill (1999). The Role of Overt Rehearsal in Enhanced Conscious Memory for Emotional Events. Consciousness and Cognition 8 (1):114-122.
Alfie Kohn (1991). Cooperation: What It Means and Doesn't Mean. World Futures 31 (2):107-115.
Edith Clay (1970). Rhodes: Sir William to Sir Walter . Notes to Save Sir Walter Scott the Trouble of Looking Out Information About Rhodes. W. Gell, 1832. [REVIEW] Journal of the Warburg and Courtauld Institutes 33:336-343.
Dorothee Horstkötter, Ron Berghmans, Frans Feron & Guido De Wert (2014). 'One Can Always Say No.' Enriching the Bioethical Debate on Antisocial Behaviour, Neurobiology and Prevention: Views of Juvenile Delinquents. Bioethics 28 (5):225-234.
Warren Buckland (ed.) (2009). Puzzle Films: Complex Storytelling in Contemporary Cinema. Wiley-Blackwell.
S. Evan Kreider (2008). The Virtue of Horror Films. International Journal of Applied Philosophy 22 (1):149-157.
Jenifer Meynell (1978). Values and Violence: A Study of the Films of Clint Eastwood. Journal of Moral Education 7 (2):109-113.
Added to index2010-08-30
Total downloads3 ( #620,903 of 1,907,220 )
Recent downloads (6 months)1 ( #466,442 of 1,907,220 )
How can I increase my downloads?