#Article 1

Dont Treat Young Adults as Teenagers

Gray Matter
By LAURENCE STEINBERG, THOMAS GRISSO, ELIZABETH S. SCOTT
and RICHARD J. BONNIE APRIL 29, 2016
Free Morphemes

Bound Morphemes (Derivational)

Compounds

Bound Morphemes (Inflectional)

OVER the past dozen years, the Supreme Court has issued several landmark
decisions affirming that adolescents and adults are fundamentally different in ways
that justify treating minors less harshly when they violate the criminal law. The court,
drawing on psychological and brain science indicating that people under age 18 are not
yet fully capable of controlling their behavior, abolished the juvenile death penalty and
greatly restricted life without parole sentences for crimes by juveniles. As scientists
and legal scholars who specialize in these issues, we have welcomed these changes with
enthusiasm.
But in recent months, a number of advocates have sought to extend the
developmental immaturity argument to young adults, proposing that the age of
juvenile court jurisdiction be raised to 21 from 18, where it now stands in almost all
states. This idea has gained some real-world traction. Late last year, for example, Gov.
Dannel P. Malloy of Connecticut called on his states Legislature to raise the age of
juvenile court jurisdiction, and Illinois and Vermont are now contemplating a similar
change.
Such reform, though well intended, is premature at best. While considerable
scientific evidence supports the distinction that the Supreme Court endorsed between
adolescents under age 18 and adults, research on the maturity of young adults (i.e.,
those between 18 and 21) is at an early stage. We know that brain maturation continues
past age 18, but it is not clear that the brains of 20-year-olds are so immature that they
should be treated as if they are teenagers.
For example, research indicates that a hypersensitivity to reward causes
teenagers to focus on the short-term consequences of their actions and assign less
importance to the future, which often inclines them toward impetuous and risky
activity (such as crime). We know of no evidence indicating that the same is true with
regard to young adults.
A new study complicates things further. In this research, which appeared this
year in Psychological Science, a team led by the neuroscientist B.J. Casey (and
including several of us) looked at the impact of emotional arousal on impulse control
in three age groups: juveniles between 13 and 17, young adults between 18 and 21, and
adults ages 22 to 25. The participants were presented with a rapid series of calm,
fearful and happy faces and instructed to press a button when one type of face was

shown, but to resist doing so when it was one of the other types. During the experiment,
the participants emotional state was manipulated from time to time by leading them
to expect that at any moment they might experience something positive (winning a
prize), something negative (hearing a loud noise), or neither.
The study found that when young adults were negatively aroused (anticipating
the noise), they made as many mistakes as juveniles, and significantly more than the
somewhat older adults. But under conditions of either low or positive arousal
(anticipating the prize), the young adults performed as well as their older
counterparts, and significantly better than the juveniles. Are people in their early 20s
more like teenagers or more like adults? According to this research: It depends.
The proposal to expand the jurisdiction of the juvenile system to age 21, in
addition to being based on ambiguous science, would also create two potentially
serious policy problems. First, just as the adult correctional system is ill equipped to
respond to the needs of adolescents, the juvenile justice system is poorly positioned to
handle young adults. It is hard to imagine a juvenile facility that could appropriately
house 20-year-olds and 14-year-olds, or a juvenile justice staff whose training would
allow it to work effectively with young adults. And because a disproportionate number
of serious violent crimes are committed by individuals between 17 and 21, the juvenile
system would be overwhelmed by the number of young adults it would need to process,
and its rehabilitative purpose could be seriously undermined.
Second, the juvenile justice system interacts with several other health and child
welfare systems. Those agencies have created relatively separate systems for serving
children and adults, in part because of important differences between these two ages.
For example, some mental illnesses arise only in young adulthood, and professionals
have long specialized in providing services either to children and adolescents or to
adults. Creating a juvenile justice system that works well for both adolescents and
young adults would require significant (and costly) restructuring of many other
agencies.
Changes in the ways in which we treat young adult offenders are long overdue.
This group has its own distinctive educational and mental health needs. But thats an
argument for treating them as a special category of offenders in the adult justice
system, not raising the juvenile jurisdictional age. In the long run, this may better serve
the interests of young adults and juveniles alike.
Laurence Steinberg is a professor of psychology at Temple, Thomas Grisso is a
professor emeritus of psychiatry at the University of Massachusetts Medical School,
Elizabeth S. Scott is a law professor at Columbia and Richard J. Bonnie is a law
professor at the University of Virginia.
Identification:
The writer seems to use more free morphemes than the bound morphemes in order to
make the article clear and understandable. Also, as we can see, the percentage of the use of
compound words is very limited. About the bound morphemes, the writer seems like to use

inflectional bound morphemes better than derivational bound morphemes, such as using present
and past participle to conjugate clauses within a sentence, and using the final s for countable
plural nouns and the third subject verbs.

