Eloquium is a language school based on Aguascalientes.We aim towards providing the best educational services in the city.
sábado, 15 de octubre de 2022
common knowledge where to get it
Principles like the order in which bolts should be assembled and tightened
oxytocin and the female friend
Menu
Search
Temple of Mut
Shrine of Flaming Capitalism
Oxytocin: The Most Toxic Compound to the Female Brain
Dear Readers: I have a good friend whose daughter has reached an age when thoughts of young men with round, strong arms fill the head. So, based on his concerns, I wanted to update one of my favorite posts involving biochemistry.
Additionally, my good friend Captain Capitalism recently noted: Too Close to the Truth?
Feminism has been around far longer than game. I’ll tell you what, game works best on feminists, girls so assured of themselves and filled with fake confidence based on their education and careers that they never see it coming. Most feminists honestly believe that game doesn’t exist or would never work on someone like them.
Captain Capitalism and I don’t disagree much — and here we are in complete agreement. He takes a sociological approach to the matter. I, on the other, am going the pure science route. Here is the compound responsible for the above-stated truth:
As a truly independent-minded woman with a science background, the tenet of feminist propaganda’s “you can have it all” approach that galls me most is:
Women can “hook-up” exactly like men and suffer no emotional consequences.
Today, I am going to delve into the chemistry-based realities showing that this canon is a complete lie. Before I begin, I would like to note that I am not addressing the morality and theology related to the benefits of a “just say no” approach. I am sticking strictly to biochemical reactions.
Birth control and abortion options, which have expanded considerably in the past 40 years and hailed by feminists as emancipating women, seem to give both sexes the mistaken notion that they can have brief sexual encounters with serial partners and face no consequences that can’t be handled by a visit to a clinic.
For men, that remains somewhat true — or as true as it has been throughout history. However, for women, that remains as untrue today as it has been since Eve (for “intelligent designers”) or Lucy (for Darwinian evolutionists). The reason is oxytocin.
“Love is the drug” and oxytocin is that compound! When pumped into the bloodstream, oxytocin acts as a “neuromodulator,” giving people the warm-and-fuzzies and increasing the emotional bond between that person and the second individual (whose presence is stimulating the production of this hormone). One article lists 10 REASONS WHY OXYTOCIN IS THE MOST AMAZING MOLECULE IN THE WORLD. Chief among these reasons:
Often referred to as the “love molecule”, oxytocin is typically associated with helping couples establish a greater sense of intimacy and attachment. Oxytocin, along with dopamine and norepinephrine, are believed to be highly critical in human pair-bonding. But not only that, it also increases the desire for couples to gaze at one another, it creates sexual arousal, and it helps males maintain their erections. When you’re sexually aroused or excited, oxytocin levels increase in your brain significantly — a primary factor for bringing about an orgasm. And during the orgasm itself, the brain is flooded with oxytocin — a possible explanation for why (some) couples like to cuddle after.
Its power is not to be underestimated.
During millions of years of human evolution, the female system has been designed to begin a cascade of oxytocin production during two specific events: 1) When being intimate with a male; 2) When breast-feeding an infant. On the other hand, human males have very limited oxytocin levels (and actually release some of the little oxytocin they produce when “involved” with the woman of the moment).
Now, oxytocin is a wonderful thing. It energizes people, and makes them feel good about life. It enhances the immune system, as well as boosts other biochemical processes in the human body. Personally, after strawberry margaritas, oxytocin is my favorite chemical (and I have a graduate degree in chemistry, so I know chemicals).
However, as with everything else pleasurable in life, there can be a bit of a downside. Once a woman generates oxytocin, she will usually want to do everything in her power to keep up the production levels. For example, there are tales of women who nurse their babies past toddler-hood (until 3, 4 or 5 years in age). This is related to the fact these women want to continue releasing oxytocin (even though they will have other rationalizations).
The same thing is true following intimate relations. Oxytocin production can be stimulated in a woman through her lover’s voice, scent, sight and touch. This fact explains a wide range of female behaviors that follow intimacy. For example, women will call up their new partner frequently. They will steal their lover’s shirts to enjoy the scent. They will invent excuses to see the man-of-the moment. And the more oxytocin these women generate when with their lovers (or by talking to them), the more emotionally attached they get.
A few points to bear in mind, so that the role of oxytocin in human dynamics can be fully appreciated:
Though men do generate oxytocin, they don’t match the production levels in women.
Men can release small amounts of oxytocin into a woman (increasing her “rush”), thereby creating more of a bond between them.
Women will generate fairly substantial amounts the first time they are intimate with anyone (therefore, the biochemical basis for the focus on virginity), and increasing all the affects I have previously described.
These aspects are not necessarily bad, especially if a woman is involved with a nice man and is in a committed relationship. However, it can really complicate life if those conditions are not met. And, the bad thing about it is, the presence/voice of a lover or former beau can trigger oxytocin production in an affected female for up to 2 YEARS!!!!!!!
Basically, to guarantee a man will no longer have an affect on a woman, she can never hear/see/touch the man in question for up to two years. Fortunately, once the gentleman is “out of her system”, that same individual tends not to trigger such production again.
