A bioethical examination of the use of human emotions as a film marketing tool on short video platforms: normative morality applicable to film marketing matrix / Un examen bioético del uso de las emociones humanas como herramienta de marketing cinematográfico en plataformas de vídeo de corta duración: moralidad normativa aplicable a la matriz de marketing cinematográfico / Um exame bioético do uso de emoções humanas como uma ferramenta de marketing em plataformas de vídeos curtos: moralidade normativa aplicável à matriz de marketing

Abstract: The marketing matrix on a short video platform is an intriguing research topic. It is a novel film marketing strategy on the short video platform that successfully stimulates the audience's emotion in the film marketing process, but it must also be ethically tested.To address this desire, we examine the problem using normative ethics (consequentialism, deontology, and virtue ethics). The marketing matrix will be addressed within the framework of philosophical ethics, whose emotional marketing can be tested, in what follows, through reviews of literature and content analysis. First and foremost, a matrix standpoint will be adopted in order to provide a preliminary conceptualization along with its emotional techniques of the marketing matrix; then, the marketing matrix will be addressed within the framework of philosophical ethics, whose emotional marketing can be tested. In the future, when creating a moral marketing matrix, the author proposes that numerous ethical concepts be taken into account comprehensively.

Resumen: La matriz de marketing en una plataforma de vídeo de corta duración es un tema de investigación intrigante. Se trata de una novedosa estrategia de marketing cinematográfico en la plataforma de vídeos cortos que estimula con éxito la emoción de la audiencia en el proceso de marketing cinematográfico, pero también debe ponerse a prueba desde el punto de vista ético. Para hacerlo, examinamos el problema utilizando la ética normativa (consecuencialismo, deontología y ética de la virtud). La matriz de marketing se abordará en el marco de la ética filosófica, cuyo marketing emocional puede ponerse a prueba, en lo que sigue, mediante revisiones de la literatura y análisis de contenido. En primer lugar, se adoptará un punto de vista matricial para proporcionar una conceptualización preliminar junto con sus técnicas emocionales de la matriz de marketing; a continuación, se abordará la matriz de marketing en el marco de la ética filosófica, cuyo marketing emocional puede ponerse a prueba. En el futuro, a la hora de crear una matriz de marketing moral, el autor propone que se tengan en cuenta numerosos conceptos éticos de forma exhaustiva.

Resumo: A matriz de marketing em plataforma de vídeos curtos é um tópico de pesquisa intrigante. É uma nova estratégia de marketing em plataforma de vídeos curtos que estimula com sucesso as emoções da audiência no processo de marketing, mas deve ser também eticamente testada. Visando esse propósito, nós examinamos o problema usando ética normativa (consequencialismo, deontologia e ética da virtude). A matriz de marketing será abordada na perspectiva da ética filosófica, cujo marketing emocional pode ser testado através de revisões da literatura e de análise de conteúdo. Em primeiro lugar, um ponto de vista de matriz será adotado de forma a fornecer uma conceitualização juntamente com suas técnicas emocionais de matriz de marketing; em seguida, a matriz de marketing será abordada na perspectiva da ética filosófica, cujo marketing emocional pode ser testado. No futuro, ao criar uma matriz de marketing moral, o autor propõe que inúmeros conceitos éticos sejam levados em consideração de forma abrangente.

Trends in tobacco, alcohol and branded fast-food imagery in Bollywood films, 1994-2013.

BACKGROUND AND AIMS: Exposure to tobacco, alcohol and fast-food use in films is associated with initiation of these behaviours. India is the world's largest film producer, but the extent of such imagery in Bollywood (Hindi cinema) films is unclear. We therefore aimed to describe the extent of and trends in tobacco, alcohol and fast-food imagery in Bollywood films, between 1994-2013. METHODS: For the 15 top-grossing films each year between 1994-2013, the number of five-minute intervals containing product images were determined separately for tobacco, alcohol and fast-food. Both the proportion of films containing at least one image occurrence, and occurrences per film, were described overall and by year. Negative binomial regression described associations between film rating and occurrences/film, and estimated time-trends in occurrences/film, adjusted for rating. RESULTS: We analysed 93 U-rated (unrestricted), 150 U/A-rated (parental guidance for children aged <12 years) and 55 A-rated (restricted to adult audience) films, containing 9,226 five-minute intervals (mean intervals/film 30.8, SD 4.0). 70% (n = 210), 93% (n = 278) and 21% (n = 62) of films contained at least one tobacco, alcohol and fast-food occurrence, respectively. Corresponding total mean occurrences/film were 4.0 (SD 4.9), 7.0 (4.7) and 0.4 (0.9). Tobacco occurrences were more common in U/A films (incidence rate ratio 1.49, 95% confidence interval 1.06-2.09) and A films (2.95; 1.95-4.48) than U-rated films. Alcohol occurrences were also more common in A-rated films than U-rated films (1.48; 1.15-1.85). Tobacco occurrences/film became less common over the observed period (adjusted trend -4% per annum; -2 to -7%; p <0.001), while alcohol (+2%; 0-3%; p = 0.02), and fast food (+8%; 2-14%; p = 0.01) occurrences/film became more common. CONCLUSIONS: Although the extent of tobacco imagery in Bollywood films fell over 1994-2013, it is still frequently observed. Alcohol imagery is widespread, even in U-rated films, and trends in both alcohol and fast-food imagery are upwards.