#Article 2

Cursed Films, Blessed on Blu-ray

By J. HOBERMAN MAY 13, 2016
Film history is filled with movies that have been mangled by their producers,
maladroitly distributed and generally born under a bad sign they are often
misunderstood by critics and consequently difficult to see. But these films also hold a
special place in cinephile hearts.
Such films maudit (cursed films), as the French call them, can be cultist holy
grails. Samuel Fullers German telefilm Dead Pigeon on Beethoven Street (1972) is
one. Ivan Passers thriller Cutters Way (1981) is another.
Out on disc from Olive Films in a directors cut some 25 minutes longer than its
United States release version, Dead Pigeon on Beethoven Street was the first movie
that Mr. Fuller a prolific writer-director of offbeat, wildly energetic action films
made in full awareness of his paradoxical status. While washed up in Hollywood, he
had become a revered figure first for French and later German and American new wave
filmmakers.
Given the opportunity to direct an episode for the West German TV series
Tatort (Crime Scene), Mr. Fuller appears to have enjoyed creative carte blanche,
writing what he called a cartoon caper movie concerning an international blackmail
ring in Cologne. The outfit, led by an icy professional fencer, specializes in
photographing politicians in compromising positions. Intrigue follows when the ring is
infiltrated by an American private eye (Glenn Corbett) representing one of the victims.
Dead Pigeon is self-consciously trendy in its percussive zoom shots and
hyperkinetic montages, as well as casually outlandish in its locations (a shootout in a
maternity ward; a cloak-and-dagger rendezvous at the Beethoven-Haus museum in
Bonn; Colognes annual carnival, in which a killer clown lurks among the costumed
participants). A wink away from self-parody, Mr. Fuller evokes his own oeuvre
throughout, quoting lines and recreating bits of business from previous movies. Not
all are his. At one point, Mr. Corbett ducks into a movie house showing Rio Bravo and
cracks up at the spectacle of John Wayne speaking perfect German.
The self-referential casting also has new wave flavor. The director Claude
Chabrols muse Stphane Audran is given a cameo as a glamorous lesbian named Dr.
Bogdanovich (a nod to the director Peter Bogdanovich). The German filmmaker Peter
Lilienthal is also present, and in his memoir A Third Face, Mr. Fuller writes that R. W.
Fassbinder tried to talk his way into a part. Mr. Fuller himself appears briefly as a
blackmailed American senator, but mainly Dead Pigeon is a valentine addressed to

