Lisa Lassell Hallstrom
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195116489
- eISBN:
- 9780199851621
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116489.003.0002
- Subject:
- Religion, Hinduism
A note is always seen at the beginning of all the spiritual biographies written about Ānandamayī Mā to express how the author apologizes for situations wherein the reader may arrive at ...
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A note is always seen at the beginning of all the spiritual biographies written about Ānandamayī Mā to express how the author apologizes for situations wherein the reader may arrive at misunderstandings about Mā's life. The authors of such biographies feel that it is their responsibility to share information regarding Mā and her life so that the readers may come to realize Mā's greatness and even experience bliss. Thoroughly analysing the life story of Ānandamayī Mā provides the opportunity to examine the sacred biography of someone who lived in a relatively contemporary setting. This chapter looks into the different parts of Mā's life as told by her devotees, in order to demonstrate how Mā interacted with her devotees and how this impacted the devotees' lives.Less
A note is always seen at the beginning of all the spiritual biographies written about Ānandamayī Mā to express how the author apologizes for situations wherein the reader may arrive at misunderstandings about Mā's life. The authors of such biographies feel that it is their responsibility to share information regarding Mā and her life so that the readers may come to realize Mā's greatness and even experience bliss. Thoroughly analysing the life story of Ānandamayī Mā provides the opportunity to examine the sacred biography of someone who lived in a relatively contemporary setting. This chapter looks into the different parts of Mā's life as told by her devotees, in order to demonstrate how Mā interacted with her devotees and how this impacted the devotees' lives.
Frank Noack
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780813167008
- eISBN:
- 9780813167794
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813167008.003.0026
- Subject:
- Film, Television and Radio, Film
This chapter deals with two low-budget, low-prestige, black-and-white “vice pictures” Harlan consented to make for the poorly regarded Arca company. The first, Anders als du und ich (Different from ...
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This chapter deals with two low-budget, low-prestige, black-and-white “vice pictures” Harlan consented to make for the poorly regarded Arca company. The first, Anders als du und ich (Different from you and me, 1957), deals with a mother who encourages her housemaid to seduce her son in order to lure him away from his homosexual friends; in the second, Liebe kann wie Gift sein (Love can be like poison, 1958), a girl who had a very sheltered upbringing becomes a nude model, prostitute, and drug addict. Both films are unusual in Harlan’s oeuvre for their urban and contemporary setting. They are also unusual, in this late phase of his career, for centering on young people who can’t relate to their materialistic fathers. The films’ tone is moralistic on the surface, but Harlan clearly enjoys depicting the sleazier aspects of West German society during the postwar economic miracle. Anders als du und ich remains his most controversial film, being accused of both pro-gay and antigay propaganda.Less
This chapter deals with two low-budget, low-prestige, black-and-white “vice pictures” Harlan consented to make for the poorly regarded Arca company. The first, Anders als du und ich (Different from you and me, 1957), deals with a mother who encourages her housemaid to seduce her son in order to lure him away from his homosexual friends; in the second, Liebe kann wie Gift sein (Love can be like poison, 1958), a girl who had a very sheltered upbringing becomes a nude model, prostitute, and drug addict. Both films are unusual in Harlan’s oeuvre for their urban and contemporary setting. They are also unusual, in this late phase of his career, for centering on young people who can’t relate to their materialistic fathers. The films’ tone is moralistic on the surface, but Harlan clearly enjoys depicting the sleazier aspects of West German society during the postwar economic miracle. Anders als du und ich remains his most controversial film, being accused of both pro-gay and antigay propaganda.
