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A toxic agent is still a poisonous agent. There may be defenses versus a snowball, however there are none against an avalanche.” In an attempt to evaluate in depth the specific content, worth, and styles designed in our present-day cinema, the author, with the assistance of four assistants, performed a survey of every movie playing in a moderate-size American city during one week in the winter of 197172. We participated in downtown main city cinemas, rural movie theater, and drive-in theaters. We examined thirty-seven movies, ranging from moderate household comedies to “X”- rated movies and thriller movies. Sixteen percent were “X”- ranked, 24 percent “R”- ranked, 46 percent “PG”- rated, and just 14 percent “G”- ranked. We discovered that the typical film included thirty-eight scenes or incidents of violence and sex, including nudity, illicit sex, physical hostility without weapons between people, massacre, and massacre.

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Sixty-two percent of the movies presented a basically fatalistic viewpoint of life and human destiny, in which male was caught by forces that he could not truly control or deal with and in which he had to endure his fate without much hope of fixing his problems or conflicts. This approached in some methods the existential view of man, though here it likewise suggested an extra impotency and ineffectualness. Fifty-seven percent of the movies provided dishonesty in a brave light or as reasonable conduct because of the hero’s circumstances (e.g., the cop took part in illegal or deceitful habits in order to record or kill the bad guy, but considering how bad the bad guy is, this is recommended as being “obviously justified”). Thirty-eight percent of the movies provided criminal activity as something that settles or as being a successful and amazing pastime without any unfavorable effects.

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In 43 percent of the films the heroes were represented as law breakers or antisocial characters. Of those motion pictures having heroines, 38 percent were similarly antisocial types. In 59 percent of the movies the heroes killed several people, while 21 percent of the heroines did similarly. About half of these killings existed as being sensible. When the heroes’ ultimate objectives were examined, 49 percent were trying to do something socially constructive, though sometimes illegally or by utilizing violent means. Another 27 percent of the heroes were pursuing socially damaging goals or ends, such as pressing drugs, while 24 percent of the movies presented heroes with neutral goals that is, merely trying to make it through.

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Seventy percent of the heroes or male leads and 72 percent of the heroines were provided as being to some degree sexually promiscuous. Just one film recommended regular sexual relations in between a man and a lady legally wed to each other. To put it simply, the design of sex presented in American cinema is practically completely illegal, with a practically total rejection of the notion that sex may take place between males and females married to each other. Another 27 percent of the films presented the main characters in pathological marital scenarios, and the remaining 51 percent of the movies revealed all of the essential characters as single or not basically associated with marriage. In other words, models of healthy marital relationship and marital interaction exist in just a relatively small minority of movies.