The banality of evil in the occupation of Star Trek's Bajor.

Adolf Eichmann and Josef Mengele were high-ranking Nazis, two among many who were tasked with implementing the Final Solution. Eichmann's eventual trial evidenced a dull ordinariness that was famously defined as the banality of evil by the political theorist Hannah Arendt who covered the proceedings. Star Trek's Deep Space 9 commences with the Cardassian relinquishment of Bajor. One particular episode ("Duet") focuses on a presumed high-ranking Cardassian labour camp commander who turns out to have been a filing clerk seeking atonement and closure for the deeds he witnessed, on behalf of his race. Yet another episode ("Nothing Human") in Star Trek Voyager highlights the ethical dilemmas that arise when accessing trials and treatments that were obtained immorally by unethical medical experimentation, and this is reminiscent of callous experimentation by Josef Mengele in the Auschwitz death camp. This paper will explore these subjects and will compare the fictional concentration camp commander and the fictional doctor with Adolf Eichmann and Josef Mengele respectively. Both episodes serve as reminders, cautionary tales lest we allow history to repeat itself and such atrocities to be relived.

Nurses in Star Trek: The fictional role of the nurse in Star Trek.

Nurses worldwide have striven to establish nursing as a profession, autonomous but complementary to the medical profession. Literature as far back as the Renaissance demonstrates an overall derogatory attitude toward the nurse's role. The modern notion of the nurse working side by side the medical practitioner continues to be overshadowed by the heroic medical doctor. This paper will discuss Christine Chapel and Alyssia Ogawa, who arguably are the only two nurses on board Star Trek's Enterprise, given prominent roles. In various and multiple episodes, their roles reveal a recurrence of the subservient attitude to the medical practitioner. Yet, there seems to be a shift toward a more multi-disciplinarian approach a century later in the ST time-line. The general concept of the nurses' role is similar and parallels real life - a role subsumed by and subservient to the medical doctor.

Dermatologic features in good film characters who turn evil: the transformation.

Dermatologic depictions in film are often used to symbolize evil. To ascertain whether certain dermatologic characteristics are more representative of evil in movies, skin findings in film characters before and after evil transformation were compared using the Good Movie Characters Turned Bad poll courtesy of The Internet Movie Database (IMDb). The poll ranked the 35 most remarkable moral transformations in cinema. Data was analyzed from 27 characters who met study criteria and there was a statistically significant, greater number of dermatologic features seen in characters after an evil transformation. Periorbital hyperpigmentation, infraorbital edema, alopecia, pallor, and nonspecific hyperpigmented skin abnormalities (telangiectasias, ecchymosis) were dermatologic traits that were found at a statistically significantly higher frequency post-evil transformation. This work suggests an effort should be made to educate audiences and film makers that skin conditions in reality are not a marker of evil intent.

Neuroscience Fiction as Eidolá: Social Reflection and Neuroethical Obligations in Depictions of Neuroscience in Film.

