On this site will be posted analyses of popular media productions. These analyses will have to do with determining the underlying meanings of various movies, songs, and certain novels. Methods used to analyze a given production will include exploration of the creators' use of symbolism, allegory, metaphor, etc., and deciphering any arcane or obscure references that it may contain.
CATEGORY: MOVIES; WARNING: THIS ANALYSIS CONTAINS SPOILERS!!
[Image at left from the Wikipedia 'Shutter Island (film)' page; "Shutterislandposter",[a] licensed under fair use via Wikipedia.]
Welcome to the analysis of Shutter Island. Buttons at the bottom of each post enable navigation through the parts of the analysis.
Shutter Island is a 2010 American neo-noir psychological thriller film directed by Martin Scorsese. The film is based on Dennis Lehane's 2003 novel of the same name. A plot synopsis of the movie appears below.
In 1954, two U.S. Marshals — Edward "Teddy" Daniels and his new partner, Chuck Aule — travel to the Ashecliffe Hospital for the criminally insane on Shutter Island located in Boston Harbor. They are investigating the disappearance of patient Rachel Solando, who was incarcerated for drowning her three children. Their only clue is a note left by Solando: "The law of 4; who is 67?"
Above left: Teddy (on right) and Chuck travel to Shutter Island. Above right: The sole clue left by Solando as to her disappearance, reads: "The law of 4; who is 67?" (click image to enlarge).
Daniels and Aule find the staff confrontational; Dr. John Cawley, the lead psychiatrist, refuses to turn over records, and they learn that Solando's doctor, Dr. Lester Sheehan, had left on vacation after her disappearance. Though they are given access to the hospital, they are told that Ward C and the lighthouse are off limits. One patient, during interrogation, secretly writes "RUN" in Daniels' notepad. Daniels starts to have migraine headaches from the hospital's atmosphere, and experiences waking 'visions' of his involvement in the Dachau liberation reprisals and disturbing dreams of his wife, Dolores Chanal, who was killed in a fire set by Andrew Laeddis, a local arsonist. In one dream, Chanal tells Daniels that Solando is still on the island, as well as Laeddis, who also went missing months ago. Daniels later explains to Aule that locating Laeddis was an ulterior motive for taking the case.
Above left: Teddy has a waking vision of his involvement in the Dachau liberation reprisals. The Dachau liberation reprisals were a series of incidents in which German prisoners of war were killed at the Dachau concentration camp on April 29, 1945, during World War II. The killings occurred after the U.S. 45th Infantry Division entered the Dachau complex.[b] Above right: In one of Teddy's dreams, Dolores tells him that Rachel is still on Shutter Island.
During their investigation, Daniels and Aule find that Solando has been discovered by the staff with no explanation, prompting Daniels to break into Ward C. There, he meets George Noyce, a patient in solitary confinement. Noyce warns Daniels that the doctors are performing questionable experiments on the patients, and some are taken to the lighthouse to be lobotomized. Noyce also warns Daniels that everyone else on the island, including Aule, is playing in a game designed for Daniels. Daniels regroups with Aule, and the two of them head off to the lighthouse. While on their way to it, they become separated. Daniels sees a body on some rocks below a cliff, but by the time he climbs down, the body is gone. Daniels finds a cave in the cliff wall where a woman is hiding, claiming to be the real Solando. She says she was a former psychiatrist at the hospital until she discovered that its staff were performing experiments with psychotropic medication, in an attempt to develop mind control techniques. She tells Daniels that before she could report the experiments to authorities, she was committed as a patient. Without any sign of Aule, Daniels returns to the hospital, but Cawley now claims that Daniels arrived on the island alone.
Top left: Teddy converses with George Noyce. Top right: Teddy descends a cliff wall to investigate his sighting of a body on the rocks below. Above left: When Teddy goes to the spot where he thought the body was, it is gone. Above right: As Teddy climbs back up the cliff, he encounters this woman in a cave; she claims that she is the real Rachel Solando, and that she used to be a psychiatrist at Ashecliffe.