Ever wonder why woman goes back to a man who beats and abuses her? Or question why supposedly smart women can’t make up their mind whether to dump boyfriends that impregnate someone else? How about ex-girlfriends who call endlessly? Then, there is the scary extreme of stalkers.
Whatever relationship path women travel, unlike “gender feminists”, I want my female compatriots to make fully informed decisions. I hope that they consider the information I have given and avoid mistakes that result in needless pain, heartache, life-altering consequences, and the following award:
Thirty years of birth control and abortion cannot get around this basic biochemistry, designed to create strong bonds between a female and her provider (the male) and offspring (her children). To think otherwise is arrogance and/or stupidity.
No, women cannot “hook-up” like men.
Dr. Bruno B. Averbeck’s recent research confirms clearly that a powerful neuro-transmitter like oxytocin has dramatic effects on high-level human behavior.
An intense biochemical bond is formed when women are intimate with men. To break that bond is exceedingly difficult, and places women in the position of having to quench a biochemical reaction, and in doing so, causing both physical and emotional stress that is unnecessary and unhealthy. Casual sex is devastating to women in so many different ways, and to pretend that women can have serial sex with many partners and not be physically and emotionally diminished by this is foolish.
I would like to commend noted lecturer, Dr. Patricia Allen, whose talk inspired my investigation into this topic many years ago. For those of you who are interested, I recommend the following video: No.1 Mistake Women Make With Men.
Millions of Years of Biology vs 50-years of Feminist Dogma — THE CHOICE IS YOURS!
Share this:
FacebookEmailTwitterPrintLinkedIn
Loading...
Related
WORTHLESS CRUSADERISM: Targets of Captain Capitalism’s Valiant Fight
August 19, 2012
In "CANTO TALK"
Now That’s Blaming Men for a Bit Too Much!
June 14, 2013
In "Biochemistry"
Canto Talk Valentine’s Day with Captain Capitalism
February 10, 2019
In "Camelot"
September 23, 201213 Replies
« Previous
Next »
Leave a Reply
Your email address will not be published. Required fields are marked *
Comment *
Name *
Email *
Website
Notify me of new comments via email.
Notify me of new posts via email.
nooneofanyimport on September 23, 2012 at 9:17 pm
Fascinating. Isn’t it also what docs use to induce labor?
Reply
mutnodjmet13 on September 23, 2012 at 9:24 pm
Yes. I think pitocin is more common. http://pregnancy.about.com/od/induction/a/pitocindiffers.htm
Reply
nooneofanyimport on September 24, 2012 at 1:32 am
ahh! pitocin. Guess it’s obvious I’m no sciencetician like you 😉
doodooecon on September 24, 2012 at 12:30 am
Well done Godess, society can only hope young women listen. The impact upon young men of a societal story that women have serial sex partners, absolves the young men of responsibility and respect.
Reply
edge of the sandbox on September 24, 2012 at 4:39 am
Great post. I’m going to link to it in coming days.
Reply
mutnodjmet13 on September 24, 2012 at 2:21 pm
Edge! Thanks so much, as I really would like to get this information out to young people who can use it.
Reply
desahra on September 24, 2012 at 8:31 pm
I think I’m going to end up doing a lot of work in this field. I hope to scientically show that women can become situationally habituated to oxytocin’s bonding effects within the framework of sex with men, thereby being unable to respond to it and therefore less (or un-) able to bond with men in sexual relationships.
Reply
mutnodjmet13 on September 24, 2012 at 8:35 pm
I sense that your theory is likely to prove true. If you publish anything in this subject, let me know and I would like to share it. Thanks for stopping by!
Reply
barrycjacobsen on November 8, 2012 at 1:58 am
Love it!
Reply
Pingback: You obviously need a sex scandal for the American Press to cover a story! « Temple of Mut
rob fitz on January 10, 2013 at 8:07 am
if you could relieve some of the O molecules from N molecules in the lower potion of the structure maybe with a metal or carbon and less hyper gas molecule….oxytocin is just a gas or what my brother said was sniffing
Reply
Sophie on April 28, 2013 at 9:33 pm
Was the movie removed? I just tried watching and youtube told me it doesn’t exist.
Reply
wjrevere on May 21, 2017 at 1:54 pm
Well done. Good article.
Thx
Reply
HISTORY BYTES – PODCAST PROGRAM
Leslie.final(1) HISTORY BYTES Podcast show reviewing how the past impacts the present. Hosted by Barry Jacobsen and Leslie Eastman
HISTORY BYTES ON FACEBOOK
Little LogoHISTORY BYTES - FACEBOOK with Barry Jacobsen & Leslie Eastman
HISTORY BYTES ON TWITTER
Twitter Header small@HistoryBytes - TWITTER
MUTODJMET
An amateur Egyptologist who sometimes writes about Egypt. Proud member of the SLOBs (San Diego Local Order of Bloggers).