Neuroscience and neurotechnology are increasingly being employed to assess and alter cognition, emotions, and behaviors, and the knowledge and implications of neuroscience have the potential to radically affect, if not redefine, notions of what constitutes humanity, the human condition, and the "self." Such capability renders neuroscience a compelling theme that is becoming ubiquitous in literary and cinematic fiction. Such neuro-SciFi (or "NeuroS/F") may be seen as eidolá: a created likeness that can either accurately-or superficially, in a limited way-represent that which it depicts. Such eidolá assume discursive properties implicitly, as emotionally salient references for responding to cultural events and technological objects reminiscent of fictional portrayal; and explicitly, through characters and plots that consider the influence of neurotechnological advances from various perspectives. We argue that in this way, neuroS/F eidolá serve as allegorical discourse on sociopolitical or cultural phenomena, have power to restructure technological constructs, and thereby alter the trajectory of technological development. This fosters neuroethical responsibility for monitoring neuroS/F eidolá and the sociocultural context from which-and into which-the ideas of eidolá are projected. We propose three approaches to this: evaluating reciprocal effects of imaginary depictions on real-world neurotechnological development; tracking changing sociocultural expectations of neuroscience and its uses; and analyzing the actual process of social interpretation of neuroscience to reveal shifts in heuristics, ideas, and attitudes. Neuroethicists are further obliged to engage with other discourse actors about neuroS/F interpretations to ensure that meanings assigned to neuroscientific advances are well communicated and more fully appreciated.

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.

La narración cinematográfica del posthumanismo / The cinematographic narration of the posthumanism

El cine constituye hoy día la vanguardia estética del posthumanismo y una poderosa instancia de reflexión sobre el horizonte posthumano. En su dimensión más futurista nos presenta un proceso evolutivo irreversible, vinculado al desarrollo tecnológico, que determinará el fin del hombre y su nacimiento a una nueva realidad posthumana. Pero resulta paradójico que se presente como inevitable el proceso de deshumanización de los humanos y, sin embargo, se plantee como ideal utópico el deseo de humanización de los androides (mantener los valores humanos más allá de la especie humana). En consecuencia, la reflexión cinematográfica sobre el posthumanismo parece apuntar no tanto hacia la aparición de una nueva naturaleza sino hacia la recuperación de lo genuinamente humano

The cinema constitutes today the aesthetic forefront of the posthumanism and a powerful instance of reflection on the posthuman future. In its more futurist dimension, the films present an evolutionary irreversible process linked to the technological development, which will determine the end of the human kind and its birth to a new posthuman reality. But it turns out paradoxical that the process of dehumanization of the human beings appears like inevitable and, nevertheless, appears as ideally Utopian the desire of humanization of the androids (to support the human values beyond the human kind). In consequence, the cinematographic reflection on posthumanism seems to be headed not towards the appearance of a new nature but towards the recovery of the genuine human values

Infanticidio y enfermería en la ficción y la realidad. A propósito del trastorno bipolar en la película Misery (R. Reiner, 1990) / Infanticide and nursing inf iction and reality. Regarding of the bipolar disorder in the film misery (R. Reiner, 1900)

Este manuscrito pretende mostrar un ejemplo de la relación entre la ficción cinematográfica, a través de la película Misery (R. Reiner, 1990) y la realidad. Para ello se describe el trastorno bipolar que afecta a una exenfermera, Annie Wilkes, interpretada por la actriz Kathy Bates. Se presentan ejemplos de algunas conductas que acompañan las ideas delirantes protagonizadas por Annie y de las que es víctima el escritor de novelas románticas Paul Sheldon. El escritor será el prisionero de Annie, quien lo retiene en su casa después de haberlo rescatado de su coche en el que ha sufrido un accidente. Será de la mano de Paul como descubriremos el pasado de la exenfermera, acusada de infanticidio. Esta ficción sirve para conocer algunos casos reales de enfermeras infanticidas (asesinas en serie) que a lo largo de decenios han sido responsables de la muerte de algunos de los recién nacidos que estaban a su cuidado. De este modo identificaremos los lugares donde protagonizaron sus crímenes, los medios empleados para los mismos y la condena recibida. Al margen de la ficción, la realidad es un estímulo para la reflexión y el análisis en torno a cuestiones como la seguridad de los pacientes, en especial aquellos que por su edad o condición son especialmente vulnerables, en nuestro caso los recién nacidos. A partir de la realidad y la ficción, se propone el análisis en el contexto académico (AU)

This manuscript is intended to show an example of the relationship between the cinematographic fiction presented in the film Misery (R. Reiner, 1990) and the reality. At the same time the bipolar disorder is described, this one affects the former nurse, Annie Wilkes, played by the actress Kathy Bates. Some examples of Annie’s behavior show her delusional ideas whose victim is the writer of romantic novels Paul Sheldon. The writer will be prisoner of Annie who keeps him in her house after having rescued him from his crashed car. By Paul we learn about the past of the former nurse who had been accused of infanticide. This fiction serves to learn about some real cases infanticide nurses (serial killers) who over the decades have been responsible for the death of newborns under their care. We will identify the places where staged their crimes, the means employed and the sentence they got. Outside of fiction, the reality is a spur for reflection and analysis on issues such as the patients’ safety, especially those who are particularly vulnerable, in our case, because of their age or condition, in our case the newborns. From reality and fiction an analysis is proposed for the academic context (AU)

Ex utero: live human fetal research and the films of Davenport Hooker.