Daniels is convinced Aule has been taken to the lighthouse and breaks into it. There, he finds Cawley waiting for him. Cawley explains that Laeddis is actually Daniels himself, "[their] most dangerous patient", incarcerated in Ward C for murdering his manic depressive wife after she drowned their children, thus revealing that "Solando" is actually his deceased wife. Cawley says that "Edward Daniels" and "Rachel Solando" are anagrams of "Andrew Laeddis" and "Dolores Chanal" ("the law of 4"), and Laeddis is the 67th patient at Ashecliffe ("who is 67?"); furthermore, the little girl from Laeddis' recurring dreams is his daughter, Rachel. Cawley also says that the events of the last few days have been designed by the hospital to break Laeddis' conspiracy-laden insanity by allowing him to play out the role of Daniels; Dr. Sheehan posed as Aule. Cawley says that the migraines Laeddis suffered were a result of being off his medication. Laeddis is overwhelmed with memories and faints from the realization.
Dr. Cawley attempts to convince Teddy that "Edward Daniels" is an anagram of his real name, Andrew Laeddis, and that he is patient number 67 on Shutter Island.
Laeddis awakens back in the hospital, and is asked questions regarding his personality by Cawley and Sheehan, which he answers as Laeddis. Cawley notes they had achieved this state nine months prior to Laeddis' regression, and this is to be his last chance at rehabilitation. Later, as Laeddis relaxes on the hospital grounds with Sheehan, he refers to Sheehan as Chuck and tells him they need to leave the island. Seeing the signs of regression, Sheehan and Cawley (who has been observing from a distance) have Laeddis taken by the orderlies to the lighthouse. Laeddis lets himself be taken, but asks Sheehan "Which would be worse – to live as a monster, or to die as a good man?", potentially signifying that his regression is only an act.[c]
Top left: Dr. Sheehan (standing at left) and Dr. Cawley converse with Teddy. Top right: A little later, Teddy and Sheehan converse on the hospital grounds. Above left: Teddy leaves for the lighthouse with the orderlies. Above right: The lighthouse.
a. Poster for Shutter Island: The poster art copyright is believed to belong to the distributor of the film, Paramount Pictures, the publisher of the film or the graphic artist.
b. Wikipedia, 'Dachau liberation reprisals'. Web, n.d. URL = https://en.wikipedia.org/wiki/Dachau_liberation_reprisals.
c. Wikipedia, 'Shutter Island (film)'. Web, n.d. URL = https://en.wikipedia.org/wiki/Shutter_Island_(film).
Above left: Teddy (on left) and Ashecliffe's warden. Above right: The cast list in the ending credits for Shutter Island, indicates that the warden character is not assigned a first or last name (see inside the tan rectangle - click image to enlarge).
As indicated in the above right screencap, which is a shot from the ending credits of Shutter Island, the warden character (played by Ted Levine) is not assigned a first or last name. However, note that another anagram of 'Edward Daniels' (besides 'Andrew Laeddis') is 'Warden Laeddis'. Therefore, we are tempted to consider that the warden's (real) last name is Laeddis (and that there's some kind of foolery going on in the movie with regard to the name Laeddis). However, Dr. Cawley would not have taken the risk of using the warden's actual last name for Teddy's 'pretend' surname, because Teddy would, at some point, see the warden's name on the badge he wears (note that in the above left screencap, the warden is wearing a badge).
In a March 2010 interview about Shutter Isand with Mick Brown of The Telegraph, the film's director, Martin Scorsese, said, "I discovered [certain films] in the 1950s. There was a small theatre on Second Avenue [in New York] that would show third, fourth or fifth-run movies. Isle of the Dead was the one...There's no way you could aspire to come close to what those films did. They came out of a certain time and place. There's no way we can recapture that. But we can make references. We shouldn't be afraid to make a homage; but it had to be serious, not ironic."[a] Scorsese is here acknowledging that one of the films made reference to in Shutter Island, is Isle of the Dead.
The 1945 movie Isle of the Dead was re-released in 1953, and Shutter Island is set in 1954. One anagram of "Isle of the Dead" is "the foe Deladis." Also, an anagram of 'Laeddis' is 'Deladis'. The Scottish surname Deladis means "at the port" in Scottish Gaelic. This name meaning fits with the setting of Shutter Island (Boston Harbor), and the name also fits with the warden being a foe of Teddy. Based on the foregoing, we see that the warden's last name is Deladis.
We thus see that there is, in fact, foolery (directed at Teddy) going on in the movie with regard to the name Laeddis: Dr. Cawley is lying to Teddy when he tells Teddy that his real name is Andrew Laeddis. The truth is that Teddy has been 'set up' by Dr. Cawley, Warden Deladis, Dr. Sheehan, and, no doubt, other people at the institute, and he is being lied to. Teddy's real name is Edward Daniels.
