Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17898
C. Nicastro
The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of food consumption deemed ‘disordered’ is controversial and often over-simplified. Frequently it is reduced to the idea that glamorous images, particularly the heroin chic style of the 1990s, create a dangerous imaginary that young women - statistically the main target of eating disorders - emulate. This article wants to challenge this issue by exploring three aspects of the intricate relationship between eating disorders and images: 1) The fear of contagion that haunts images exposing bodies that suffer by eating disorders; 2) As a time-based medium, film offers a privileged set of perceptive tools to account for the ways eating disorders interfere with time – as perceived, lived, shared; 3) One more aspect that is relevant to observe since it predominately occupies the current debate is the question of the right way to represent certain medical conditions and their experience. The reasons at the core of this debate are extremely vital and prove how photos and moving images have tragically contributed to building and constructing gender and racial bias as well as the stigmatization of certain diseases. Though when speaking of misrepresentation there is the risk of embracing a deceptive idea of good mimesis at the cost of the ambivalence that the experience of certain conditions inherently carry and which should not disappear in the fictional dimension.
{"title":"Symptomatic Images/Contagious Images: The Ambivalence of Visual Narratives of Eating Disorders","authors":"C. Nicastro","doi":"10.54103/2036-461x/17898","DOIUrl":"https://doi.org/10.54103/2036-461x/17898","url":null,"abstract":"The connection between images and anorexia, orthorexia, bulimia, binge eating, and other forms of food consumption deemed ‘disordered’ is controversial and often over-simplified. Frequently it is reduced to the idea that glamorous images, particularly the heroin chic style of the 1990s, create a dangerous imaginary that young women - statistically the main target of eating disorders - emulate. This article wants to challenge this issue by exploring three aspects of the intricate relationship between eating disorders and images: 1) The fear of contagion that haunts images exposing bodies that suffer by eating disorders; 2) As a time-based medium, film offers a privileged set of perceptive tools to account for the ways eating disorders interfere with time – as perceived, lived, shared; 3) One more aspect that is relevant to observe since it predominately occupies the current debate is the question of the right way to represent certain medical conditions and their experience. The reasons at the core of this debate are extremely vital and prove how photos and moving images have tragically contributed to building and constructing gender and racial bias as well as the stigmatization of certain diseases. Though when speaking of misrepresentation there is the risk of embracing a deceptive idea of good mimesis at the cost of the ambivalence that the experience of certain conditions inherently carry and which should not disappear in the fictional dimension.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117058693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17748
Anna Chiara Sabatino
Dominant narratives across Medical Humanities have been focused on the cultural construction of the notion of medicine as epistemic discourse and social practice, on the role of humanities in medical design of the disease as well as on the humanization of the clinical encounter in order to facilitate the anamnesis, the therapy and the care. Among the main declinations, a more complex point of view arises, suggesting the critical integration and exploitation of a variety of methodologies, previously used by art and humanities research, into a peculiar human-centered dispositive, both narrative and therapeutic, in which audiovisual practices and languages acquire new healing potential and activate bias for unprecedented processes of subjectivization for particular target of suffering human beings. Based on the aforementioned premises, the essay aims at investigating the therapeutic set as performative and methodological model, consistent with art-therapy and narrative-based medical approaches, applicable in specific pathological conditions and health-care contexts. Within such reflexive and operational framework including documentary studies and visual anthropology, self-representational and amateur theories, the therapeutic set becomes a media environment where the formative encounter, both technical and pragmatic, finally ethical, between the self and the world, the action and the awareness takes place. My purpose is to explore the theoretical pillars of the therapeutic set as transformative interplay between profaned cinematic dispositive and psychotherapy setting, dwelling on bodily involvement, audiovisual gestures and amateur self representation to which active participants, storytellers of their own illness and treatment, are called in the making of therapy and narrative. The paper finally intends to illustrate selected interdisciplinary case studies in order to discuss the healing potential of creative participatory processes and self-representations, occurring thanks to the relocation and amateurization of the contemporary cinematic experience.