Between 1932 and 1963 University of Pittsburgh anatomist Davenport Hooker, Ph.D., performed and filmed noninvasive studies of reflexive movement on more than 150 surgically aborted human fetuses. The resulting imagery and information would contribute substantially to new visual and biomedical conceptions of fetuses as baby-like, autonomous human entities that emerged in the 1960s and 1970s. Hooker's methods, though broadly conforming to contemporary research practices and views of fetuses, would not have been feasible later. But while Hooker and the 1930s medical and general public viewed live fetuses as acceptable materials for nontherapeutic research, they also shared a regard for fetuses as developing humans with some degree of social value. Hooker's research and the various reactions to his work demonstrate the varied and changing perspectives on fetuses and fetal experimentation, and the influence those views can have on biomedical research.

Posthumanist's values in worldwide movies.

Pop-Philosophy can broadcast lots of important messages, because of its popular way to communicate with people. We can say that one of the most important media used from pop philosophy to achieve its objectives is Cinema. In 2011, 818 films were produced. In 2012, cinema admissions in the USA were 1,360 million while in Europe they were 1,190 million. For this reason we decided to test a new methodology in order to investigate the Campus Bio-Medico University's students' "perception" of Values conveyed by films. In the first phase, we asked 296 students to tell us the titles of the films they have seen that dealt with the disclosure of posthumanist values. From this first phase, we identified the 5 most popular and cited films. In the second phase, we interviewed 175 students on the relationship that each of the 5 selected films had to convey the Idea of God, the Idea of Man and the Idea of Nature. The survey we carried out, allows us to simply see the gap between the message that according to the posthumanist experts should be transmitted in a certain direction with respect to the message received by a selected portion of cinematographic audience.

Narcisismo, fetichismo, consumismo e exclusão social: articulações a partir do filme o cheiro do ralo / Narcisismo, fetichismo, consumismo y exclusión social: articulaciones a partir de la película el olor del desagüe / Narcissism, fetishism, consumerism and social exclusion: relationships found in the movie drained

A partir da análise do filme brasileiro O cheiro do ralo (Dahlia, 2007), o presente trabalho procura demonstrar uma possível origem metapsicológica da chamada cultura do narcisismo no caráter excludente da sociedade de consumo. Para tanto, discute-se a possibilidade de articulação entre o social e o psíquico no campo da psicanálise. Por fim, tecem-se considerações sobre o fetichismo, ainda a partir da película, visto sob a óptica da dimensão social do sintoma.

Through the analysis of the brazilian film drained (Dahlia, 2007), we seek to demonstrate a possible metapsychological source of the so-called culture of narcissism found in an exclusionary consumerist society. Extending from this, we discuss the possibility of links between the social field and the psychological field. Finally, based on the film, we make some considerations about fetishism, from the perspective of the social dimension of the symptom.

A partir del análisis de la película brasileña El olor del desagüe (Dahlia, 2007), este trabajo trata de demostrar una posible fuente metapsicológica de la nombrada cultura del narcisismo en el carácter excluyente de la sociedad de consumo. Con este fin, se discute la posibilidad de vínculos entre lo social y lo psíquico en El campo del psicoanálisis. Por último, todavía a partir de la película, se tejen consideraciones sobre el fetichismo visto desde la perspectiva de la dimensión social del sintoma.

Narcisismo, fetichismo, consumismo e exclusão social: articulações a partir do filme o cheiro do ralo / Narcisismo, fetichismo, consumismo y exclusión social: articulaciones a partir de la película el olor del desagüe / Narcissism, fetishism, consumerism and social exclusion: relationships found in the movie drained

A partir da análise do filme brasileiro O cheiro do ralo (Dahlia, 2007), o presente trabalho procura demonstrar uma possível origem metapsicológica da chamada cultura do narcisismo no caráter excludente da sociedade de consumo. Para tanto, discute-se a possibilidade de articulação entre o social e o psíquico no campo da psicanálise. Por fim, tecem-se considerações sobre o fetichismo, ainda a partir da película, visto sob a óptica da dimensão social do sintoma. (AU)

