The idea of harmony in the contemporary United States today is publicly aligned with peace. In this model there is no U.S. conception of an alternative to harmony that is not divisive. Democracy becomes har- mony while debate is contentious, even antidemocratic. This is what Lock refers to as a dampening down of possible dissonance and what I have called a flat- tening process. Again, because lines of power are blurred, context and complexity are critical compo- nents. The dynamics help us to understand when con- sensus is useful, when confrontation is of the essence, as with the "wild" capitalism moving in Pinxten's Eu- rope, and for whom.
All of the above-mentioned research ~oints to the rec- ognition that museums do not exist in a vacuum. It indicates a critical rethinking of the functions of mu- seums and their relations to movements such as colo- nialism or nationalism and ideologies such as marxism and capitalism. There is a surprising shortage of ethno- graphic works analyzing specific controversial exhibits. Two exceptions that come to mind are the Glenbow Museum controversy in Canada (Halpin 1978) and George Marcus's 1990 "The Production of European High Culture in Los Angeles." The critical ethno- graphic examination of the Smithsonian's "Science in American Life" exhibit by a young anthropologist inter- ested in the contemporary sciencelanti-antisciencedebates (Vackimes 1996) is evidence of what happens when stakeholding becomes incendiary.
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Over the course of the movie, as various subsidiary love stories evolve, John Blutarsky (John Belushi's first romantic lead) shows repeatedly that he is devoted to Mandy Pepperidge (played by Mary Louise Weller) and only to her.