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by vaccines, surgeries, and antibiotics, but the attractiveness of the leads and their romantic entanglements helps us to forget or forgive some of the less pleasant historical realities of the past under consideration. Although most of the series under discussion in this book were (and some still are) filmed in the last two decades, we have deliberately included in this section two ( Dr. Quinn, Medicine Woman and
franchise is less about promoting later life itself, but rather presenting a ‘stretching of middle age’, where this term was first coined (in this context) by Jones’ ( 2008 ) scholarly work on cosmetic surgery. In displaying a continuation of the youthful action hero traits in its older protagonists it speaks of a ‘they’ve still got it’ representation of the ageing action hero. The
deaconesses and nurse aides ( Charité , 2017, S1E1) So, viewers are not surprised when she attempts to intervene in the doctor’s planned appendectomy, pointing out that the invasive and still experimental procedure is unproven to be more effective than cold wraps, and predicting that surgery may kill the patient faster. Behring criticises the
replica of another woman – it is probably more accurate to think of it as a rather perverse romantic melodrama. Both films offer scenarios in which men seek to duplicate and/or create women, in Four Sided Triangle via a replication machine and in Stolen Face by surgery. Such a theme crops up in a number of SF/horror texts, notably Mary Shelley’s 1818 novel Frankenstein , Villiers De L’Isle Adam’s 1886 novel The Future Eve
the war, the family lived above his surgery in the working-class area of Higher Broughton. The family was part of Manchester’s Jewish community:1 Abe’s parents had both emigrated from Russia, while Phyllis’s mother and father had come to London from, respectively, Germany and Lithuania. As a child, Leigh was a keen cinemagoer, experiencing a traditional diet of British and Hollywood features, newsreels, cartoons, serials and slapstick shorts. His more formal education took place at North Grecian Street County Primary and then Salford Grammar School. It was shortly
in Paris, and finally her time teaching at a public school in Normandy. As in the other documentaries, video footage and photos from the past allow for contrasts and continuities between the present and the past. 20 The documentary does not, however, serve as a way for Bambi to go back in time and talk about her gender confirmation surgery as the centre of her life narrative. The second scene of the
other, a better, safer, more just outcome. A lesson about ‘real life’ is made available either directly through realist drama or through allegory. For example, Surrogates (2009) offers a critique of superficiality, obsessive concern with body image, plastic surgery, social passivity, and overuse of technological devices as a means to social interaction, under the rubric of the well-established warning regarding the dangers of scientific innovation. The film starts with a voiceover by a figure called The Prophet who alerts the audience to the (strongly ironic
for the birth, but afterwards the rules of the hospital, and her need to recover from major surgery, mean that she is not allowed see her child for some time, nor is she or the viewer told it is alive. It is only until the compassionate Jenny (Jessica Raine) visits her, against hospital policy, that she learns that she has delivered a healthy baby: ‘you have a son … I can’t believe they didn’t tell you’ (S3E7). All these
physical qualities and it is therefore perhaps a consequence rather than a coincidence 24 Julio Medem (though Medem typically delights in claiming as one) that he met his wife Lola while a student of general surgery. Lola Barrera is from Madrid and her parents are from the Canary Islands so the only way that she could complete her studies in San Sebastian alongside Medem was if they were to marry. ‘We, who were adamant we were never going to be wed, suddenly found ourselves obliged to get married’ recalls Medem [5]. But following five centuries of staunch Catholicism
emptiness of consumerism, the absurdities of technology, narcissism and what Gilliam terms the ‘California disease’ of cosmetic surgery, the manipulation of language, the violence underpinning orthodoxy, the institutional crushing of imagination, and the compensations and dangers of escapism. Ironically, many of these forces would play a part in the fraught tussles that engulfed the film after the