Comparison of the manner in which Teddy and his 'partner' hand their guns over to the prison staff, upon 'arrival' at Shutter Island, is one of the chief giveaways in the movie that not only is the man posing as Chuck not a U.S. Marshal, but also, that this particular arrival scenario is part of the role play being done on Teddy. Top left and right: When asked for his gun, Teddy smoothly withdraws it and its holster from his belt clip using his right hand only. Middle left: Teddy then hands the gun and holster to a prison staff member using his left hand, with the barrel pointing at himself, for safety of the others. Middle right: As opposed to Teddy, 'Chuck' (Dr. Sheehan) fumbles for his holster using both hands. Above left: The deputy warden looks on in exasperation as Sheehan fumbles. Above right: Sheehan hands the gun to prison staff with his right hand, and with the barrel pointed to his left (to approximately where Teddy is standing) instead of toward himself.
The actual scenario of Shutter Island is that a U.S. Marshal named Edward Daniels is sent to Ashecliffe, under the pretext of investigating a missing patient, with the intention of one or more persons in the Marshal's service (at the direction of someone higher up), being to make Edward (Teddy) disappear, since he has important knowledge concerning the Dachau liberation reprisals - knowledge that one or more parties would rather be kept under wraps: It was not only American soldiers, who killed and wounded German camp guards and German prisoners of war during the reprisals; imprisoned Jews also participated in the killings. Subsequent to this, American men who had been soldiers at Dachau were systematically declared 'crazy' and sent to insane asylums, so that their knowledge of what truly took place at Dachau would be hidden from the public. As Shutter Island's representation of this latter fact, Teddy is deemed by the service to be mentally unstable as the ostensible reason for handing him over to Dr. Cawley. It is someone in the Marshal service itself who gives Cawley all the inside information on Teddy, such as on his wife and kids, that Cawley needs in order to conduct the role play. All along, Teddy is destined to remain on the island, either continuing to believe he is a killer named Andrew Laeddis, or ending up getting lobotomized. It is no doubt the Marshal service itself that has Teddy's family killed (again, under instructions from someone higher up), since there would be suspicion that Teddy has told his wife about the important information that he possesses concerning Dachau; killing Teddy's kids is also necessary, so that there are no 'loose ends'.
Teddy is under the influence of one or more psychoactive (i.e., mind-altering) drugs during the role play, and is being induced into a dream-like state at certain points. The psychoactive drugs are given to Teddy under the pretext, of their being pills to help relieve his migraine headaches. Cawley knows about Teddy's history of migraines from the inside information provided to him; in fact, this is one of the reasons the Shutter Island location is chosen by those wishing to make Teddy disappear: The conditions conducive to mold growth are present on the island (dampness combined with old buildings), and certain fungi in some molds can induce migraine headaches in those susceptible to them. One or more of these particular molds must be present, in some of the institute's building materials, and thus, their fungi are present in the air, where they can be inhaled. The 'medicine' Dr. Cawley gives Teddy must include something containing a substance called ergot, which was first used in the treatment of acute migraine in 1926,[b] and has been known to induce mania and hallucinations. This is why Teddy exhibits periodic manifestations of mania while on the island, for example, when he lashes out at Dr. Cawley for not turning over institution records; and, Teddy is hallucinating - he experiences waking 'visions' of the Dachau liberation reprisals. While Cawly is trying to convince Teddy that his real name is Andrew Laeddis, and that he is a patient at Ashecliffe, Cawley lies to Teddy by stating that his migraines were a symptom of being off his psychiatric medication.
Above left: At the beginning of the movie-ending conversation between Teddy and Dr. Sheehan, Sheehan clumsily withdraws a cigarette from a pack with his mouth, indicating that he has only been pretending to be a smoker all along in order to go along with Teddy, who is a smoker. Above right: That Teddy appears to have regressed is signified by Sheehan throwing a glance at Cawley, who is nearby with the orderlies. However, the reality is that by this point, Teddy has realized that all along, the staff have tried to convince him that he is a killer, whereas he knows he is not. Teddy is here only pretending to go along with the role play, when he tells 'Chuck' they need to get off the island. Sheehan speaks with honest surprise when he calls Teddy "Teddy" as he volunteers himself to be lobotomized, and thus, it is an indication that Teddy's real name is Teddy (i.e., Edward). When Teddy asks which would be worse, to live as a monster or to die as a good man, what he means is that he knows he is a good man and that being lobotomized will effectively be his death (essentially, the complete alteration of his personality), and that he'd rather subject himself to this than continue to be 'treated' as Andrew Laeddis, a killer.