{"title":"Audiovisual Means to Therapeutic Ends. The Cinematic Dispositive within Medical Humanities","authors":"Anna Chiara Sabatino","doi":"10.54103/2036-461x/17748","DOIUrl":"https://doi.org/10.54103/2036-461x/17748","url":null,"abstract":"Dominant narratives across Medical Humanities have been focused on the cultural construction of the notion of medicine as epistemic discourse and social practice, on the role of humanities in medical design of the disease as well as on the humanization of the clinical encounter in order to facilitate the anamnesis, the therapy and the care. Among the main declinations, a more complex point of view arises, suggesting the critical integration and exploitation of a variety of methodologies, previously used by art and humanities research, into a peculiar human-centered dispositive, both narrative and therapeutic, in which audiovisual practices and languages acquire new healing potential and activate bias for unprecedented processes of subjectivization for particular target of suffering human beings.\u0000Based on the aforementioned premises, the essay aims at investigating the therapeutic set as performative and methodological model, consistent with art-therapy and narrative-based medical approaches, applicable in specific pathological conditions and health-care contexts. Within such reflexive and operational framework including documentary studies and visual anthropology, self-representational and amateur theories, the therapeutic set becomes a media environment where the formative encounter, both technical and pragmatic, finally ethical, between the self and the world, the action and the awareness takes place.\u0000My purpose is to explore the theoretical pillars of the therapeutic set as transformative interplay between profaned cinematic dispositive and psychotherapy setting, dwelling on bodily involvement, audiovisual gestures and amateur self representation to which active participants, storytellers of their own illness and treatment, are called in the making of therapy and narrative.\u0000The paper finally intends to illustrate selected interdisciplinary case studies in order to discuss the healing potential of creative participatory processes and self-representations, occurring thanks to the relocation and amateurization of the contemporary cinematic experience.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123990826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17772
Samuel Antichi
This contribution will examine different communicative and narrative strategies adopted by some documentary productions in order to visualize something invisible, like the virus and its effects. Through the case studies I will take into account, my intent is to reflect upon the pandemic narration, which replaces or alternates the photographic realism of the images of pain and suffering, intended as scientific and incontrovertible proof of the virus manifestation, with a modernist narrative, mixing interviews with infographic material, maps, dashboards, photomicrographs, and computer graphics animations. Despite their profound mediation by software that makes pictures out of numbers, these informatic images, reported daily in news channels and broadcasts as well, besides shaping the relationships between scientific research, documentary, and its explanatory and pedagogical power to narrate, reconfigure the collective imagination of the pandemic in a bioinformation era.
{"title":"Visualizing the Virus. The Use of Data Visualizations in COVID-19 Documentaries","authors":"Samuel Antichi","doi":"10.54103/2036-461x/17772","DOIUrl":"https://doi.org/10.54103/2036-461x/17772","url":null,"abstract":"This contribution will examine different communicative and narrative strategies adopted by some documentary productions in order to visualize something invisible, like the virus and its effects. Through the case studies I will take into account, my intent is to reflect upon the pandemic narration, which replaces or alternates the photographic realism of the images of pain and suffering, intended as scientific and incontrovertible proof of the virus manifestation, with a modernist narrative, mixing interviews with infographic material, maps, dashboards, photomicrographs, and computer graphics animations. Despite their profound mediation by software that makes pictures out of numbers, these informatic images, reported daily in news channels and broadcasts as well, besides shaping the relationships between scientific research, documentary, and its explanatory and pedagogical power to narrate, reconfigure the collective imagination of the pandemic in a bioinformation era.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127279636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/19083
S. Casini, Alice Cati, Deborah Toschi
9 Th is w or k is li ce ns ed u nd er a C re at iv e C om m on s At tr ib ut io n 4. 0 In te rn at io na l L ic en se
9 本报告是在 C re at iv e C o m m on s At tr ib ut io n 4.0 In te rn at io na l L ic en se