TEMPLE OF MUT COLLECTION
Recent Posts
Canto Talk, June 3rd: California politics with Leslie Eastman & Barry Jacobsen
Canto Talk, December 16th: Annual Christmas Show
Canto Talk, Oct. 21st: Fall Festival of News Edition
Canto Talk, August 12 at 7 pm: Tall Texas Tales
Canto Talk, July 28 at 7 pm: Recall Summer in California Continues
Network
NetworkedBlogs
Blog:
Temple of Mut
Topics:
Egypt, Tea Party, Capitalism
Follow my blog
Search
RSS MUT’s Word of the Day
prerogative
MUT’s MONEY TWEETS
RT @awstar11: At least now they'll have two female journalists to blame if Fetterman loses. 2 hours ago
RT @awstar11: We can all see what you're doing. You're changing your story after the fact once it was clear that you reported the truth by… 2 hours ago
Another pathetic moment in #Biden presidency. Looking forward to the day when #nuclear is not a trending topic in… twitter.com/i/web/status/1… 2 hours ago
RT @CicadaStanley: @AP4Liberty In order to defeat oil, one must be oil. 2 hours ago
RT @AP4Liberty: https://t.co/5opMetNUdw 2 hours ago
Categories
Categories
Select Category
View Full Site
:)
martes, 11 de octubre de 2022
what is the most essential vocabulary
How to research what the most essential vocabulary in a field or a language is
domingo, 9 de octubre de 2022
Vatican best film list
http://www.usccb.org/fb/vaticanfilms.htm
149 captures
20 Sep 2001 - 19 Sep 2021
SEP NOV DEC
Previous capture 04 Next capture
2000 2001 2003
About this capture
Office of Film and Broadcasting
Vatican Best Films List
On the occasion of the 100th anniversary of cinema in 1995, the Vatican compiled this list of "great films." The 45 movies are divided into three categories: "Religion," "Values" and "Art." The USCC classification for each film follows its description
Religion
Andrei Rublev (1969) Russian production about a 15th-century monk (Anatoli Solonitzine) who perseveres in painting icons and other religious art despite the civil disruptions and cruel turmoil of his times. Director Andrei Tarkovsky visualizes brilliantly the story of a devout man seeking through his art to find the transcendent in the savagery of the Tartar invasions and the unfeeling brutality of Russian nobles. Subtitles. Stylized historical violence. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Fox Lorber, $79.95)
Babette's Feast (1988) Screen version of a story by Isak Dinesen, set in a rugged fishing village in 1871 Denmark, shows the impact of a French housekeeper (Stephane Audran) on two pious sisters who carry on their late father's work as pastor of a dwindling religious flock. Danish director Gabriel Axel's understated but finely detailed work centers on the preparation and consumption of an exquisite Gallic meal, a sensuous labor of love which has a healing effect on the austere sect and the Frenchwoman who prepared it. Subtitles. Cerebral treatment. The U.S. Catholic Conference classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is G -- general audiences. (Orion, $19.98)
Ben-Hur (1959) Director William Wyler's classic Hollywood epic follows the Jewish prince of the title (Charlton Heston) after he's betrayed by his boyhood Roman friend (Stephen Boyd) and subjected to much misery until finally achieving retribution for all his suffering. The narrative's conventional melodrama is transformed by the grand scale of its spectacle, especially the chariot race, and by the stirring performances of its principals who manage to overcome the story's cliches and stereotypes. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is G -- general audiences. (MGM/UA, $29.98)
The Flowers of St. Francis (1950) Remarkable Italian production about the beginnings of the Franciscan Order as its founder sets the example of humility, simplicity and obedience for his first followers at Portiuncula, a little chapel near Assisi, from which they depart into the world to preach peace. Directed by Roberto Rossellini from a script co-written with Federico Fellini, the movie's form is as simple and sincere as the subject of the narrative which relates a series of little incidents realistically, yet with an infectious sense of joy marvellously conveyed by an anonymous cast of monks from a Roman monastery. Subtitles. The U.S. Catholic Conference classification is A-I -- general patronage. Not rated by the Motion Picture Association of America. (Facets Multimedia, $34.95)
Francesco (1989) Overwrought Italian production portrays St. Francis of Assisi (Mickey Rourke) as a spiritual agitator challenging the accepted values of his 13th-century contemporaries by embracing a life of utter poverty and simplicity. Director Liliana Cavani builds an elaborate picture of the period's social injustices but fails to evoke any convincing sense of religious conviction from Rourke's embarrassingly vacuous performance. English-language version. Occasional scenes of violence, desperate poverty and brief nudity. The U.S. Catholic Conference classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned that some material may be inappropriate for children under 13. (Hemdale, $89.95)
The Gospel According to St. Matthew (1966) Straight-forward Italian dramatization of the evangelist's account of the life of Jesus and His message of salvation succeeds exceptionally well in placing the viewer within the Gospel events, avoiding the artificiality of most biblical movie epics. Director Pier Paolo Pasolini is completely faithful to the text while employing the visual imagination necessary for his realistic interpretation. Subtitles. The U.S. Catholic Conference classification is A-I -- general patronage. Not rated by the Motion Picture Association of America. (Water Bearer, $24.95)
La Passion de Notre Seigneur Jesus-Christ (1905) Though better known for one-reel crime melodramas, movie pioneer Ferdinand Zecca (1863-1947) also produced this two-reel (c. 30 minutes) dramatization of Christ's Passion. Distributed by Pathe, France's leading motion picture company, it was reportedly quite popular in its time and was notable, according to film historian Georges Sadoul, for its "rudimentary" camera movements. (Not available on video)
