Feminism and Capitalism under the Nuclear Cloud & Barbie

The Warner Brothers/Mattel movie Barbie is meant to be about feminism and capitalism in complicated, comical, and nuanced ways. It mostly succeeds in its dual purpose of comedy and inspiration. The doll's origin in 1959 places her and her consort, Ken, squarely in the context of the Cold War, although neither the movie nor the doll's long and successful marketing history acknowledges anything outside the sunny world of Barbie Land. The nuclear shadow does affect the movie's reception, however, in the form of international protests over the dashed lines scrawled on a supposed "World Map" in one scene. For nations in and around the South China Sea, the dashed lines evoke the specter of war in a nuclear age over claims to territorial sovereignty. Yet director Greta Gerwig's film is a runaway success, the first film solo directed by a woman to gross more than a billion dollars and counting.

"Modernism with a Soul": Designing and Building Communities for Corporate and Civic Life

This essay explores how film, feature and documentary, can offer a new perspective on modernist architecture, industrial design, and urban planning. Through the lens of two young directors, Kogonada and Davide Maffei, it traces the histories of two twentieth-century company towns: Ivrea, Italy, headquarters of Italian business machine giant Olivetti, and Columbus, Indiana, U.S.A., home to Cummins Inc., a global leader in diesel engine design and manufacturing. Adriano Olivetti and J. Irwin Miller shared the conviction that modernist architecture and design had a decisive role to play not just in the economic health of their respective firms but in the civic health of their surrounding communities. These companies have long abandoned the corporate idealism of their founding patrons. In film, Ivrea and Columbus have become architectural time capsules that raise important questions about the transformative power of architecture and design in the face of an increasingly competitive global economy.

Nuclear Imaginaries and Power in Oppenheimer

Christopher Nolan's Oppenheimer is in awe of physics and the power it can bestow. Its central character is both mythic and human, and the film critiques and constructs the mythology surrounding him. The film presents science and technology as the individualized work of masculine genius, though it is ultimately more interested in nuclear weapons as political objects than as technological ones. Its nuclear imaginaries contain personal anxieties and stunning spectacle but also forget the nuclear uncanny and the human scale of nuclear weapons.

The Snake Pit: Mixing Marx with Freud in Hollywood

In 1948, the motion picture The Snake Pit was released to popular and critical acclaim. Directed by Anatole Litvak, the film told of the mental illness and recovery of one patient, who survived overcrowding and understaffing and was treated by a neo-Freudian psychiatrist known as Dr. Kik. It was based on a novel of the same title by Mary Jane Ward, who had been treated at Rockland State Hospital in New York. Building upon exposés of horrid hospital conditions in the press, The Snake Pit helped motivate reforms in the treatment of the mentally ill. Via unpublished correspondence and drafts of the film's screenplay, this article explores the populist and antifascist themes in The Snake Pit, which came from the director, screenwriters, and the politics of the immediate post-WWII era. It also describes the case history of Mary Jane Ward and her treatment by Gerard Chrzanowski, the real "Dr. Kik." (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Golden Ages and Silver Screens: The Construction of the Physician Hero in 1930-1940 American Cinema

During the 1940s in America, as medicine became more research-focused, medical researcher heroes were described as devotedly pursuing miraculous medicine. At the same time, Hollywood thrived, and films were an effective means to help build the myth of the physician hero. Cinematic techniques, rather than only the narrative, of four films, Dr. Arrowsmith, The Story of Louis Pasteur, Dr. Ehrlich's Magic Bullet, and Dr. Jekyll and Mr. Hyde, are discussed to understand how they helped construct the image of the physician hero, both in terms of what they were and what they were not.

Teaching medicine through film: Wiseman's medical trilogy revisited

BACKGROUND

Between the late 1960s and early 1980s, Frederick Wiseman filmed hundreds of hours in an emergency department, intensive care unit and asylum. These films recorded events as they happened without rehearsal and narration.

MAIN BODY

Cinema and Medicine meet each other in feature fiction film and in documentary format. Showing films in hospitals is revealing for both the unexpected audience but also the medical establishment. This paper revisits Wiseman's edited but explicit films and their revelation of the complexity of care in this era in the United States. Although they offer a narrow view of medical institutions and the issue of informed consent later became problematic, the films provide an intriguing glimpse of US healthcare and decision making. These films are largely unknown but would be an invaluable resource in a masterclass on medical ethics in urgent care and end-of-life decisions.

