A wide-ranging and idiosyncratic look at sixty years of politics and film that uncovers how American movies have mirrored and even challenged anxieties and paranoid perceptions embedded in American society since the start of the Cold War. The first book to take a sweeping look at 60 years of film and analyze them thematically.

This timely reissue of Richard Hofstadter's classic work on the fringe groups that influence American electoral politics offers an invaluable perspective on contemporary domestic affairs.In The Paranoid Style in American Politics, acclaimed historian Richard Hofstadter examines the competing forces in American political discourse and how fringe groups can influence — and derail — the larger agendas of a political party. He investigates the politics of the irrational, shedding light on how the behavior of individuals can seem out of proportion with actual political issues, and how such behavior impacts larger groups. With such other classic essays as “Free Silver and the Mind of 'Coin' Harvey” and “What Happened to the Antitrust Movement?, ” The Paranoid Style in American Politics remains both a seminal text of political history and a vital analysis of the ways in which political groups function in the United States.

This book focuses on all aspects of projection and identification, and addresses the problems and perplexities of projective identification. It is based on the First Conference of the Sigmund Freud Center of the Hebrew University of Jerusalem.

Against the backdrop of recent postmodern discourse on cultural theory, Eva Schwarz provides a gripping analysis of the concept of what she describes as visual paranoia. Her study is based on a detailed analysis of three films: Alfred Hitchcock’s Rear Window (USA, 1954), Michelangelo Antonioni’s Blow-up (GB, 1966) and Peter Weir’s The Truman Show (USA, 1998). The starting point of all three analyses is the representation of the postmodern media and information age as an incisive culture of the visual, which coincides with the general socio-political trend of cultural paranoia, the roots of which are to be found in American politics and society of the late 1940s and which has since permeated Anglo-American culture.The discourse on the truthfulness of images, the reality of visual representations and the visual as such forms the context out of which the theory of the development of visual paranoia arises. While other paranoia films, usually thrillers or science fiction films, concern themselves with the sociopolitical manifestation of cultural paranoia, the three films chosen for Schwarz's study focus on the fundamental crisis of the visual as such, from scopophilic paranoia in Rear Window to photographic paranoia in Blow-Up, culminating in the scopophobic manifestation of visual paranoia in The Truman Show.The once valid saying, "seeing is believing", can no longer be taken for granted. In postmodern times, the visual cannot be trusted any more.

This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.

Robert S. Robins and Jerrold M. Post, M.D., experts in political psychology, document and interpret the malign power of paranoia in a variety of contexts - in political movements like McCarthyism; in organizations like the John Birch Society; in leaders like Hitler, Stalin, Pol Pot, Jim Jones, and David Koresh; and among extreme groups that commit violence in the name of Christianity, Islam, and Judaism. Indeed, Robins and Post show that the paranoid dynamic has been aggressively present in every social disaster of this century. Robins and Post describe the paranoid personality, explain why paranoia is part of human evolutionary history, and examine the conditions that must exist before the message of the paranoid takes root in a vulnerable population, leading to mass movements and genocidal violence.

Luigi Zoja presents an insightful analysis of the use and misuse of paranoia throughout history and in contemporary society. Zoja combines history with depth psychology, contemporary politics and tragic literature, resulting in a clear and balanced analysis presented with rare clarity. The devastating impact of paranoia on societies is explored in detail. Focusing on the contagious aspects of paranoia and its infectious, self-replicating dynamics, Zoja takes such diverse examples as Ajax and George W. Bush, Cain and the American Holocaust, Hitler, Stalin and Othello to illustrate his argument. He reconstructs the emblematic arguments that paranoia has promoted in Western history and examines how the power of the modern media and mass communication has affected how it spreads. Paranoia clearly examines how leaders lose control of their influence, how the collective unconscious acquires an autonomous life and how seductive its effects can be – more so than any political, religious or ideological discourse. This gripping study will be essential reading for depth and analytical psychologists, and academics and students of history, cultural studies, psychology, classical studies, literary studies, anthropology and sociology.