A Man for All Seasons (1966) Engrossing drama of the last seven years in the life of Thomas More, Henry VIII's chancellor, who met a martyr's death rather than compromise his conscience during a period of religious turmoil. Robert Bolt's script is masterfully directed by Fred Zinnemann, with a standout performance by Paul Scofield in the title role, among other notable performances from a uniformly fine cast. The historical dramatization achieves an authentic human dimension that makes its 16th-century events more accessible and its issues more universal. Profoundly entertaining but heavy-going for children. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is G -- general audiences. (Columbia TriStar, $19.95)
The Mission (1986) In the 1750s, the large and prosperous Jesuit Indian missions were divided between Spain and Portugal. In dramatizing these events, Robert Bolt's screenplay focuses not on the religous but on the sociopolitical dimension of the colonial era and its injustices. The epic production is visually splendid but Roland Joffe's direction is erratic and bogs down in contrasting a nonviolent priest (Jeremy Irons) and one (Robert De Niro) who leads the Indians against a colonial army. Although dramatically flawed, the work recalls a past that provides a context for current Latin American struggles. Some violence and ethnographic nudity. The U.S. Catholic Conference classification is A-III -- adults. The Motion Picture Association of America rating is PG -- parental guidance suggested. (Warner, $19.98)
Monsieur Vincent (1947) Lucid, moving account of St. Vincent de Paul's work among the poor and the oppressed in 17th-century France, from his first labors in a plague-ravaged village and his appeals to the conscience of the aristocracy to the founding of an order devoted to charitable works and his death in 1660. Director Maurice Cloche portrays the poverty of the times and the cruelty of the regime in starkly convincing fashion, providing a solid historical framework within which Pierre Fresnay's performance in the title role shines with a warm compassion and spiritual intensity which most viewers will find irresistably compelling. Subtitles. High on the list of great religious movies. The U.S. Catholic Conference classification is A-I -- general patronage. Not rated by the Motion Picture Association of America. (Nostalgia, $29.95)
Nazarin (1958) Mexican story set in 1905 when a young priest comes into disfavor with his inflexible religious superiors, the civil authorities and even the poor among whom he tries to live a life of simplicity, poverty and charity. Though director Luis Bunuel's work is not very optimistic about the possibility of idealism winning over the world, it's not critical of religion, only pious hypocrisy. Subtitles. Perplexing themes. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Connoisseur, $69.95)
Ordet (1954) Challenging Danish production about different kinds of faith and various sorts of miracles, one of which restores a dead woman to life. Directed by Carl Dreyer, the austere narrative centers on a farming family troubled by the madness of a son (Preben Lerdorff Rye) who believes he is Jesus Christ until, regaining his balance, his faith in God achieves the miracle which brings the story to a positive though less than convincing conclusion some may find disappointingly ambiguous. Mature themes. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Nostalgia, $24.95)
The Passion of Joan of Arc (1928) Silent screen masterpiece portraying the heresy trial, confession, recantation and execution of the Maid of Orleans (Maria Falconetti) in a performance of such emotional power that it still stands as the most convincing portrayal of spirituality on celluloid. Directed by Carl Dreyer, the work is essentially the interior epic of a soul, consisting largely of close-ups of Joan's face and those of her interrogators accomplished in a fashion which is never static as the camera explores the inner struggle between human frailities and spiritual strength. Some duplicitous churchmen, medicinal bloodletting and a restrained torture scene. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Nostalgia, $29.95)
The Sacrifice (1986) Swedish production in which a group of adults and a child pass through a night of confusion and fear, including portents of a nuclear-devastated landscape. Director Andrei Tarkovsky's murky religious allegory about an aging writer's bargaining with God to save others relies upon long silences, ritualized dialogue and beautiful but static photography. Subtitles. A very personal film about love and compassion, the effect is strangely cold and distant. The U.S. Catholic Conference classification is A-III -- adults. The Motion Picture Association of America rating is PG -- parental guidance suggested. (Pacific Arts, $29.95)
Therese (1986) French dramatization of the life of St. Therese de Lisieux from age 15 when she joined a cloistered convent of Carmelite nuns to her death there 9 years later of tuberculosis. Director Alain Cavalier's impressionistic account of the young woman (luminously portrayed by Catherine Mouchet) who found personal joy, spiritual liberation and the sanctity of selfless simplicity within the restrictive traditions of an austere religious community will challenge contemporary viewers and confound some. The young may find its picture of 19th-century religious life more confusing than inspiring. Dubbed in English. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Palisades Home Video, 1-800-989-8576, $39.95)
Values
