From the very beginning, filmmakers have struggled to free themselves from censorship and manipulation by special-interest groups, and this struggle is clearly evident in the history of drug films. Cocaine Fiends and Reefer Madness is an exhaustive exploration of the history of the depiction of psychoactive drugs in motion pictures from Thomas Edison's Opium Smoker (1894) to Cocaine Cowboys (1978), Included are over 400 silent and 1,000 sound films as well as nearly 500 drug-abuse films, 85 experimental films, and 135 television programs. More than 150 stills, most never before published and many extremely rare, illustrate the text. Arranged chronologically as well as by drug type and often by country, this book shows that, far from being a recent phenomenon, drug films were made in nearly every country and period that produced a significant body of films. Visit Edison's first film studio, reflect on the filmic consequences of Cocteau's opium addiction with Kenneth Anger's early experiences with magic mushrooms, see Charles Laughton smuggling cocaine inside a statute of the Buddha, and watch Douglas Fairbanks, Sr., consuming vast quantities of opium and cocaine in a World War I Sherlock Holmes parody.

Contains contributions on the theme of popular culture, crime, and social control. This title includes chapters that tease out various criminologically relevant issues, pertaining to crime/deviance and/or the control thereof, on the basis of an analysis of various aspects and manifestations of popular culture, including music, and movies.

From the very beginning, filmmakers have struggled to free themselves from censorship and manipulation by special-interest groups, and this struggle is clearly evident in the history of drug films. "Cocaine Fiends and Reefer Madness" is an exhaustive exploration of the history of the depiction of psychoactive drugs in motion pictures from Thomas Edison's "Opium Smoker" (1894) to "Cocaine Cowboys" (1978), Included are over 400 silent and 1,000 sound films as well as nearly 500 drug-abuse films, 85 experimental films, and 135 television programs. More than 150 stills, most never before published and many extremely rare, illustrate the text. Arranged chronologically as well as by drug type and often by country, this book shows that, far from being a recent phenomenon, drug films were made in nearly every country and period that produced a significant body of films. Visit Edison's first film studio, reflect on the filmic consequences of Cocteau's opium addiction with Kenneth Anger's early experiences with magic mushrooms, see Charles Laughton smuggling cocaine inside a statute of the Buddha, and watch Douglas Fairbanks, Sr., consuming vast quantities of opium and cocaine in a World War I "Sherlock Holmes" parody.

Though drug use was widespread in the nineteenth century, the negative influence of narcotics was mostly unknown. Cinema of the early twentieth century was instrumental in making viewers aware of the harmful effects of drugs. Throughout the decades, images of drugs such as marijuana, LSD, and heroin in films impacted—both negatively and positively—the national perception of their use. In fact, the use, popularity, and opinion of certain drugs often follow their status on the big screen. In Hooked in Film, John Markerttakes a close look at the correlation between social policies and the public view of drugs and their portrayals in film. In this volume, Markert examines the changing social attitudes toward illegal drugs and their cinematic depictions from as early as the 1894 film Chinese Opium Den to the present. The first section of this book focuses on the demonization of drugs between 1900 and 1959, followed by an assessment of marijuana on the big screen after 1960, when the drug was shown as part of everyday life with no serious consequences. Post-1960 depictions of heroin use, which have remained consistently negative, are also analyzed. Markert then takes a close look at the portrayals of powdered cocaine after the 1960s and the emergence of crack in the mid-1980s. Finally, Markert discusses hallucinogens, Ecstasy, and methamphetamines and their roles on the big screen. Tracking hundreds of films spanning more than a century, Hooked in Film looks at camp classics like Reefer Madness, comedies such as Cheech and Chong’s Up in Smoke, Dazed and Confused, and Pineapple Express, and dramas, including Panic in Needle Park and Requiem for a Dream. Scholars and students of cinema, popular culture, media studies, and sociology will find this book a valuable examination of how cinematic portrayals of drugs have changed over time, and how those images have influenced public perception of drugs and even public policy.

Now synonymous with Sixties counterculture, LSD actually entered the American consciousness via the mainstream. Time and Life, messengers of lumpen-American respectability, trumpeted its grand arrival in a postwar landscape scoured of alluring descriptions of drug use while lesser outlets piggybacked on their coverage with stories by turns sensationalized and glowing. Acid Hype offers the untold tale of LSD's wild journey from Brylcreem and Ivory soap to incense and peppermints. As Stephen Siff shows, the early attention lavished on the drug by the news media glorified its use in treatments for mental illness but also its status as a mystical--yet legitimate--gateway to exploring the unconscious mind. Siff's history takes readers to the center of how popular media hyped psychedelic drugs in a constantly shifting legal and social environment, producing an intricate relationship between drugs and media experience that came to define contemporary pop culture. It also traces how the breathless coverage of LSD gave way to a textbook moral panic, transforming yesterday's refined seeker of truths into an acid casualty splayed out beyond the fringe of polite society.

A lavishly illustrated history of coca wine and the revolutionary advertising methods that made it a world-wide success • Follows 19th-century pharmacist Angelo Mariani’s interest in coca from medical uses to the development and healing effects of his world-famous coca wine, Vin Mariani • Explores the botany of coca, how it differs from cocaine, its traditional uses, and early scientific studies on coca from doctors, including Sigmund Freud • Examines Mariani’s highly successful international advertising campaigns, the first to use celebrity endorsements, including testimonies from Pope Benedict XV, Sarah Bernhardt, Thomas Edison, Jules Verne, H. G. Wells, William McKinley, Emile Zola, and Alphonse Mucha One of the oldest and most potent natural stimulants, the leaves of the coca plant are the organic source from which cocaine is synthesized. Fresh coca leaves and products made from them have verified medicinal and healing properties--and not the same addictive qualities or negative side effects as cocaine. In the late 19th century coca products became hugely successful in Europe and the United States. The most famous was Vin Mariani, a coca-based tonic wine developed by Corsican pharmacist Angelo Mariani (1838-1914). Many celebrities sang its praises, including Pope Benedict XV, Sarah Bernhardt, Thomas Edison, H. G. Wells, William McKinley, Emile Zola, and the doctors of Ulysses S. Grant, who credited Vin Mariani with giving him the strength to finish his memoirs before his death. In this full-color illustrated history of coca wine, the first of its kind, author Aymon de Lestrange follows Mariani’s interest in coca from its medicinal applications to the creation of the tonic wine. The author explores the botany of coca, how it differs from cocaine, its traditional use in pre-Columbian America, and scientific studies on coca from the 17th through 19th centuries, including from Sigmund Freud, who was a known user. He describes the introduction of coca in the U.S. and France and the many coca preparations then available at drugstores. He also studies the introduction of cocaine in these two countries and the prohibition laws that followed. Aymon de Lestrange demonstrates how Mariani became, in many ways, the father of modern advertising with his highly successful advertising campaigns. He includes vivid reproductions of Mariani’s advertisements, many not seen since their original publication in the late 19th and early 20th centuries, and shows how Mariani commissioned the top writers and artists of the day, such as Jules Chéret and Alphonse Mucha, to produce works celebrating coca wine. The author reveals how Vin Mariani was the forerunner of Coca-Cola, which clearly plagiarized not only Mariani’s product but also his advertising methods. Looking to the future of coca, the author shows how it has gained renewed interest in the scientific community for its therapeutic and nutritional properties and in the spiritual community, which is seeking to rehabilitate the reputation of coca, the sacred plant of the Incas.

This work uncovers the history of women and addiction in America and how dependent women have been treated. The author is critical of doctors who have often been quick to prescribe narcotics to female patients.