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Angel City (1976) represents a culmination of the first decade of Sam Shepard's work. It bears the unmistakable stamp of Shepard the avant-gardist with its surreal dream structure, its creative transformations of character, and its collage construction. It exhibits Shepard's inventive engagement with popular culture, which he had developed and perfected in plays like Mad Dog Blues and The Tooth of Crime. And it brings to fruition Shepard's bizarre sense of humor with its satiric attack on Hollywood.
During the American sixties, the resurgent interest in Wilhelm Reich and the widespread impact of Marcuse's Eros and Civilisation encouraged the idea of coupling psychoanalysis and Marxism. Reich's works reminded radicals once again of the integral connection between political revolution and sexual freedom, while Marcuse's critique, a bold attempt of the mid-fifties to read Freud as a revolutionary utopian, suggested the desirability of a marriage between Marx and Freud, a marriage that would have seemed unnatural to many of the Old Left generation. Certainly, too, the writings of Norman O. Brown and Paul Goodman gave credence to the idea that sex, psychology, and radical politics were necessarily interrelated.
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