Au Revoir les Enfants (1988) When the Gestapo discover that a priest has hidden three Jewish youths in a Catholic boys' school, he and the boys are arrested and deported to concentration camps. French writer-producer-director Louis Malle re-creates a painful memory from his own youth in a restrained, humbling, well-acted dramatization of a boy's firsthand experience of the Holocaust. Subtitles. Some rough language. The U.S. Catholic Conference classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is PG -- parental guidance suggested. (Orion, $19.98)
The Bicycle Thief (1949) Simple yet compelling study in desperation as a worker (Lamberto Maggiorani) must find his stolen bicycle or lose his new job. Ignored by the police and others, the man and his young son (Enzo Staiola) search the streets for it until, in despair, he himself tries to steal a bicycle. Scripted by Cesare Zavattini and directed by Vittorio De Sica, the result is an engrossing picture of the human realities of life on the edge of poverty, shot on the streets of Rome with a cast of non-professionals that brought a new realism to the postwar screen and a new emotional honesty to the stories it told. Subtitles. Some earthy references. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Nostalgia Family, $69.95)
The Burmese Harp (1956) Badly wounded in Burma at the end of World War II, a Japanese soldier (Shoji Yasui) is nursed back to health by a Buddhist monk, then devotes himself to searching the jungle battlefields for the abandoned remains of dead soldiers to give them a decent burial. Directed by Kon Ichikawa, the Japanese production takes a strong anti-war stance through a series of flashbacks to the horrors of battle, but uses hauntingly poetic imagery to convey the main theme of life's value and the need to atone for its loss. Subtitles. Wartime violence. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Connoisseur, $29.95)
Chariots of Fire (1981) Two young Englishmen (Ben Cross and Ian Charleson) overcome quite different obstacles to win gold medals at the Paris Olympics of 1924. One is a Jew determined to beat the anti-Semitic establishment at its own game and the other is a devout Scot who runs for the glory of God. Directed by Hugh Hudson, it is a richly entertaining and highly inspiring movie for the whole family. Several coarse words. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is PG -- parental guidance suggested. (Warner, $19.98)
Decalogue (1988) Produced for Polish television, this series of ten hour-long programs explores the contemporary meaning of the Ten Commandments as seen in the lives of various residents of a drab Warsaw apartment complex. Directed by Krzysztof Kieslowski, none of the stories is religious though all grapple with moral conflicts arising from ordinary situations and relationships which most viewers will not see as being at all foreign to them. Subtitles. Mature themes. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Not available on video)
Dersu Uzala (1978) Russian production about the friendship that grows between a turn-of-the-century explorer in Siberia and his guide, an aging Tungus hunter whose name gives the film its title. Japanese director Akira Kurosawa concentrates on evoking the vast remoteness of the Siberian wilderness, a world the Russian finds forbidding but one in which the hunter is perfectly at home. Subtitles. Finely acted, beautifully photographed, it is an admiring portrait of a man living in harmony with nature and with his fellow hunters. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is G -- general audiences. (Sultan, $29.98)
Gandhi (1982) Superb portrait of India's great political and spiritual leader comes to life in Ben Kingsley's authoritative yet sensitive performance. Director Richard Attenborough's epic-scale production re-creates Gandhi's life and times, especially his use of non-violence and hunger strikes to bring together the diverse peoples of India and unify them as a nation. Though its scenes of violence are not for children, the movie's vision of justice and peace is for everyone else, especially young people. The U.S. Catholic Conference classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is PG -- parental guidance suggested. (Columbia TriStar, $29.95)
Intolerance (1916) D.W. Griffith's epic masterpiece intercuts four stories of injustice -- the fall of Babylon, the Crucifixion, the St. Bartholomew's Day massacre and a contemporary American story of an innocent man sentenced to death. The movie develops parallel action in each of the stories, though centered principally on the tale of an impoverished couple whose wife tries to save her husband from being unjustly hung and the Assyrian conquest of Babylon which is presented on an epic scale. Though complex in narrative structure, each story is connected to the others by the simple image of a woman rocking a cradle, a device dropped as the tempo increases in the conclusion of the stories. The movie's brilliance in concept, execution and editing is still impressive, dated only by its florid titles and melodramatic characterizations. Stylized violence, sexual references and a few flashes of nudity. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Kino, $29.95)
It's a Wonderful Life (1946) Seasonal favorite about the joys and trials of a good man (James Stewart) who, facing financial ruin on the eve of Christmas, contemplates suicide until his guardian angel (Henry Travers) shows him how meaningful his life has been to those around him. Director Frank Capra's unabashedly sentimental picture of mainstream American life is bolstered by a superb cast (including Lionel Barrymore as a conniving banker) and a wealth of good feelings about such commonplace virtues as hard work and helping one's neighbor. Young children may find the story's dark moments unsettling. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Republic, 45th Anniversary Edition, $19.98)
