American Madness

"Engaging, jargon-free writing that reads like a memoir, from an expert psychiatrist with three decades of experience on the frontlines of the mental health epidemic"--

In 1895 there was not a single case of dementia praecox reported in the United States. By 1912 there were tens of thousands of people with this diagnosis locked up in asylums, hospitals, and jails. By 1927 it was fading away . How could such a terrible disease be discovered, affect so many lives, and then turn out to be something else? In vivid detail, Richard Noll describes how the discovery of this mysterious disorder gave hope to the overworked asylum doctors that they could at last explain—though they could not cure—the miserable patients surrounding them. The story of dementia praecox, and its eventual replacement by the new concept of schizophrenia, also reveals how asylum physicians fought for their own respectability. If what they were observing was a disease, then this biological reality was amenable to scientific research. In the early twentieth century, dementia praecox was psychiatry’s key into an increasingly science-focused medical profession. But for the moment, nothing could be done to help the sufferers. When the concept of schizophrenia offered a fresh understanding of this disorder, and hope for a cure, psychiatry abandoned the old disease for the new. In this dramatic story of a vanished diagnosis, Noll shows the co-dependency between a disease and the scientific status of the profession that treats it. The ghost of dementia praecox haunts today’s debates about the latest generation of psychiatric disorders.

Q-Anon. Fake News. Bohemian Grove. False flag attacks. Deep state. Crisis actors. Whatever Gate. Is any conspiracy worth the life of a believer?

The world of the American alienist, 1896 -- Adolf Meyer brings dementia praecox to America -- Emil Kraepelin -- The American reception of dementia praecox and manic depressive insanity, 1896-1905 -- The lost biological psychiatry -- The rise of the mind-twist men, 1903-1913 -- Bayard Taylor Holmes and radically rational treatments -- The rise of schizophrenia in America, 1912-1927.

From the mid-nineteenth to the late twentieth centuries, Saint Elizabeths Hospital was one of the United States' most important institutions for the care and treatment of the mentally ill. Founded in 1855 to treat insane soldiers and sailors as well as civilian residents in the nation's capital, the institution became one of the country's preeminent research and teaching psychiatric hospitals. From the beginning of its operation, Saint Elizabeths admitted black patients, making it one of the few American asylums to do so. This book is a history of the hospital and its relationship to Washington, DC's African American community. It charts the history of Saint Elizabeths from its founding to the late-1980s, when the hospital's mission and capabilities changed as a result of deinstitutionalization, and its transfer from the federal government to the District of Columbia. Drawing on a wide variety of sources, including patient case files, the book demonstrates how race was central to virtually every aspect of the hospital's existence, from the ways in which psychiatrists understood mental illness and employed therapies to treat it to the ways that black patients experienced their institutionalization. The book argues that assumptions about the existence of distinctive black and white psyches shaped the therapeutic and diagnostic regimes in the hospital and left a legacy of poor treatment of African American patients, even after psychiatrists had begun to reject racialist conceptions of the psyche. Yet black patients and their communities asserted their own agency and exhibited a "rights consciousness" in large and small ways, from agitating for more equal treatment to attempting to manage the therapeutic experience.

Screenwriter Robert Riskin (1897-1955) was a towering figure even among the giants of Hollywood's Golden Age. Known for his unique blend of humor and romance, wisecracking and idealism, Riskin teamed with director Frank Capra to produce some of his most memorable films. Pat McGilligan has collected six of the best Riskin scripts: Platinum Blonde (1931), American Madness (1932), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), and Meet John Doe (1941). All of them were directed by Capra, and although Capra's work has been amply chronicled and celebrated, Riskin's share in the collaboration has been overlooked since his death. McGilligan provides the "backstory" for the forgotten half of the team, indispensable counterpoint to the director's self-mythologizing autobiography--and incidentally the missing link in any study of Capra's career. Riskin's own career, although interrupted by patriotic duty and cut short by personal tragedy, produced as consistent, entertaining, thoughtful, and enduring a body of work as any Hollywood writer's. Those who know and love these vintage films will treasure these scripts. McGilligan's introduction offers new information and insights for fans, scholars, and general readers.

Professor Carney analyses Frank Capra's life as well as the broad cultural context of his films.

At a time when the expanded projection of US political, military, economic and cultural power draws intensified global concern, understanding how that country understands itself seems more important than ever. This collection of new critical essays tackles this old problem in a new way, by examining some of the hundreds of US films that announce themselves as titularly 'American'. From early travelogues to contemporary comedies, national nomination has been an abiding characteristic of American motion pictures, heading the work of Porter, Guy-Blaché, DeMille, Capra, Sternberg, Vidor, Minnelli and Mankiewicz. More recently, George Lucas, Paul Schrader, John Landis and Edward James Olmos have made their own contributions to Hollywood’s Americana. What does this national branding signify? Which versions of Americanism are valorized, and which marginalized or excluded? Out of which social and historical contexts do they emerge, and for and by whom are they constructed? Edited by Mandy Merck, the collection contains detailed analyses of such films as The Vanishing American, American Madness, An American in Paris, American Graffiti, American Gigolo, American Pie and many more.