Mr. Fullers wife, the German actress Christa Lang, playing an actress turned femme
fatale named Christa.
As personal as it is, Dead Pigeon often feels like a home movie or even a lowbudget avant-garde production. Barely distributed in the United States, it even
appeared in that context. I first saw Dead Pigeon in late 1976. The packed one-off
screening at the Collective for Living Cinema, a quasi-underground venue in Lower
Manhattan, may actually have been the movies New York theatrical premiere. Back
then, I found Dead Pigeon disappointing; seen again, as the filmmaker intended it
and without expectation, its less a failure than a small, unexpected gift for Mr. Fullers
fans.
A far better movie, Cutters Way (released on Blu-ray by Twilight Time) is a
classic hard-luck story. Although comparable to classic early 70s downers like
Chinatown and The Long Goodbye, this story of three post-hippie losers drawn by
chance and paranoia into a sordid murder mystery was born too late and has never
gotten the recognition it deserves.
Mr. Passer, an migr from Czechoslovakia who came to America in the
aftermath of the 1968 Soviet invasion, treats Jeffrey Alan Fiskins script with a mixture
of humanist warmth, caustic humor and detached fatalism. The director is fond of his
doomed characters and, as in his lone Czech production, the rueful comedy Intimate
Lighting (1965), he does not judge so much as observe them.
As Mr. Fuller incorporates Colognes carnival revelry, Mr. Passer seizes on the
surreal facade of the Old Spanish Days celebration in Santa Barbara, Calif. Rather
than a salute to local history, the fiesta feels like a cover-up of fat-cat malfeasance.
Jordan Cronenweths magic-hour cinematography distills the golden California sunlight
into an atmosphere of malign ripeness. The movies gimlet-eyed mise-en-scne is
exceeded only by the flamboyance of John Heards career performance as a raspyvoiced madman who lost an arm, a leg, an eye and possibly his mind in Vietnam.
Mr. Heards furious pinwheel of resentment is supported, if not stabilized, by
Lisa Eichhorns self-effacing portrayal of his alcoholic wife and Jeff Bridgess turn as
their self-loathing best friend, an unenthusiastic boat salesman who moonlights as a
penny-ante gigolo. The three might as well be occupying Santa Barbara as if it were
Zuccotti Park.
Once intended as a vehicle for Dustin Hoffman, Cutters Way was a casualty of
Heavens Gate, a costly Michael Cimino western blamed for fatally damaging its
studio, United Artists. Mr. Passers budget was cut, and once his supporters at United
Artists left, his film originally titled Cutter and Bone was dumped into release
with only two hastily scheduled previews and minimal publicity. Panned by three New
York City dailies as well as by local TV, the movie was yanked from theaters before the
favorable notices from the weeklies arrived.

The Village Voice, where I was third-string film critic, was a particular
champion. An initial enthusiastic review employing the newly minted term neo noir
to characterize the movies attitude was followed by a second positive review, as well as
a profile of Mr. Passer when Cutters Way reopened a few months later under its new
title. Nothing helped.
Appearing at the dawn of Ronald Reagans new morning, Mr. Passers movie
was a hopeless outlier. And so, despite intermittent shout-outs, it remains maudit,
even as its anti-corporate populism is now in vogue.
NEWLY RELEASED
ARABIAN NIGHTS Three films or one, Miguel Gomess tripartite portrait of
contemporary Portugal can be seen as documented fantasy or fantastic documentary.
The films stories are based on Scheherazades Arabian Nights, a method A.O. Scott
described as a conceit, a plaything and a structural principle in his December 2015
review for The New York Times. Available on Blu-ray and DVD. (Kino Lorber)
CAROL Todd Hayness adaptation of Patricia Highsmiths novel The Price of Salt is a
love story barely large enough to contain its star, Cate Blanchett; Rooney Mara is more
reserved as the object of her affections.At once ardent and analytical, cerebral and
swooning, Carol is a study in human magnetism, Mr. Scott wrote in The Times in
November 2015. On Blu-ray, DVD and Amazon Video. (Anchor Bay/Weinstein
Company)
PHOENIX Many of the German director Christian Petzolds films could be considered
historical ghost stories, none more so than this tale of a German Jew who returns to
Berlin as if from the ashes. Writing for The Times in July 2015, Mr. Scott compared
the film to Vertigo, but instead of Hitchcockian psychological puzzles, it explores
unsolvable and perhaps unspeakable moral conundrums. On Blu-ray, DVD and
Amazon Video. (Criterion)
THE REVENANT Leonardo DiCaprio plays the ultimate survivor in Alejandro G.
Irritus spectacular vision of the unspoiled West.Filmmaking as swagger, Manohla
Dargis wrote in her review for The Times in December 2015. On Blu-ray, DVD and
Amazon Video. (20th Century Fox)
SON OF SAUL Focusing on the situation of a Jewish sonderkommando at Auschwitz,
the Hungarian filmmaker Laszlo Nemes created a film that, in its moral ambiguity and
bravura technique, divided critics. In hisDecember 2015 review for The Times, Mr.
Scott described a claustrophobia of a degree that few fictional films have had the nerve
to attempt. On Blu-ray, DVD and Amazon Video. (Sony Pictures Classics)
A version of this article appears in print on May 15, 2016, on page AR25 of the New
York edition with the headline: Cursed Films, Blessed on Blu-ray. Order
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Identification:

The writer seems to use many reformed words (bound morpheme words). Compound words
seem much more than they are in article 1. Even, the compound words contain inflectional
morphemes such as s, er, ers, and so on.