CONCLUSIONS

Despite their flaws, Wisemans' medical films have a significant educational value. Each documentary can be used in a masterclass on medical ethics. The films provide ample opportunities to discuss core issues in healthcare, professional interactions, and decision making in critically ill patients.

Changing Narratives and Persisting Tensions: Conflicts between Chinese and Western Medicine and Professional Profiles in Chinese Films and Literature, 1949-2009

This paper analyses the shifting images of Chinese medicine and rural doctors in the narratives of literature and film from 1949 to 2009 in order to explore the persisting tensions within rural medicine and health issues in China. Popular anxiety about health services and the government's concern that it be seen to be meeting the medical needs of China's most vulnerable citizens - its rural dwellers - has led to the production of a continuous body of literary and film works discussing these issues, such as Medical Practice Incident, Spring Comes to the Withered Tree, Chunmiao, and Barefoot Doctor Wan Quanhe. The article moves chronologically from the early years of the Chinese Communist Party's new rural health strategies through to the twenty-first century - over these decades, both health politics and arts policy underwent dramatic transformations. It argues that despite the huge political investment on the part of the Chinese Communist Party government in promoting the virtues of Chinese medicine and barefoot doctors, film and literature narratives reveal that this rustic nationalistic vision was a problematic ideological message. The article shows that two main tensions persisted prior to and during the Cultural Revolution, the economic reform era of the 1980s, and the medical marketisation era that began in the late 1990s. First, the tension between Chinese and Western medicine and, second, the tension between formally trained medical practitioners and paraprofessional practitioners like barefoot doctors. Each carried shifting ideological valences during the decades explored, and these shifts complicated their portrayal and shaped their specific styles in the creative works discussed. These reflected the main dilemmas around the solutions to rural medicine and health care, namely the integration of Chinese and Western medicines and blurring of boundaries between the work of medical paraprofessionals and professionals.

"Something Wasn't Clean": Black Midwifery, Birth, and Postwar Medical Education in All My Babies

Set in rural Georgia, the 1953 health film All My Babies: A Midwife's Own Story was a government-sponsored project intended as a training tool for midwives. The film was unique to feature a black midwife and a live birth at a time when southern health officials blamed midwives for the region's infant mortality rates. Produced by the young filmmaker George Stoney, All My Babies was praised for its educational value and, as this article demonstrates, was a popular feature in postwar medical education. Yet as it drew acclaim, the film also sparked debates within and beyond medical settings concerning its portrayal of midwifery, birth, and health care for African Americans. In tracing the controversies over the film's messages and representations, this article argues that All My Babies exemplified the power and limits of health films to address the complexities of race and health during an era of Jim Crow segregation.

[Journey around the heart in the movies of the last century: from Charlie Chaplin to the present day]

Imagine a journey through the cinema's history to recover the figure of the doctor in the last century. At the same time, we have found that the progress of medicine has conditioned the stories told on the big screen. Cardiology has achieved a leading role at the cinema when technological innovations have begun to emerge, from the '60s onwards. Indeed, the success of acute myocardial infarction network stimulated the idea of using a movie - Questione di cuore - to tell the course of coronary artery disease in parallel to the life of the two movie's characters, as well as to become a project for a scientific meeting shared with our patients.

The Surgeon in Action: Representations of Neurosurgery in Movies from the Frères Lumière to Today

In this review, we examine the portrayal of neurosurgery and neurosurgeons in 61 movies produced from the beginnings of cinema from the Lumière brothers (1895) to 2017, across 4 continents and covering 10 cinematic genres. We find that these movies tend to shape most beliefs and stereotypes about neurosurgery. However, we notice that there is a trend to describe neurosurgery and neurosurgical disorders with more accuracy as we progress in time. Although it is not for the medical profession to dictate or censor fictional content, a keen eye on these depictions will help us to understand, and perhaps combat, some of the stereotypes and myths that continue to surround neurosurgery in the twenty-first century.