On the Waterfront (1954) Classic labor film about a punched-out boxer (Marlon Brando) who, despite the machinations of his shifty brother (Rod Steiger) and with some encouragement from the woman (Eva Marie Saint) he loves as well as a waterfront priest (Karl Malden), decides to stand up to the criminal boss (Lee J. Cobb) of a corrupt union of dock workers. Budd Schulberg's fact-based script is directed by Elia Kazan with stand-out performances and a gritty realism grounded in a working-class milieu, abetted by Leonard Bernstein's rousing score and Boris Kauffman's atmospheric photography. Much menace and some violence. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Columbia TriStar, $19.95)
Open City (1945) Composite picture of the resistance movement in German-occupied Rome focusing on an underground leader (Marcello Pagliero) hidden by a widow (Anna Magnani) until he's betrayed to the Gestapo, then tortured and executed along with a partisan priest (Aldo Fabrizi). Director Roberto Rossellini began filming while German troops were still in the city and the result has a documentary quality giving a sense of immediacy to the period portrayal of events by a cast whose naturalistic acting captures the fervor and determination of diverse social types united in their opposition to fascism. Subtitles. Wartime violence and some intense torture scenes. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Kino, $24.95)
Schindler's List (1993) Sobering account of an opportunistic German businesssman (Liam Neeson) out to make his fortune by exploiting Jewish labor in occupied Poland but the increasing barbarism of Nazi racial policies and the sadistic perversions of the local commandant (Ralph Fiennes) cause him to risk his life trying to save the Jews in his employ. Director Steven Spielberg restages this Holocaust story on an epic scale that gives horrifying dimension to one man's attempt to save some innocent lives, though providing little insight in the German's moral transformation or the individual lives of his Jewish workers. Realistically graphic treatment of an infamous historical period and its crimes against humanity, a few discreet sexual scenes and occasional rough language. The U.S. Catholic Conference classification is A-III -- adults. The Motion Picture Association of America rating is R -- restricted. (MCA/Universal, $29.98)
The Seventh Seal (1956) Intense medieval morality tale about a disillusioned knight (Max Von Sydow) returning from the Crusades to a plague-ravaged land where he forestalls Death (Bengt Ekerot) by wagering his life on a game of chess during the course of which he saves a traveling player named Joseph (Nils Poppe), his wife Mary (Bibi Andersson) and their infant son. Swedish director Ingmar Bergman convincingly re-creates the religious context of the Middle Ages but the knight's quest to find meaning in a world of physical suffering and spiritual emptiness is more directly related to the contemporary search for life's meaning in our own age of doubt and uncertainty. Subtitles. Recurring images of death, some stylized violence and instances of religious fanaticism. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Video Dimensions, $19.95)
The Tree of Wooden Clogs (1978) Quiet, richly textured Italian drama about the lives of four peasant families who work as tenant farmers on a Lombardy estate at the end of the last century. Beginning with the fall harvest and ending with the spring planting, the movie depicts the everyday life of rural people who endure with human dignity in spite of the oppressive system which exploits their labor. Written, photographed and directed by Ermanno Olmi, this is a loving portrait of ordinary life in an age of social injustice. Some tense scenes. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Fox/Lorber, $79.95)
Wild Strawberries (1958) During the day on which he is to be awarded an honorary degree from a nearby university, a 78-year-old retired scholar (Victor Sjostrom in a masterful performance) is visited with dreams and reveries about his past life, especially his failures and disappointments in personal relationships. Swedish director Ingmar Bergman brilliantly develops the man's interior journey from pangs of regret and anxiety to a refreshing sense of peace and reconciliation summed up in blissful images of his happy youth. One of the great films about aging that touches universal chords in mature viewers. English subtitles. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Connoisseur, $29.95)
Art
Citizen Kane (1941) When a Hearst-like newspaper tycoon (Orson Welles) dies, a reporter (William Alland) interviews the man's former associates (Joseph Cotton and Everett Sloane among them) and wives (Ruth Warrick and Dorothy Comingore) in an effort to pin down the essence of the contradictory, larger-than-life millionaire by discovering the meaning of his dying word, "Rosebud." Also co-written (with Herman J. Mankiewicz), produced and directed by Welles, the movie is a landmark in American cinema, notable both for its superb use of film technique and its intriguing story of a man who came from nothing, acquired fame and fortune but died without the love he sought. Marital infidelity. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Turner, 50th Anniversary Edition includes a 30-minute documentary on the movie, $19.98)
8 1/2 (1963) With both career and marriage in chaos, an Italian movie director (Marcello Mastroianni) protects his overgrown ego by retreating into surreal memories of the past and wild fantasies about the present. Director Federico Fellini has some self-indulgent fun with his profession, semibiographical events from his youth and themes from his movies while taking viewers on a journey through the rich, at times bizarre, imagination of an artist whose attempts to cope with the demands of the real world are resolved in a final flood of optimism as the director joins with all his characters in a human carousel of life. Subtitles. Ambiguous treatment of mature themes. The U.S. Catholic Conference classification is A-IV -- adults, with reservations. Not rated by the Motion Picture Association of America. (Vestron, $69.95)