Through the analysis of the brazilian film drained (Dahlia, 2007), we seek to demonstrate a possible metapsychological source of the so-called culture of narcissism found in an exclusionary consumerist society. Extending from this, we discuss the possibility of links between the social field and the psychological field. Finally, based on the film, we make some considerations about fetishism, from the perspective of the social dimension of the symptom. (AU)

A partir del análisis de la película brasileña El olor del desagüe (Dahlia, 2007), este trabajo trata de demostrar una posible fuente metapsicológica de la nombrada cultura del narcisismo en el carácter excluyente de la sociedad de consumo. Con este fin, se discute la posibilidad de vínculos entre lo social y lo psíquico en El campo del psicoanálisis. Por último, todavía a partir de la película, se tejen consideraciones sobre el fetichismo visto desde la perspectiva de la dimensión social del sintoma. (AU)

Cinema como recurso de educação em promoção da saúde / Cinema as a resource for education in health promotion

As artes podem e devem ser utilizadas como fonte de recursos na educação, inclusive na graduação da medicina. O objetivo desse artigo é fazer uma revisão bibliográfica sobre o papel do cinema como recurso na educação médica, incluindo a promoção da saúde. Foi realizada uma revisão bibliográfica nas bases de dados Pubmed e SciELO, utilizando os seguintes descritores: “Education, Medical”, “Motion Pictures as Topic” e “Cinema”. A pesquisa foi realizada em duas fases, na primeira foram utilizados os dois primeiros descritores e, na segunda, o primeiro e o terceiro descritor, pois “Cinema” não foi encontrada nas bases DeCS (Descritores em Saúde Pública) e MeSH (MedicalSubject Headings), porém devido a relevância dos artigos com este tema, fez-se necessário incluí-lo na pesquisa. Foram selecionados apenas artigos não pagos publicados nos últimos 10 anos, em língua inglesa e portuguesa. Entre os todos os artigos científicos selecionados, os autores, brasileiros ou não, são unânimes em concordar que os filmes apresentados aos alunos da graduação em medicina, com posterior discussão, colaboram com a sua formação, além de estimular o raciocínio das relações com os pacientes e as suas doenças, incluindo respostas emocionais importantes. Concluindo, para conteúdos relacionados à promoção da saúde, é possível a utilização do cinema para os estudantes da graduação em medicina, porém ainda não existe material específico para essa área.

The arts can and should be used as a resource in education, including undergraduate medicine. The aim of this paper is to review the literature on the role of cinema as a resource in medical education, including the promotion of health. We conducted a literature review in PUBMED and SciELO using the following descriptors: "Education, Medical", "Motion Pictures as Topic" and "Cinema". The research was conducted in two phases, the first we used the first two descriptors and in the second, the first and third descriptor, for "Cinema" was not found in DeCS bases and MeSH but because of the relevance of items with this theme, it was necessary to include it in the search. We selected only unpaid items published in the last 10 years in English and Portuguese. Among all selected scientific articles, authors, Brazilian or not, are unanimous in agreeing that the films presented to graduate students in medicine, with subsequent discussion, collaborate with their training, and stimulate thought relations with patients and their diseases, including emotional responses important. Finally, for content related to health promotion, it is possible to use the film for the graduate students in medicine, but there is still no specific material for this area.

Ethical reflections on the thoughts and lives of Kurosawa's doctors.

The year 2010 marked the centenary of the birth of Akira Kurosawa (1910-1998), whose works have been reassessed favourably in the last couple of years in Japan. During his lifetime, Kurosawa directed and produced three films whose chief characters are medical doctors: Drunken Angel (1948), The Quiet Duel (1949) and Red Beard (1965). This paper discusses these three films and examines the thoughts and lives of the three protagonists from the perspective of modern medical ethics. The films depict contemporary ethical and social problems, and deal with paternalism, a healthy professional life and the proper place for human reason in medicine, all of which still give rise to debate in modern medical settings. They are very impressive in their portrayal of extreme paternalism, excessively professional lives and disproportionate reliance on rationality. The doctors are role models in certain situations and are examples of how not to behave in other situations. On the one hand, they are devoted to helping their patients, with their self-sacrifice firmly based on humanity and medical ethics. On the other hand, they perform unwelcome favours and are unhealthy role models who might harm others through narrow-minded attitudes about human beings, a fixed view of life and inflexible ideas about medicine. In this sense, they can be regarded as a rather mixed blessing. These films provide us with an opportunity to simultaneously recognise the importance of modern ethical principles and the significance of 'old' ethical values.