[Muscular dystrophies in literature, cinema and television]

INTRODUCTION

Muscular dystrophies are inherited disorders, produced by a genetic mutation, with a slow or rapid progression, that basically affect striated muscle tissue. There are several clinical forms, the most frequent being Duchenne's muscular dystrophy and Becker muscular dystrophy.

AIM

To analyse how muscular dystrophies have been portrayed in literature, cinema and television.

DEVELOPMENT

Muscular dystrophy is a disorder that has been reflected in literature, cinema and television. In some cases it is only mentioned, sometimes it plays a secondary role in the plot, and in others it is the lead character who suffers from the disease. In general, reference is made to Duchenne's disease and, albeit less frequently, to Becker muscular dystrophy, although in some cases the patient is just said to be suffering from muscular dystrophy, without specifying what clinical variety it belongs to. Testimonials, novels, comics, fiction films, documentaries, short films and television programmes have all been produced with the aim of making the disease and its implications more widely known, as well as making the public aware of the need to invest resources in research.

CONCLUSIONS

Muscular dystrophy has been portrayed quite realistically in literature, cinema and television, and Duchenne's muscular dystrophy is the clinical variety that has been shown most often. Aspects that have been reflected include its symptoms, progression, prognosis, the role of the family and caregivers, sexuality, palliative care, patients' will to overcome difficulties and the need to raise society's awareness of the condition and to invest more resources in research.

Regulating cinematic stories about reproduction: pregnancy, childbirth, abortion and movie censorship in the US, 1930-1958

In the mid-twentieth century film studios sent their screenplays to Hollywood's official censorship body, the Production Code Administration (PCA), and to the Catholic Church's Legion of Decency for approval and recommendations for revision. This article examines the negotiations between filmmakers and censorship groups in order to show the stories that censors did, and did not, want told about pregnancy, childbirth and abortion, as well as how studios fought to tell their own stories about human reproduction. I find that censors considered pregnancy to be a state of grace and a holy obligation that was restricted to married women. For censors, human reproduction was not only a private matter, it was also an unpleasant biological process whose entertainment value was questionable. They worried that realistic portrayals of pregnancy and childbirth would scare young women away from pursuing motherhood. In addition, I demonstrate how filmmakers overcame censors' strict prohibitions against abortion by utilizing ambiguity in their storytelling. Ultimately, I argue that censors believed that pregnancy and childbirth should be celebrated but not seen. But if pregnancy and childbirth were required then censors preferred mythic versions of motherhood instead of what they believed to be the sacred but horrific biological reality of human reproduction.

Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television

This article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normalized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television's dramatic productions. In this period, the pregnancy-test close-up became a conventional trope and the thin blue lines associated with Unilever's Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticization of pregnancy testing and shows how increasingly visible public concerns about 'schoolgirl mums', abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success.

'Items for criticism (not in sequence)': Joseph DeLee, Pare Lorentz and The Fight for Life (1940)

In the late 1920s, the American obstetrician Joseph DeLee brought the motion-picture camera into the birth room. Following that era's trend of adapting industrial efficiency practices for medical environments, DeLee's films give spectacular and unexpected expression to the engineering concept of 'streamlining'. Accomplishing what more tangible obstetric streamlining practices had failed to, DeLee's cameras, and his post-production manipulation, shifted birth from messy and dangerous to rationalized, efficient, death-defying. This was film as an active and effective medical tool. Years later, the documentarian Pare Lorentz produced and wrote his own birth film, The Fight for Life (1940). The documentary subject of the film was DeLee himself, and the film was set in his hospitals, on the same maternity 'sets' that had once showcased film's remarkable streamlining capacity to give and keep life. Yet relatively little of DeLee was retained in the film's content, resulting in a showdown that, by way of contrast, further articulated DeLee's understanding of film's medical powers and, in so doing, hinted at a more dynamic moment in the history of medicine while speaking also to the process by which that understanding ceased to be historically legible.

