Suburbia Confidential
Apostolof's next film, Suburbia Confidential, uses psychiatry largely to set up sex scenes but also to give the film some semblance of \"redeeming social value\". According to the promotional materials, the film \"starts where the Kinsey report left off\". In Suburbia Confidential psychiatrist Dr. Henri Legrand reviews the files of several sexually frustrated suburban housewives who are shown having sex with salesmen, bellboys and repairmen. The film includes scenes of bondage, lesbianism and a transvestite based on Apostolof's frequent collaborator Ed Wood. Suburbia Confidential is the first in a series of three films made by Apostolof in the late 1960s dealing with the \"confidential\" sexual life of different groups of people, the other two being Motel Confidential and College Girl Confidential.
THE NOVELS OF ELLIOT PERLMAN ENCOMPASS A WIDE VARIETY of social observations and criticisms in both contemporary and historical settings. Three Dollars (1999), as its title suggests, is concerned with economic hardship, both in middle-class suburbia and amongst the less visible vagrants and homeless people of contemporary Melbourne. Similarly, Seven Types of Ambiguity (2003) delves into the sordid underworld of prostitution, offering concurrent castigations of the treatment of the sick and the elderly. Perlman's social discourses culminate in The Street Sweeper (2011), first in his historical account of racial hatred in the United States and then in graphic descriptions of the horrors of Auschwitz. Each novel most definitely constitutes a recognition of suffering and a cry against inhumanity. Indeed, \"tell everyone what happened here\" is the refrain of The Street Sweeper . However, the principal purpose of these novels is not to wallow in awfulness, nor is it solely to educate readers as to the harder realities of life. Depictions of social inequities and crimes against humanity are relayed for the most part through their connections, both direct and indirect, to the highly intellectualized personal crises of more privileged, central characters. The wounded spirits of these protagonists leaves each open to an imaginative identification with and subsequent empathy for certain vulnerable and wronged individuals moving in spheres distinct from their own. Focusing much of the action through the mind of a single protagonist in this way allows Perlman's explorations of social issues and historical concerns to become personalized and emotionally resonant in a way that a more general and impartial narrative voice could not achieve to the same effect. It also allows greater latitude for certain imaginative liberties. Through these protagonists, Perlman strives to give a face to the faceless, even if that face is pure invention. He offers a counterpoint to the stereotype. He characterizes victims in evocative detail and gives a voice to a great many of them. In doing so, he awards a certain triumph and retributive justice to what he himself has called \"the inalienable dignity of the individual\" (Sullivan 26), even if posthumously and through the medium of fiction. 59ce067264
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