He points out that Fairchild even includes as an example of a supposed "Noble Savage", a picture of a Negro slave on his knees, lamenting his lost freedom. According to Ellingson, Fairchild ends his book with a denunciation of the (always unnamed) believers in primitivism or "The Noble Savage"—who, he feels, are threatening to unleash the dark forces of irrationality on civilization. Ellingson argues that the term "noble savage", an oxymoron, is a derogatory one, which those who oppose "soft" or romantic primitivism use to discredit (and intimidate) their supposed opponents, whose romantic beliefs they feel are somehow threatening to civilization. Ellingson maintains that virtually none of those accused of believing in the "noble savage" ever actually did so. He likens the practice of accusing anthropologists (and other writers and artists) of belief in the noble savage to a secularized version of the inquisition, and he maintains that modern anthropologists have internalized these accusations to the point where they feel they have to begin by ritualistically disavowing any belief in "noble savage" if they wish to attain credibility in their fields. He notes that text books with a painting of a handsome Native American (such as the one by Benjamin West on this page) are even given to school children with the cautionary caption, "A painting of a Noble Savage". West's depiction is characterized as a typical "noble savage" by art historian Vivien Green Fryd, but her interpretation has been contested. The most famous modern example of "hard" (or anti-) primitivism in books and movies was William Golding's "Lord of the Flies", published in 1954. The title is said to be a reference to the Biblical devil, Beelzebub (Hebrew for "Lord of the Flies"). This book, in which a group of school boys stranded on a desert island revert to savage behavior, was a staple of high school and college required reading lists during the Cold War. In the 1970s, film director Stanley Kubrick professed his opposition to primitivism. Like Dickens, he began with a disclaimer:  The opening scene of Kubrick's movie "" (1968) depicts prehistoric ape-like men wielding weapons of war, as the tools that supposedly lifted them out of their animal state and made them human. Another opponent of primitivism is the Australian anthropologist Roger Sandall, who has accused other anthropologists of exalting the "noble savage".