'Drawing aside the curtain': natural childbirth on screen in 1950s Britain

This article recovers the importance of film, and its relations to other media, in communicating the philosophies and methods of 'natural childbirth' in the post-war period. It focuses on an educational film made in South Africa around 1950 by controversial British physician Grantly Dick-Read, who had achieved international fame with bestselling books arguing that relaxation and education, not drugs, were the keys to freeing women from pain in childbirth. But he soon came to regard the 'vivid' medium of film as a more effective means of disseminating the 'truth of [his] mission' to audiences who might never have read his books. I reconstruct the history of a film that played a vital role in teaching Dick-Read's method to both the medical profession and the first generation of Western women to express their dissatisfaction with highly drugged, hospitalized maternity care. The article explains why advocates of natural childbirth such as Dick-Read became convinced of the value of film as a tool for recruiting supporters and discrediting rivals. Along the way, it offers insight into the British medical film industry and the challenges associated with producing, distributing and screening a depiction of birth considered unusually graphic for the time.

Medea's Nuptial Gifts: Myth and Biomedical Reality

In all art forms, Medea is mainly represented as the tragic witch from Colchis (contemporary Georgia), who slaughtered her sons and killed her erotic rival Glauke and her father, King Creon of Corinth, by offering an elaborate poisonous nuptial garment. Euripides described the victims' symptoms as a sudden extreme inflammation, leading anyone coming into contact with the garment to death. In other version, the inflammation is described as pure fire. The symptoms resemble what current medical knowledge describes as an immune contact sensitivity reaction. The passages with medical interest from the opera based on this tragedy are presented in the original musical form as well as some similar film and theater scenes. Magnified images of harmful insect's Medea's nuptial gifts are shown and their action is discussed.

Towards a structure of feeling: abjection and allegories of disease in science fiction 'mutation' films

This article considers differences between the representation of mutation in science fiction films from the 1950s and the present, and identifies distinctive changes over this time period, both in relation to the narrative causes of genetic disruption and in the aesthetics of its visual display. Discerning an increasingly abject quality to science fiction mutations from the 1970s onwards-as a progressive tendency to view the physically opened body, one that has a seemingly fluid interior-exterior reversal, or one that is almost beyond recognition as humanoid-the article connects a propensity for disgust to the corresponding socio-cultural and political zeitgeist. Specifically, it suggests that such imagery is tied to a more expansive 'structure of feeling', proposed by Raymond Williams and emergent since the 1970s, but gathering momentum in later decades, that reflects an 'opening up' of society in all its visual, socio-cultural and political configurations. Expressly, it parallels a change from a repressive, patriarchal society that constructed medicine as infallible and male doctors as omnipotent to one that is generally more liberated, transparent and equitable. Engaging theoretically with the concept of a 'structure of feeling', and critically with scientific, cinematic and cultural discourses, two post-1970s' 'mutation' films, The Fly (1986) and District 9 (2009), are considered in relation to their pre-1970s' predecessors, and their aesthetics related to the perceptions and articulations of the medical profession at their respective historic moments, locating such instances within a broader medico-political canvas.

DOCUMENTING HUMAN NATURE: E. RICHARD SORENSON AND THE NATIONAL ANTHROPOLOGICAL FILM CENTER, 1965-1980

This article analyzes the development of the National Anthropological Film Center as an outgrowth of the Smithsonian's efforts to promote a multidisciplinary program in "urgent anthropology" during the 1960s and 1970s. It considers how film came to be seen as an ideal tool for the documentation and preservation of a wide range of human data applicable to both the behavioral and life sciences. In doing so, it argues that the intellectual and institutional climate facilitated by the Smithsonian's museum structure during this period contributed to the Center's initial establishment as well its eventual decline. Additionally, this piece speaks to the continued relevance of ethnographic film archives for future scientific investigations within and beyond the human sciences.

Skide godt! - Phenomenon Olsen gang from a forensic point of view

INTRODUCTION

The Olsen gang is a 14-episode film series about a gang of three thieves, who are very imaginative, but often unsuccessful in their burglary attempts "to score a real hit". In Denmark, the German Democratic Republic and Poland the films about Egon Olsen were blockbusters and still enjoy cult status there. Apart from a small amount of popular literature, the phenomenon of the Olsen gang has never been scientifically investigated from a forensic point of view so far.

METHODS

The films, produced between 1968 and 1998 (more than 22 hours of footage), were evaluated and compared with each other under forensic, legal and forensic-psychiatric aspects. The cooperation between the three scientific disciplines was intended to add a new perspective to the crime comedies.