{"title":"Sick and Injured Bodies: Medical Imagery and Media Practices of Care","authors":"S. Casini, Alice Cati, Deborah Toschi","doi":"10.54103/2036-461x/19083","DOIUrl":"https://doi.org/10.54103/2036-461x/19083","url":null,"abstract":"9 Th is w or k is li ce ns ed u nd er a C re at iv e C om m on s At tr ib ut io n 4. 0 In te rn at io na l L ic en se","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133199549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/18703
Danilo Callea
{"title":"Ph.D. Thesis Abstract - Long Live Sport. Toward an Interdisciplinary Approach to Liveness and Televised Sporting Event","authors":"Danilo Callea","doi":"10.54103/2036-461x/18703","DOIUrl":"https://doi.org/10.54103/2036-461x/18703","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122623943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/19081
Giulia Scomazzon
{"title":"Amit Pinchevski, Transmitted Wounds. Media and the Mediation of Trauma, Oxford: Oxford University Press, 2021, pp. 192","authors":"Giulia Scomazzon","doi":"10.54103/2036-461x/19081","DOIUrl":"https://doi.org/10.54103/2036-461x/19081","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129090053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17818
Lorenzo Donghi, Simona Pezzano
The paper is divided into two main aims. In the first part, it wants to investigate the presence of thermal imaging in the context of contemporary visual culture, especially during the Covid-19 pandemic, when thermal imaging widely demonstrated how currently optics models of vision are increasingly accompanied by thermal models of visualisation. The result of the latter is thermography: at the same time, a process that transforms our epistemic relationship with reality, extending the possibilities of visualising information beyond the limits of the visible spectrum; and an image that maintains the indexical bound with its referent, but that is conceived as the outcome of an elaborated and displayed dataset. In the second part, the paper focuses on the artistic field in which thermal vision gained further relevance in the context of the pandemic. On the one hand, the artists have criticised and deconstructed it; on the other hand, they have relaunched its use in a biopolitical horizon, such as in the case of the photographic project Virus (2020), in which Antoine d’Agata roamed the deserted streets of Paris and visited some intensive care units with a thermal camera, during the first national lockdown in 2020.
{"title":"On the Trail of Some Human Heat. Thermal Imaging, Visual Culture and the Covid-19 Pandemic","authors":"Lorenzo Donghi, Simona Pezzano","doi":"10.54103/2036-461x/17818","DOIUrl":"https://doi.org/10.54103/2036-461x/17818","url":null,"abstract":"The paper is divided into two main aims. In the first part, it wants to investigate the presence of thermal imaging in the context of contemporary visual culture, especially during the Covid-19 pandemic, when thermal imaging widely demonstrated how currently optics models of vision are increasingly accompanied by thermal models of visualisation. The result of the latter is thermography: at the same time, a process that transforms our epistemic relationship with reality, extending the possibilities of visualising information beyond the limits of the visible spectrum; and an image that maintains the indexical bound with its referent, but that is conceived as the outcome of an elaborated and displayed dataset. In the second part, the paper focuses on the artistic field in which thermal vision gained further relevance in the context of the pandemic. On the one hand, the artists have criticised and deconstructed it; on the other hand, they have relaunched its use in a biopolitical horizon, such as in the case of the photographic project Virus (2020), in which Antoine d’Agata roamed the deserted streets of Paris and visited some intensive care units with a thermal camera, during the first national lockdown in 2020.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131846851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/17912
Aleksander Sedzielarz
Set in the zone of egregious war crimes against the civilian population of Aleppo and in the biohazard zones of the encroaching COVID-19 epidemic, Waad Al-Kateab’s For Sama and Wang Nanfu’s In the Same Breath invent documentary approaches that create complex temporalities — modes of cinematic address that engage trauma as a field of experience that has been absorbed within institutional discourses of state power built through crises. Filmed in zones of crises in which hospitals exist in states of exception that generate and guarantee state sovereignty, the traumatic scene of crisis becomes both excess and fragment that documentary form contains and interprets. This analysis draws on Ruth Leys’ ‘genealogy’ of trauma and Lisa Guenther’s notion of the ‘necrobiopolitical rituals’ of state bureaucracy to show that both documentaries illuminate a fundamental split between discourses of medical knowledge and state power within which cinema asserts fluid and shifting temporalities as a mode of engaging events of crisis as history.