a. Brown, Mick (March 7, 2010). "Martin Scorsese interview for Shutter Island." The Telegraph, 'film makers on film' section. Web. URL = http://www.telegraph.co.uk/culture/film/filmmakersonfilm/7366950/Martin-Scorsese-interview-for-Shutter-Island.html.
b. Tfelt-Hansen P., Saxena P.R., Dahlöf C., Pascual J., Láinez M., Henry P., Diener H., Schoenen J., Ferrari M.D., Goadsby P.J., Ergotamine in the acute treatment of migraine: a review and European consensus, Brain, 2000 Jan; 123(Pt 1): 9-18. [Abstract]; cited in Wooltorton, Eric, Risk of stroke, gangrene from ergot drug interactions, National Institutes of Health, Health and Drug Alerts, CMAJ. 2003 Apr 15; 168(8): 1015. [Article]
Teddy and Chuck at a cliff's edge, from where they can see the lighthouse.
After a brief argument, Teddy warns Chuck that he will set out alone from here, to try and find a path to the lighthouse.
After Teddy fails to find a specific path that he had hoped would lead to the lighthouse, he returns to the spot where he left Chuck, but Chuck is gone, with the only 'clue' being a cigarette (ostensibly, Chuck's) sitting on the edge of the cliff. Note that the cigarette is lying in a position such that it's smoked portion (the ashes) hangs just over the ledge, while the filter is sitting perfectly on the ledge. It is as if Chuck (or someone else) has intentionally placed the cigarette in this specific location and position, so as to get Teddy to look over the edge of the cliff when he investigates the cigarette's presence. Also, the ashes serve as a suggestion to Teddy's unconscious mind, designed so that he will believe that proceeding down the cliff will 'lead' to his deceased wife, or to information about her; for recall that she died in a fire (although according to Teddy, it was the smoke of the fire that caused her death, not the fire itself). Note that the particular shot shown above, suggests the name of the institution portrayed in the movie: ash + cliff = Ashcliffe.
When Teddy looks over the edge of the cliff, he sees a body below (indicated by orange arrow), at some distance out on the rocks.
Teddy climbs down the cliff face in order to investigate the body. His descent here symbolizes a descent into Hell.
By the time Teddy reaches the location where he saw the body, it's gone.
Teddy sees some rodents on the rocks below the cliff. Rodents are a chthonic symbol, i.e., they represent things to do with the deities or spirits of the underworld.
Dark Side of the Rainbow – also known as Dark Side of Oz or The Wizard of Floyd – refers to the pairing of the 1973 Pink Floyd album The Dark Side Of The Moon with the visual portion of the 1939 film, The Wizard of Oz. This produces moments where the film and the album appear to correspond with each other. The name, "Dark Side of the Rainbow", comes from a combination of the album title, the album cover (shown at left), and the film's song "Over the Rainbow."[b] In the YouTube videos at the links listed below, individual songs from The Dark Side Of The Moon are paired (i.e., synchronized) to certain scenes from The Wizard of Oz.
Regarding the appearance of possible anti-Semitism on this blog, please see the 'Disclaimers' section near the bottom of this page.
The above left screencap shows workers on Dorothy's farm escorting Dorothy's Auntie Em and Uncle Henry into an underground shelter, as the tornado approaches the farm. At above right, Dorothy, lying unconscious in her house after her head has been struck by a blowing window sash, dreams that the wind of the storm is causing objects, such as the uprooted tree shown, to fly past her bedroom window.
The above left screencap shows Dorothy, shortly after she has first walked out of the door of her house, after the house has fallen into Munchkinland. The lyrics of Money (e.g., "Grab that cash with both hands and make a stash") point to the concept of greed, indicating that the Munchkins themselves represent some group of greedy persons. Some of the Munchkins are shown in the above right screencap.
The above left screencap shows the Wicked Witch of the West confronting Dorothy in Munchkinland, while she is accompanied by the Good Witch of the North. As is explained in the analysis of The Wizard of Oz on this blog, the ground level of Munchkinland lies in circles 4 and 7 of Dante's Inferno (Hell). The above right screencap shows Dorothy's position at about a quarter of a minute into her journey down the yellow brick road.