RESULTS

A wide variety of medically relevant facts are presented in the movies. Even with all their criminal enthusiasm the Olsen gang commits almost no crimes against anyone's physical integrity. The films show legally comparable crimes, especially cases of severe band theft. Based on the criminal offenses committed, no gang member suffers from a psychiatric disorder fulfilling the criteria defined in Sections 20, 21 German Criminal Code.

CONCLUSIONS

The great international success of the Olsen gang is certainly attributable to the imaginative theft plans for "fund-raising" and their almost pitiful failure. Many forensically relevant aspects are not shown in a realistic way. The accumulation of offenses and periods of imprisonment could result in preventive detention. The offenders are driven by normal psychological motives.

Ojibwe lesbian visual AIDS: On the Red Road with Carole laFavor, Her Giveaway (1988), and Native LGBTQ2 film history

After a century of suppression across the Silent, Classic, and New Hollywood eras, Native Lesbian/Gay media began to proliferate in the post-AIDS 1980s and into the second millennium. Her Giveaway: A Spiritual Journey with AIDS (1988) is a key tribal health AIDS video that exemplified a new contemporary media combination of visual, erotic, and theological sovereignty. The video's central Red Road narrative by the lesbian, Ojibwe, and AIDS/HIV+ spokesperson Carole laFavor emphasizes Native American traditional healing methods involving the medicine wheel and a reclamation of Native lesbian/gay identity.

Arthur Simons (1877-1942) and Tonic Neck Reflexes With Hemiplegic "Mitbewegungen" (Associated Reactions): Cinematography From 1916-1919

Tonic neck reflexes were investigated by Rudolf Magnus and Adriaan de Kleijn in animals and men in 1912 and eventually by Arthur Simons, a neurologist in Berlin and coworker of Hermann Oppenheim. Simons studied these reflexes in hemiplegic patients, who were mainly victims of World War I. This work became his most important contribution and remained unsurpassed for many years. The film (Filmarchiv, Bundesarchiv [Film Archive, National Archive] Berlin) with Simons as an examiner shows 11 war casualties with brain lesions that occurred between 1916 and 1919. The injuries reveal asymmetric neck reflexes with "Mitbewegungen," that is, flexion or extension on the hemiplegic side. Mitbewegungen is identical with Francis Walshe's "associated reactions" caused by neck rotation and/or by cocontraction of the nonaffected extremities, for example, by closing of the fist (Walshe). The knowledge of the neck reflexes is important in acute neurology and in rehabilitation therapy of hemiplegics for antispastic positions. Simons' investigations were conducted in the early era of increasing use of cinematography in medical studies. The film had been nearly forgotten until its rediscovery in 2010.

Professor Camillo Negro's Neuropathological Films

Camillo Negro, Professor in Neurology at the University of Torino, was a pioneer of scientific film. From 1906 to 1908, with the help of his assistant Giuseppe Roasenda and in collaboration with Roberto Omegna, one of the most experienced cinematographers in Italy, he filmed some of his patients for scientific and educational purposes. During the war years, he continued his scientific film project at the Military Hospital in Torino, filming shell-shocked soldiers. In autumn 2011, the Museo Nazionale del Cinema, in partnership with the Faculty of Neurosciences of the University of Torino, presented a new critical edition of the neuropathological films directed by Negro. The Museum's collection also includes 16 mm footage probably filmed in 1930 by Doctor Fedele Negro, Camillo's son. One of these films is devoted to celebrating the effects of the so-called "Bulgarian cure" on Parkinson's disease.

Vincenzo Neri and His Legacy in Paris and Bologna

Italian neurologist Vincenzo Neri was able to discover cinematography at the beginning of his career, when in 1908 he went to Paris to learn and improve his clinical background by following neurological cases at La Pitié with Joseph Babinski, who became his teacher and friend. While in Paris, Neri photographed and filmed several patients of famous neurologists, such as Babinski and Pierre Marie. His stills were published in several important French neurological journals and medical texts. He also collaborated with Georges Mendel, who helped Doyen film the first known surgical operation in the history of cinema. In 1910, when he came back to Bologna, he continued in his clinical activities and, for 50 years, slowly developed a huge archive of films, images, and prints of neurological, psychiatric, and orthopedic cases. This archive was extremely helpful to Neri, who especially needed to analyze neurological disorders and to differentiate them from functional conditions in order to understand clinical signs, rules, and mechanisms.