Waad Al-Kateab的《为了萨玛》(For Sama)和王南甫的《同呼吸》(in the Same Breath)以阿勒颇平民遭受严重战争罪行的地区和正在蔓延的COVID-19流行病的生物危害地区为背景，发明了创造复杂时间的纪录片方法——将创伤作为一种经验领域的电影处理模式，被通过危机建立起来的国家权力的制度性话语所吸收。在危机地区拍摄，医院存在于产生和保障国家主权的例外状态中，危机的创伤场景成为纪录片形式包含和解释的多余和片段。这一分析借鉴了Ruth Leys的创伤“谱系”和Lisa Guenther的国家官僚机构的“死亡生物政治仪式”的概念，以表明两部纪录片都阐明了医学知识和国家权力话语之间的根本分裂，在这种分裂中，电影将流动和变化的时间性作为一种参与危机事件作为历史的模式。
{"title":"On the Frontier Between Medicine and State: Traumatic States of Embodiment and Temporality in Waad Al-Kateab’s For Sama and Wang Nanfu’s In the Same Breath","authors":"Aleksander Sedzielarz","doi":"10.54103/2036-461x/17912","DOIUrl":"https://doi.org/10.54103/2036-461x/17912","url":null,"abstract":"Set in the zone of egregious war crimes against the civilian population of Aleppo and in the biohazard zones of the encroaching COVID-19 epidemic, Waad Al-Kateab’s For Sama and Wang Nanfu’s In the Same Breath invent documentary approaches that create complex temporalities — modes of cinematic address that engage trauma as a field of experience that has been absorbed within institutional discourses of state power built through crises. Filmed in zones of crises in which hospitals exist in states of exception that generate and guarantee state sovereignty, the traumatic scene of crisis becomes both excess and fragment that documentary form contains and interprets. This analysis draws on Ruth Leys’ ‘genealogy’ of trauma and Lisa Guenther’s notion of the ‘necrobiopolitical rituals’ of state bureaucracy to show that both documentaries illuminate a fundamental split between discourses of medical knowledge and state power within which cinema asserts fluid and shifting temporalities as a mode of engaging events of crisis as history.","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133454965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/16678
Hugo Ljungbäck
This paper examines the work of artist Sabrina Gschwandtner, whose recent series of 16mm and 35mm film quilts reproduce sequences from early women directors’ films and from orphaned textile-production documentaries and re-edits their narratives through spatial montage by sewing celluloid strips into traditional quilt patterns. Appropriated from film archives, each strip of film holds embedded within it a history of women’s labor, and through her sewing techniques, which call attention to the connection between film’s intermittent motion mechanism and the sewing machine, Gschwandtner patches women’s film histories back together. By considering the techniques of colorists and editors in early cinema as originating within handcrafting and ‘feminine’ labor, the traces of their hands at work form new histories through Gschwandtner’s quilts. In her artwork, the invisible contributions of these forgotten women become visible, foregrounding their tactile, intensive, and time-consuming labor. Gschwandtner’s film quilts also suggest that, rather than digital technology marking the death of cinema, it has just liberated the celluloid strip to be used and encountered in endless new ways.
{"title":"‘Hands at Work’: Patching Women’s Film Histories through Sabrina Gschwandtner’s Film Quilts","authors":"Hugo Ljungbäck","doi":"10.54103/2036-461x/16678","DOIUrl":"https://doi.org/10.54103/2036-461x/16678","url":null,"abstract":"\u0000\u0000\u0000\u0000This paper examines the work of artist Sabrina Gschwandtner, whose recent series of 16mm and 35mm film quilts reproduce sequences from early women directors’ films and from orphaned textile-production documentaries and re-edits their narratives through spatial montage by sewing celluloid strips into traditional quilt patterns. Appropriated from film archives, each strip of film holds embedded within it a history of women’s labor, and through her sewing techniques, which call attention to the connection between film’s intermittent motion mechanism and the sewing machine, Gschwandtner patches women’s film histories back together. By considering the techniques of colorists and editors in early cinema as originating within handcrafting and ‘feminine’ labor, the traces of their hands at work form new histories through Gschwandtner’s quilts. In her artwork, the invisible contributions of these forgotten women become visible, foregrounding their tactile, intensive, and time-consuming labor. Gschwandtner’s film quilts also suggest that, rather than digital technology marking the death of cinema, it has just liberated the celluloid strip to be used and encountered in endless new ways.\u0000\u0000\u0000\u0000","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121336795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.54103/2036-461x/18935
Virgil Darelli
{"title":"Ph.D. Thesis Abstract - An History of Italian Movie Theatres. National Policies and Local Modes of Exhibition in the Province of Brescia","authors":"Virgil Darelli","doi":"10.54103/2036-461x/18935","DOIUrl":"https://doi.org/10.54103/2036-461x/18935","url":null,"abstract":"","PeriodicalId":262328,"journal":{"name":"Cinéma & Cie. Film and Media Studies Journal","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124737152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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