In this video, when things start out, the Scarecrow is near the edge of the field he's supposed to be watching over (above left), instead of somewhere out deeper in the field, suggesting that he has intentionally been placed here (near a crossroads) so that Dorothy will 'happen' to run into him. This in turn suggests that there's some kind of deception (of Dorothy) going on, as if she's being 'set up' in some way. The verse heard twice at the beginning of Brain Damage's vocals is, "The lunatic is on the grass." This verse suggests that Dorothy is a lunatic, with "on the grass" indicating that at some point while near the field, she becomes high due to the effect of breathing in airborne pollen from the tall grass growing there. A close-up of Dorothy is shown at above right.
The screencap at left shows both Dorothy and the Lion lying down in the poppy field. As described in the analysis of The Wizard of Oz, the fact that Dorothy and the Lion are here lying down, indicates that these two have committed blasphemy.
Shown at above left, the monkeys chase Dorothy. The part of the Us and Them lyrics that say, "Black (black, black, black)/And blue (blue, blue)/And who knows which is which and who is who", are heard not long before the part of the video in which the Wicked Witch of the West, wearing black, comes face-to-face with Dorothy, who is wearing blue (above right). The part of these lyrics that say, "And who knows which is which, and who is who", could be imagined as saying, "And who knows which is witch, and who is who", suggesting that Dorothy herself could be the metaphorical witch here.
Commentary on the synchronization of The Dark Side Of The Moon with The Wizard of Oz
The most popular idea regarding the synchronization (or 'sync') of The Dark Side Of The Moon with The Wizard of Oz, is that the album is to be played through in its entirety, from its beginning, during continuous play of the movie, from at (or close to) its beginning, and that all of the points of synchronization between the album's music, and the movie, are thus obtained. Instead, however, as indicated by the above listing, individual songs from the album are meant to be paired with certain scenes from the movie, selecting the songs from the album in an order other than that in which they appear on the album, as necessary. (Note that during continuous play of the album with the movie, there occur certain similarities with the above listing, for example, Money plays during the scene in Munchkinland).
Many people who dispute the validity of the Dark Side of the Rainbow sync point to The Dark Side Of The Moon engineer Alan Parsons' statements on the issue. In an interview with John Harris of Rolling Stone, Parsons answered a question asked by Harris, about the idea of pairing the album with the film:
Harris: What's your opinion of the long-standing myth about The Dark Side Of The Moon being a secret soundtrack to The Wizard Of Oz?
Parsons: It was an American radio guy who pointed it out to me. It's such a non-starter, a complete load of eyewash. I tried it for the first time about two years ago. One of my fiancee's kids had a copy of the video, and I thought I'd see what it was all about. I was very disappointed. The only thing I noticed was that the line "balanced on the biggest wave" came up when Dorothy was kind of tightrope walking along a fence. One of the things any audio professional will tell you is that the scope for the drift between the video and the record is enormous; it could be anything up to twenty seconds by the time the record's finished. And anyway, if you play any record with the sound turned down on the TV, you'll find things that work.[c]
In his statements, Parsons is referring to concurrent, continuous play of the album and the movie, straight through, both from (at or near) their respective beginnings - he is denying this particular form of the sync.[d] But, again, what we are supposed to do is take scenes from the movie, and match them up with songs from the album 'out of order' as necessary. The drift mentioned by Parsons doesn't come into play significantly, when only short sequences from the film are taken, one at a time, and matched up with individual songs from the album.
a. Cover art for the album The Dark Side Of The Moon by the artist Pink Floyd: by Hipgnosis and George Hardie. The cover art copyright is believed to belong to the label, Harvest / Capitol, or the graphic artist(s). Designed by Storm Thorgerson, drawn by George Hardie.
b. Wikipedia, 'Dark Side of the Rainbow'. Web, n.d. URL = https://en.wikipedia.org/w/index.php?title=Dark_Side_of_the_Rainbow.
c. Harris, John (March 12, 2003). ""Dark Side" at 30: Alan Parsons." Rolling Stone. Web. URL = http://web.archive.org/web/20070713182118/http://www.rollingstone.com/artists/pinkfloyd/articles/story/5937469/dark_side_at_30_alan_parsons.
d. One 'caveat' to this is that during continuous playing of the album with the movie, both straight through, there occur certain correspondences with the above listing; for example, Money plays during part of the scene in Munchkinland.
All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).
Individual songs from Pink Floyd's 1973 album The Dark Side Of The Moon, are synchronized by the band to play alongside certain scenes from Stanley Kubrick's 1968 movie, 2001: A Space Odyssey. These 'sync videos' are posted on YouTube, and are accessible by clicking on the links listed below.
While the lunar lander spacecraft (above left) is on its way from a space station orbiting Earth (above right), to the moon, Heywood Floyd, who is aboard the lander, is shown sleeping (left) during part of the journey. Note the gold coloring of Floyd's surroundings inside the lander.