Fantasia (1940) Walt Disney's only excursion into the world of the fine arts presents eight selections of classical music, including Dukas' "Sorcerer's Apprentice" with Mickey Mouse and a bucket brigade of brooms, Stravinsky's "Rite of Spring" with its massive, earthbound images and the macabre vision of Musorgsky's "Night on Bald Mountain." Using different approaches and animation styles for each piece of music as performed by the Philadelphia Orchestra under conductor Leopold Stokowski, the imaginative work was not only Disney's most ambitious undertaking but it remains an enjoyably creative introduction to fine music, especially for youngsters. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is G -- general audiences. (Disney, $24.99)
Grand Illusion (1937) Shot down during World War I, a French aristocrat (Pierre Fresnay) is treated as a brother officer by the German aristocrat (Erich von Stroheim) commanding the prisoner-of-war camp, then makes use of his special status to distract attention while two fellow prisoners (Jean Gabin and Dalio) make good their escape to Switzerland. Directed by Jean Renoir, the picture of life in the camp is rich in narrative incident and human detail, neatly supporting a theme dealing with the end of the aristocratic ideal of chivalry and its replacement by mass armies of commoners with no desire for war. Subtitles. Some ribald humor and tense situations. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Home Vision, $29.95)
La Strada (1956) Two-bit circus strongman (Anthony Quinn) adds a simple-minded peasant (Giulietta Masina) to his act, treating her badly until a tragic encounter with a bantering acrobat (Richard Basehart) who tries to help her. Italian director Federico Fellini's somber picture of lost souls on the backroads of life has its emotional center in Masina's Chaplinesque performance as the poor waif struggling to keep her spirit from being crushed by the brute she serves. Subtitles. Some stylized violence and brutalizing conditions of life. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Sultan, $29.98)
The Lavender Hill Mob (1951) British comedy classic in which a timid bank employee (Alec Guinness) concocts a scheme to hijack a shipment of gold bullion with the aid of professional crooks (Sidney James and Alfie Bass), then melt it down in the foundry of an accomodating sculptor (Stanley Holloway) and recast it as Eifel Tower souvenirs for export to Paris. Scripted by T.E.B. Clarke and directed by Charles Crichton, the tongue-in-cheek depiction of a perfect crime has one hilarious flaw after another, culminating in a wild police chase through London and a neat twist ending in South America. Comic crime caper and mild menace. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (HBO, $19.98)
The Leopard (1963) Historical drama set against the background of Garibaldi's 1860 invasion of Sicily where the prince (Burt Lancaster) of an old aristocratic family refuses to adapt to revolutionary times despite the marriage of his more egalitarian nephew (Alain Delon) to the daughter of a wealthy ex-peasant. Directed by Luchino Visconti from the novel by Giuseppe Di Lampedusa, the result captures a fascinating period of social, political and economic change in a family saga filled with nostalgia for a past, more elegant age. Subtitles. Mature themes. The U.S. Catholic Conference classification is A-III -- adults. Not rated by the Motion Picture Association of America. (Not available on video)
Little Women (1933) Lovingly sentimental but firmly crafted adaptation of Louisa May Alcott's story of four New England girls cared for by their mother while their father is soldiering in the Civil War. Director George Cukor depicts the joys and woes of the loving March family household with warmth and sincerity, but most memorable is the ensemble performance of a remarkable cast headed by Katharine Hepburn as serious-minded Jo, Joan Bennett as vain Amy, Frances Dee as prosaic Meg, Jean Parker as waifish Beth and Spring Byington as the girls' beloved Marmee. Prime family fare. The U.S. Catholic Conference classification is A-I -- general patronage. Not rated by the Motion Picture Association of America. (MGM/UA, $14.98)
Metropolis (1926) Silent classic of a future society ruled by an aristocracy living in luxury above ground while the workers suffer miserably underground, comforted only by the religious faith of a young woman (Brigitte Helm) in whose likeness a sinister scientist (Rudolf Klein-Rogge) fashions a robot inciting the workers to rebel but all ends in reconciliation. Directed by Fritz Lang, the story's melodramatic turns and woolly finale may be dated but not its vivid pictorial sense, grandly expressionistic decor and theme of social justice. Bleak picture of exploited workers, stylized violence and some sexual innuendo. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Nostalgia, $16.95)
Modern Times (1936) Charlie Chaplin's insightful fable of man versus machine centers in the artificiality of industrialized society and the anxieties caused by the Depression as Charlie dances his way through the hazards of an assembly line job. A model of silent comedic technique and refined slapstick humor, the movie marks the last appearance of the Little Tramp character as Charlie takes his final walk down the long empty road, this time in the company of Paulette Goddard who adds an element of freshness to the plot's old-fashioned romance. The U.S. Catholic Conference classification is A-I -- general patronage. The Motion Picture Association of America rating is G -- general audiences. (CBS/Fox, $19.98).
