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.

Pistas do trabalho de Paulo Benedetti como gestor e produtor de cinema em Barbacena-MG no início do século XX / Ways from paulo benedetti's work as manager and cinema producer in Barbacena-Minas Gerais-Brasil at the beginning of the 20th century

O objetivo deste artigo é apresentar pistas do trabalho de gestão e produção de cinema realizado por Paulo Benedetti em Barbacena-MG no início do século XX. Para isso, recorreu-se a análise documental. Conclui-se que Benedetti foi pioneiro na inauguração da primeira casa de projeção fixa de Barbacena e das primeiras filmagens realizadas na cidade; o seu trabalho não foi desenvolvido unicamente de modo autônomo, pois o mesmo filmou também junto a acordos comerciais; houve diversidade de temáticas em seus roteiros, que incluíram, por exemplo, diferentes locais de Barbacena e outros divertimentos da época; a produção dos filmes se deram por motivação própria e também via encomendas.

This article aims to present clues to the work of film management and production carried out by Paulo Benedetti in Barbacena-Minas Gerais-Brasil at the beginning of the 20th century. For this, we resorted to document analysis. It is concluded that Benedetti was a pioneer in the inauguration of the first fixed projection house in Barbacena and the first filming carried out in the city; his work was not developed solely autonomously, as he also filmed together with commercial agreements; there was a diversity of themes in their scripts, which included, for example, different places in Barbacena and other entertainments of the time; the production of the films took place by their motivation and also via commissions.

Imaginário social sobre enfermagem no cinema: uma abordagem histórico-social / Imaginario social sobre la enfermería en el cine: una aproximación histórico-social / The social imaginary about the nurse in the cinema: a historical-social approach

Introduction: The cinema disseminates the social imaginary from various human images andarchetypes, such as the professional nurse, in their area or outside of it. Thus, this study allows anapproximation of the filmic language intertwined with the historical-social analysis of what thisprofessional is and what he represents. Objective: To describe and analyze the social imaginary about therepresentation of nurses in cinema, considering the cultural and historical context of each chosen filmwork. Methodology: This is a qualitative, analytical and historical-social-cultural research, based on thetheoretical framework on the "social imaginary", in three works of cinematographic art from differenttimes and countries of origin: "One Flew Over the Cuckoo’s Nest”, from 1975, “Atonement”, from 2007and “The Father”, from 2020. Results: Nursing is portrayed differently in film films, such as the one thatinvokes great icons and their achievements or contributions to the development of professionalization,but without frequently discussing the historical process of the identity construction of what it is to be anurse and what he does, in favor of the social collectivity. Conclusion: The study contributed to thedemystification of the integrated and stereotyped look, in the hope of consolidating itself culturally andadvancing in the description and careful, careful and current analysis of the differences in the being anddoing of nurses, as a social actor of their time and the structural context in which it is inserted. (AU)

Introducción: El cine difunde el imaginario social a partir de diversas imágenes y arquetiposhumanos, como el del profesional enfermero, en su ámbito o fuera de él. Así, este estudio permite unaaproximación al lenguaje fílmico entrelazado con el análisis histórico-social de lo que es y representa esteprofesional. Objetivo: Describir y analizar el imaginario social sobre la representación de las enfermerasen el cine, considerando el contexto cultural e histórico de cada obra fílmica escogida.Metodología: Se trata de una investigación cualitativa, analítica e histórico-social-cultural, basada en elmarco teórico sobre el "imaginario social", en tres obras de arte cinematográfico de diferentes épocas ypaíses de origen: "One Flew Over the Cuckoo’s Nest", de 1975, “Expiácion: Más Allá de la Pasión”, de2007 y “Meu Pai”, de 2020. Resultados: La Enfermería es retratada de manera diferente en las películascinematográficas, como la que invoca a los grandes íconos y sus logros o contribuciones al desarrollo dela profesionalización, pero sin discutiendo frecuentemente el proceso histórico de construcción de laidentidad de lo que es ser enfermero y lo que hace, en favor de la colectividad social. Conclusión: Elestudio contribuyó a la desmitificación de la mirada integrada y estereotipada, en la esperanza deconsolidarse culturalmente y avanzar en la descripción y análisis cuidadoso, cuidadoso y actual de lasdiferencias en el ser y hacer del enfermero, como actor social de su tiempo y el contexto estructural en elque se inserta. (AU)