Jean Comandon Neuroscientist

The microbiologist Jean Comandon is famous for his studies on the movement of the syphilis bacteria as differentiated in various forms by ultramicroscope. He was also a pioneer on the technical application of the microcinematography in laboratory research. His collaboration with clinicians and surgeons in the study of various pathological disorders is little known. From 1918 to the 1920s, he collaborated with such neurologists as André Thomas, Jean Athanase Sicard, and others in the study of various neurological disorders by using cinematography as a scientific tool for understanding the clinical and pathological mechanisms of diseases. These collaborations allowed him to be involved in the beginnings of the French cinematography industry, especially with Charles Pathé who established a small film studio laboratory in Vincennes where a multidisciplinary group improved the application of cinematography in clinical medical practice.

The Magnus-Rademaker Scientific Film Collection: Ethical Issues on Animal Experimentation (1908-1940)

The Magnus-Rademaker scientific film collection (1908-1940) deals with the physiology of body posture by the equilibrium of reflex musculature contractions for which experimental studies were carried out with animals (e.g., labyrinthectomies, cerebellectomies, and brain stem sections) as well as observations done on patients. The films were made for demonstrations at congresses as well as educational objectives and film stills were published in their books. The purpose of the present study is to position these films and their makers within the contemporary discourse on ethical issues and animal rights in the Netherlands and the earlier international debates. Following an introduction on animal rights and antivivisection movements, we describe what Magnus and Rademaker thought about these issues. Their publications did not provide much information in this respect, probably reflecting their adherence to implicit ethical codes that did not need explicit mentioning in publications. Newspaper articles, however, revealed interesting information. Unnecessary suffering of an animal never found mercy in Magnus' opinion. The use of cinematography was expanded to the reduction of animal experimentation in student education, at least in the case of Rademaker, who in the 1930s was involved in a governmental committee for the regulation of vivisection and cooperated with the antivivisection movement. This resulted not only in a propaganda film for the movement but also in films that demonstrate physiological experiments for students with the purpose to avert repetition and to improve the teaching of experiments. We were able to identify the pertinent films in the Magnus-Rademaker film collection. The production of vivisection films with this purpose appears to have been common, as is shown in news messages in European medical journals of the period.

Neurocinematography in Pre-World War II Netherlands: The Magnus-Rademaker Collection

Historical films made by neuroscientists have shown up in several countries during past years. Although originally supposed to have been lost, we recently found a collection of films produced between 1909 and 1940 by Rudolf Magnus (1873-1927), professor of pharmacology (Utrecht) and his student Gysbertus Rademaker (1887-1957), professor of physiology (1928, succeeding Willem Einthoven) and neurology (1945, both in Leiden). Both collections deal with the physiology of body posture by the equilibrium of reflex musculature contractions for which experimental studies were done with animals (labyrinthectomies, cerebellectomies, and brainstem sections) and observations on patients. The films demonstrate the results of these studies. Moreover, there are films with babies showing tonic neck reflexes and moving images capturing adults with cerebellar symptoms following cerebellectomies for tumors and several other conditions. Magnus' studies resulted in his well-known Körperstellung (1924, "Body Posture") and Rademaker's research in his Das Stehen (1931, "Standing"). The films probably had an educative and scientific purpose. Magnus demonstrated his films at congresses, including the Eighth International Congress of Physiologists (Vienna, 1910) and Rademaker screened his moving images at meetings of the Amsterdam Neurologists Society (at several occasions as reflected in the Winkler-Monakow correspondence and the Nederlands Tijdschrift voor Geneeskunde). Next to these purposes, the films were used to analyze movement and a series of images from the films were published in articles and books. The films are important historical sources that provide a portrait of the pre-World War II era in neuroscience, partly answering questions on how physicians dealt with patients and researchers with their laboratory animals. Moreover, the films confirm that cinematography was an important scientific tool in neuroscience research.