The lander also has an area within it that looks somewhat like a bank vault or gold bullion depository (below left). In the sync video, a 'cash register' sound plays when the stewardess in this vault/depository area, operates the food tray dispenser (below right). This sound, the presence of the vault area, and the gold color of the interior of the lander, taken together with Money's lyrics (e.g., "Grab that cash with both hands and make a stash"), suggest that Heywood Floyd's trip is tied in with something of monetary value, and with greed.
The demise of Discovery One astronaut Frank Poole is foretold in the part of the lyrics in Us And Them in which we hear a voice speaking, and one phrase spoken by this voice is, "So if you give 'em a quick short, sharp, shock": Mission computer HAL (whose camera 'eye' is shown in the screencap at left), is here thinking to himself that he is going to shock (that is, surprise) "'em", i.e., 'them' - Poole (below left) and his fellow astronaut, David Bowman (below right) - by performing some kind of drastic action directed against Poole.
The attack on astronaut Frank Poole by mission computer HAL, represents the fulfillment of that which was foretold in the other Us And Them sync video (from above), that is, the demise of Poole: HAL takes control of Poole's EVA pod (the small spacecraft shown at below left) while Poole's outside of it, about to perform a repair on the Discovery One spaceship, and HAL uses the pod to strike Poole so that Poole is sent off into space with a severed air hose (below right).
Astronaut David Bowman, wearing a green space helmet in the screencap at left, is here inside mission computer HAL's logic/memory compartment, disconnecting HAL's circuitry.
Below left: In part of this sync video, the monolith (the shiny, black, rectangular object in the screencap) aligns with Jupiter and its moons. Below right: A portion of the stargate itself, as astronaut David Bowman sees it while moving through it.
The title of this song is a reference to the colorful views of Earth's sky and surface (below left and right, respectively) that astronaut David Bowman sees, after having passed through the stargate.
As described in the caption to the two screencaps below, there is a match for part of the lyrics of Time, with the Space Odyssey 'hotel' sequence. During part of this sequence, astronaut David Bowman ages rapidly (in the sync video, while Time plays):
Bowman goes from a man around age sixty (above left) to a man of about seventy (above right), while part of the lyrics of Time that play are, "And then one day you find ten years have got behind you." (The screen time that elapses between the two shots shown above, is approximately two minutes).
Another vocal confirmation for this sync, comes in the (spoken) words of the second song in the sync video, The Great Gig In The Sky, a portion of these words being, "And I am not frightened of dying, any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it, you've gotta go sometime." These words refer to David Bowman on his deathbed, which is what is being shown in the video while the words are being spoken, beginning at approximately the point shown in the screencap at left. Note that Bowman is gesturing with his right hand toward the rectangular, black monolith (click image to enlarge).
See the analysis of 2001: A Space Odyssey on this blog for a detailed explanation of the film's themes.
a. Cover for the album The Dark Side of the Moon by the artist Pink Floyd: by Hipgnosis and George Hardie. The cover art copyright is believed to belong to the label, Harvest / Capitol, or the graphic artist(s). Designed by Storm Thorgerson, drawn by George Hardie.
All song lyrics in this post are believed to be used in accordance with the U.S. Copyright Fair Use Act (Title 17, U.S. Code).
Disclaimers 1) In certain instances it has been determined that the creators of some of the productions analyzed on this blog, and/or the creators of source material(s) used in the making of these productions, may be making negative statements about certain segments of society in their productions. These statements should be taken as expressing the opinions of no one other than the creators.
2) This blog is not associated with any of the studios, creators, authors, publishers, directors, actors, musicians, writers, editors, crew, staff, agents, or any other persons or entities involved at any stage in the making of any of the media productions or source materials that are analyzed, mentioned, or referenced herein.
3) In keeping with the policies of the filmmakers, authors, studios, writers, publishers, and musicians, that have created the productions (and their source materials) that are analyzed, mentioned, or referenced on this blog, any similarity of the characters in these films or source materials to actual persons, living or dead, is purely coincidental.
Saint Augustine's Confessions andCity of God from Wikisource (except where otherwise noted); portions from Wikisource used on this blog are released under the Creative Commons Attribution-Share-Alike License 3.0.
Saint Thomas Aquinas's Summa Theologica from the 'Logos Virtual Library' website (except where otherwise noted), compiled and edited by Darren L. Slider; believed to be in public domain.