Introdução: O cinema dissemina o imaginário social a partir de diversas imagens e arquétiposhumanos sobre o profissional enfermeiro. Assim, este estudo possibilita uma aproximação da linguagemfílmica entrelaçada à análise histórico-social do que é e do que representa esse profissional. Objetivo:Descrever e analisar o imaginário social acerca da representação do enfermeiro no cinema, considerandose o contexto cultural e histórico de cada obra fílmica escolhida. Metodologia: Trata-se de uma pesquisaqualitativa, analítica e de caráter histórico-social-cultural, com base no referencial teórico sobre o“imaginário social”, em três obras da arte cinematográfica de épocas e países de origem distintos: “UmEstranho no Ninho”, de 1975, “Desejo e Reparação”, de 2007 e “Meu Pai”, de 2020. Resultados: Aenfermagem apresenta-se retratada de forma diferenciada em películas fílmicas, como a que invocagrandes ícones e seus feitos ou contribuições para o desenvolvimento da profissionalização, porém semdiscutir amiúde o processo histórico da construção identitária do que é ser enfermeiro e do que ele faz,em prol da coletividade social. Conclusão: O estudo contribuiu para a desmistificação do olhar integradoe estereotipado, na esperança disto consolidar-se culturalmente e avançar na descrição e análise atenta,cuidadosa e atual acerca das diferenças do ser e do fazer do enfermeiro, como ator social do seu tempo edo contexto estrutural no qual se vê inserido. (AU)

Cinemateca Brasileira: o sequestro e a destruição de nossa memória audiovisual / Cinemateca Brasileira: the kidnapping and destruction of our audiovisual memory / Cinemateca Brasileira: el secuestro y la destrucción de nuestra memoria audiovisual

Esta nota trata da crise que atingiu a Cinemateca Brasileira desde 2019, historiando os seus motivos e avaliando os danos provocados pelas últimas ações governamentais. O empenho em descrever neste trabalho as atividades da Cinemateca Brasileira e o que ela representa para toda a sociedade aponta para a convicção de que, mesmo em meio à gravidade do quadro atual, a instituição sobreviverá. Não será por vontade do atual governo ou por virtude de moto-contínuo, mas pela reação da nossa sociedade civil e da Justiça de nosso país ao conjunto de desacertos que a atingiu em cheio.

This note deals with the crisis that has been affecting the Cinemateca Brasileira since 2019, revealing the history of the reasons for that turn of events and evaluating the damages brought about by the last governmental actions relating to the institution. The endeavour to describe in this work the activities developed by Cinemateca Brasileira and what it represents to society as a whole points out a conviction that in spite of the gravity of current situation the institution will survive. This might not be true by the will of the current government or by virtue of perpetual motion, but this might happen by reaction of our civil society and of the Courts of Justice of our country against a set of faults which affected it completely

Esta nota trata de la crisis que afecta a la Cinemateca Brasileira desde 2019, historiando los motivos que la ocasionan y evaluando los daños provocados por las últimas acciones gubernamentales relacionadas con la institución. El esfuerzo por describir en este trabajo las actividades que la Cinemateca Brasileira desarrolla y lo que ella representa para la sociedad en su conjunto apunta a la convicción de que a pesar de la gravedad de la situación actual, la institución sobrevivirá. Puede que esto no sea así por voluntad del actual gobierno o en virtud del móvil perpetuo, pero sí puede suceder por reacción de nuestra sociedad civil y de los Tribunales de Justicia de nuestro país ante un conjunto de desaciertos que la afectaron por completo.

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).

[Beyond Slapstick: How Silent Movies Have Witnessed Medicine]. / Nicht nur Slapstick: Stummfilme als unterschätzte Zeugen der Medizingeschichte.