Whatever happened to the 'mad, bad' scientist? Overturning the stereotype

The cluster of myths relating to the pursuit of knowledge has perpetuated the archetype of the alchemist/scientist as sinister, dangerous, possibly mad and threatening to society's values. Shelley's Frankenstein provided imagery and a vocabulary universally invoked in relation to scientific discoveries and technological innovation. The reasons for the longevity of this seemingly antiquated, semiotic imagery are discussed. In the twenty-first century, this stereotype has been radically revised, even overturned. Scientists are now rarely objects of fear or mockery. Mathematicians, both real-life and fictional, are discussed here as being representative of scientists now depicted empathically. This article examines possible sociological reasons for this reversal; what the revisionist image suggests about society's changed attitudes to science; and what might be the substitute fears and sources of horror.

[Reflex seizures, cinema and television]

In movies and television series are few references to seizures or reflex epilepsy even though in real life are an important subgroup of total epileptic syndromes. It has performed a search on the topic, identified 25 films in which they appear reflex seizures. Most seizures observed are tonic-clonic and visual stimuli are the most numerous, corresponding all with flashing lights. The emotions are the main stimuli in higher level processes. In most cases it is not possible to know if a character suffers a reflex epilepsy or suffer reflex seizures in the context of another epileptic syndrome. The main conclusion is that, in the movies, the reflex seizures are merely a visual reinforcing and anecdotal element without significant influence on the plot.

Richard's back: death, scoliosis and myth making

The body of a mediaeval monarch was always under scrutiny, and Richard III's was no exception. In death, however, his body became subject to new forms of examination and interpretation: stripped naked after the battle of Bosworth, his corpse was carried to Leicester and exhibited before being buried. In 2012, it was rediscovered. The revelation that Richard suffered from scoliosis prompts this article to re-evaluate the historical sources about Richard's physique and his posthumous reputation. This article argues that Richard's death and his myth as 'crookback' are inextricably linked and traces attitudes to spinal curvature in the early modern period. It also considers how Shakespeare represented Richard as deformed, and aspects of performance history which suggest physical vulnerability. It then considers Richard's scoliosis from the perspective of medical history, reviewing classical accounts of scoliosis and arguing that Richard was probably treated with a mixture of axial traction and pressure. It demonstrates from the evidence of Richard's medical household that he was well placed to receive hands-on therapies and considers in particular the role of his physician and surgeon, William Hobbes. Finally, it shows how the case of Richard III demonstrates the close relationship between politics and medicine in the period and the contorted process of historical myth making.

Historical evidence for nature disconnection in a 70-year time series of Disney animated films

The assumed ongoing disconnection between humans and nature in Western societies represents a profoundly challenging conservation issue. Here, we demonstrate one manifestation of this nature disconnection, via an examination of the representation of natural settings in a 70-year time series of Disney animated films. We found that natural settings are increasingly less present as a representation of outdoor environments in these films. Moreover, these drawn natural settings tend to be more and more human controlled and are less and less complex in terms of the biodiversity they depict. These results demonstrate the increasing nature disconnection of the filmmaking teams, which we consider as a proxy of the Western relation to nature. Additionally, because nature experience of children is partly based on movies, the depleted representation of biodiversity in outdoor environments of Disney films may amplify the current disconnection from nature for children. This reduction in exposure to nature may hinder the implementation of biodiversity conservation measures.

Screening the psychological laboratory: Hugo Münsterberg, psychotechnics, and the cinema, 1892-1916

According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology.

Listen and Watch: The Practice of Lecturing and the Epistemological Status of Sex Education Films in Germany

This article takes as its starting point Frauennot-Frauenglück (Women's Misery--Women's Happiness), a film representative of health education films on sex hygiene in Weimar Germany. This paper opens by situating the film in the landscape of German health education films from World War I to the Weimar era. I document the evolution of interest in sexual health education films in the early decades of the twentieth century and show how their narratives changed as a result of the increasing popularity of feature films in the Weimar period. The article then focuses on the lectures which accompanied health education films. I argue that an analysis of these under-investigated lectures can raise new stimulating epistemological questions on the historical status of health education films, as these lectures changed the filmic dispositive. I show how this common practice served as a technique of rhetorical reworking in efforts to adjust or orient the visuality of what was shown to the public. Drawing on two very different lectures which accompanied Frauennot-Frauenglück, the article identifies two approaches to lecturing. While one consisted in enabling controversial films to be screened to the public, the other (socialist) approach transforms initial censorial intentions, allowing the speaker stress his personal or new positions.