Napoleon (1927) Epic silent chronicle of Napoleon Bonaparte (Albert Dieudonne) from his student days at a military academy through his rise as an officer during the Revolution and Reign of Terror until ending in 1796 when the Directory puts him in command of the army invading Italy. Directed by Abel Gance, the episodic narrative is heavily melodramatic, yet the sheer exhuberance of the actors and the monumental staging of the action carry viewers along in richly visual experience made memorable by Gance's innovative use of portable cameras and triple screens. This reconstructed print runs 235 minutes, with music composed by Carmine Coppola. Stylized violence and brief sexual innuendo. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (MCA/Universal, $29.95)
Nosferatu (1922) Silent horror classic loosely based on Bram Stoker's novel, "Dracula," centers on the vampire count (Max Schreck) who leaves his sinister castle in the Carpathian mountains to sail on a doomed ship bringing him to 1838 Bremen where his dark deeds are undone by a brave young woman and the first light of dawn. Directed by F.W. Murnau, the German production is most notable for its eerie portrayal of the vampire in images which seem to personify evil and dread in a movie even more remarkable for having been filmed mostly on location rather than in the controlled confines of a studio. Stylized violence and menace. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Nostalgia, $19.95)
Stagecoach (1939) In this Western classic, a cowboy (John Wayne) wanted by the law on trumped-up charges joins an odd assortment of passengers (Claire Trevor, Thomas Mitchell, Donald Meek, John Carradine and others) on the stage to Lordsburg in the midst of an Apache uprising. Directed by John Ford, the characters are a microcosm of frontier types, each of whom has a different reason for the journey whose dangers are played out against the majestic vistas of Monument Valley, with a brilliantly staged Indian attack and a final showdown on the streets of Lordsburg that brings the story to a rousing finish. Stylized violence. The U.S. Catholic Conference classification is A-II -- adults and adolescents. Not rated by the Motion Picture Association of America. (Warner, $19.98)
2001: A Space Odyssey (1968) Director Stanley Kubrick's epic work, co-written with Arthur C. Clarke, is both science fiction and metaphysical poetry using an unconventional mixture of visuals and music to bridge humanity's reconstructed past, identifiable present and projected future, all tied together by the recurring image of a monolith as symbol of a superhuman existence. The central narrative follows the struggle of two astronauts (Keir Dullea and Gary Lockwood) to wrest control of their spacecraft from HAL, a talking computer (voice of Douglas Rain), on a half-billion-mile trip to Jupiter and the unknown. For young people and imaginative adults but too long, deep and intense for children. The U.S. Catholic Conference classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is G -- general audiences. (MGM/UA, $19.98)
The Wizard of Oz (1939) Dorothy rides her cyclone to the magic land over the rainbow in director Victor Fleming's classic that skyrocketed Judy Garland's career and has given generations of families prime entertainment again and again. The 50th anniversary edition has 17 minutes of material not included in the original release. The U.S. Catholic Conference classification is A-II -- adults and adolescents. The Motion Picture Association of America rating is G -- general audiences. (MGM/UA, $24.98)
__________________________________
Office of Film and Broadcasting
United States Conference of Catholic Bishops
1011 First Avenue, 13th Floor, New York, NY 10022 (212) 644-1880
October 03, 2001 Copyright © by United States Conference of Catholic Bishops
alcohol and longevity
In conclusions, modest drinkers, no more than one drink a day, had benefits and could gain nearly 1 year in life expectancy, in contrast to a loss of nearly 7 years if drinking more than that.
how many hours of free time do you really need in a day.
SHARE
Share Article via Facebook
Share Article via Twitter
Share Article via LinkedIn
Share Article via Email
37-year-old millionaire reacts to couple who retired early with $2.2 million in Portugal
FIRE expert reacts to couple who retired early in Portugal with $2.2 million
'Avoid these 2 resume words at all costs,' says career expert—here are 35 power verbs to use instead
‘Avoid these 2 resume words at all costs,’ says career expert—here are 35 power...
This mom makes $760K a year in passive income—and lives on a sailboat: 'I work just 10 hours a week'
This mom makes $760K a year in passive income—and lives on a sailboat: ’I work...
HEALTH AND WELLNESS
‘Too much free time won’t make you happier,’ says psychologist—how many hours you really need in a day
Published Thu, Sep 8 20229:18 AM EDTUpdated Mon, Sep 12 20224:55 PM EDT
thumbnail
Cassie Holmes, Contributor
SHARE
Share Article via Facebook
Share Article via Twitter
Share Article via LinkedIn
Share Article via Email
Marco Bottigelli | Getty
I remember in 2013, sitting on the late-night train home from New York City to Philadelphia, feeling utterly overwhelmed with life. For a working mother, it felt like there weren’t enough hours in the day to get everything done.
My research has since shown that I wasn’t the only one who was struggling. As a social psychologist and behavioral science professor at UCLA, I wanted to know: Will having more hours of free time actually make us more satisfied in life?
So I enlisted my colleagues to study how tens of thousands of Americans spent a regular day, as well as their overall happiness levels. The results were illuminating.
Too much free time won’t make you happier in life
First, we calculated how much time people had in a day to spend on discretionary activities, such as relaxing, watching TV, playing sports or hanging with friends.
Then we tested how that calculated amount of time related to their satisfaction in life.
What we found was that two to five hours of free time in a day is ideal for boosted happiness. Having less than two hours or more than five hours of free time a day, however, decreased happiness.
https://www.cnbc.com/2022/09/08/too-much-free-time-wont-make-you-happier-says-psychologist-how-many-hours-you-really-need-in-a-day.html
Suscribirse a:
Entradas (Atom)