Medicine in silent film has a long history. Although the silent era in cinema was dominated by burlesques (using escaped "lunatics") a number of themes emerged after systematic review. The cinematic representation of medicine coincided with the discovery of X-rays. During this "roentgenomania", short films were produced showing groundbreaking X-ray images, which fitted perfectly into needs of dramatic cinema. But soon the "cinema of narration" evolved: Starting just after the turn of the century, the short film "The Country Doctor" was able to address complex interplay between duties and limitations of the medical profession. This was followed by numerous feature films on infectious diseases, which often used tuberculosis as a centerpiece of its story. Directors often took advantage of the well-known stereotype of the omnipotent physician. But in certain medical fields, such as psychiatry or surgery, a more ambivalent figure of the doctor was portrayed, f. e. in "Hands of Orlac" (1924). Silent cinema also offered interesting ideas on the healing powers of the medium itself: in "The Mystery of the Kador Cliffs" (1912) a film screening could cure the patient of fears after reenactment. Finally, a closer look at the early era of film echoes how social conflicts where dramatized, especially in the case of nationwide birth control. How illegal abortion kept the society on its edge, was most clearly shown in the adaption of the scandalous play "Cyankali" (1930).In addition to discussing various topics in the cinematic representation of medicine, this brief overview shows that silent movies were a new and true art form, representing an exceptional resource for historians of film and medicine.

Functional neurology after the Second World War: The beginnings of neurology on screen (III).

Treatment of functional symptoms has a long history, and interventions were often used in soldiers returning from battle. On the 75th anniversary of the end of the Second World War, I review the portrayal of neurology in documentary film. Two documentaries were released in 1946 and 1948 (Let There Be Light and Shades of Gray, respectively), which showed a number of soldiers with functional neurology including paralysis, stuttering, muteness, and amnesia. The films showed successful treatments with hypnosis and sodium amytal by psychoanalytic psychiatrists. These documentaries link neurology with psychiatry and are remarkable examples of functional neurology and its treatment on screen.

"The Cabinet of Dr. Caligari": The Scientific Debate on Hypnosis and Its Legal Implications between the 19th and the 20th Century.

Movies could provide unexpected information on the state of medical knowledge in different historical periods. The first centenary of the German silent horror movie Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari) by Robert Wiene (1873-1938) could be a timely occasion to reflect on the scientific debate of hypnosis and its legal implications between the 19th and the 20th century. In particular, this article describes the positions of the School of Salpêtrière (Charcot) and the School of Nancy (Bernheim) on the possibility of crimes committed by subjects under hypnosis and the influence of these theories on medical community and public opinion of Germany in the interwar period.

[George Lucas: prophet of transhumanism?] / George Lucas : Prophète du transhumanisme ?

Star Wars, a "general public" film saga, raises questions about human nature and transhumanism. It features different characters who are neither "real" humans nor robots; there are creatures that can be likened to advanced humans (cyborgs, chimeras or genetically-modified humans). Based on the "Star Wars" movie, we will approach some ways of modifying the human person both in his body and in his consciousness and we will wonder about the man of tomorrow by asking ourselves if George Lucas (director of the first film released) might have not been a visionary of the men of tomorrow.

TITLE: George Lucas : Prophète du transhumanisme ? ABSTRACT: La Guerre des étoiles, saga cinématographique « grand public ¼, permet de se questionner sur la nature humaine et sur le transhumanisme. Elle met en effet en scène différents personnages qui ne sont ni de « vrais ¼ humains, ni des robots, des créatures pouvant être assimilées à des humains évolués (des cyborgs, des chimères ou des humains génétiquement modifiés). À partir de cette approche cinématographique, nous aborderons certains moyens de modification de la personne humaine à la fois dans son corps et dans sa conscience, et nous nous interrogerons sur l'homme de demain, en se demandant si George Lucas (réalisateur du premier film) n'était pas un visionnaire des hommes de demain.

Portrayal of Immunization in American Cinema: 1925 to 2016.

The American media often disseminates antivaccination messages. Cinema in particular reaches many individuals and influences attitudes regarding high-risk behaviors such as smoking and alcohol use. We hypothesized that negative cinematic portrayals of immunization have increased over the last 3 decades. Films released in the United States featuring immunization through 2016 were identified on IMDb and viewed in their entirety by 2 reviewers. Themes were recorded, and the portrayal of immunization (positive, negative, or mixed) across each decade was assessed in a logistic regression model. Cultural references attributed to films (eg, television references) were recorded from the "connection" feature on IMDb. Fifty relevant films were identified (1925-2016). Negative/mixed portrayals of immunization were more frequent after 1990 (odds ratio = 4.0, 95% confidence interval = 1.2-13.5), and films with positive immunization portrayals garnered significantly fewer cultural references than films with negative/mixed portrayals (mean = 9.2 vs 56.2, P = .048). American cinema features increasingly negative portrayals of immunization.

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.

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.