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Mattias Frey

This article addresses the current state of film studies as a discipline, profession and institution, arguing that the hunt for cultural authority has been the defining feature, motivating force and tragic flaw of film studies. The current self-reflexive soul- searching reveals that the field – no longer a radical upstart – still lacks the gravitas of more established subjects. Departments have responded to identity crises and changing enrolment patterns by mummifying, killing off or burying foundational emphases. The nostalgia for film studies origins and the jeremiads about an unmanageable, unruly and recalcitrant discipline yield rose-tinted fantasies about community and mutual intelligibility that must be ultimately resisted.

Film Studies
Author: Philip Gillett

This book examines how the working-class people are portrayed in the British cinema. One objective of this work is to take a modest step in redressing the balance by considering the popularity of the films discussed. A second objective is to demonstrate how film might be used by disciplines whose practitioners often display scant interest in its possibilities. The third objective is to consider what films can contribute to the debate on the consequences of war. A final objective is to test received opinion. The book discusses a five-dimensional model for examining images of the working class in films. These are: place in the authority structure; cohesion/fragmentation within the working-class community; internalised values; the built environment; and personal signifiers of class, notably speech, hairstyles and clothing. It deals with the war films that were made in the context working class community, and discusses The Way to the Stars, The Hasty Heart, and Wooden Horse. With the approach of war in the late 1930s, changes in censorship allowed industrial disputes to be portrayed on British screens for the first time. The working class community was portrayed in It Always Rains on Sunday to better effect as compared to Passport to Pímlíco. Three groups of criminals make regular appearances in postwar British films: spivs, who are black market traders; those have served in the forces; and career criminals. The book also deals with several British films in the postwar years focusing on dance hall, namely, Floodtide, Waterloo Road, and Dance Hall.

Portraying medicine, poverty, and the bubonic plague in La Peste
Ragas José, Palma Patricia, and González-Donoso Guillermo

political and medical authorities, and especially the larger population, tried to escape or overcome the consequences of the epidemic. La Peste ’s release coincided with the centennial of the epidemic, commonly known as the Spanish flu, that killed twenty to fifty million people around the globe ( Spinney, 2018 ). Like its twentieth-century counterpart, the early modern plague inflicted significant damage on Spanish society

in Diagnosing history
Harlots and televising the realities of eighteenth-century English prostitution
Brig Kristin and Clark Emily J.

at the bedside rather than the expected consultation by a physician, Harlots asserts the power and authority of women’s healing labours. After Mary’s death, the three Wells women are then shown cleaning the corpse, preparing Mary for burial. Another essential task of women is on display in this understated scene, as the characters act as layers-out of the dead. Lucy (Eloise Smyth), the youngest

in Diagnosing history
Complicating simplicity in Doctor Who
Benedict Morrison

‘heteronormativity’. In his commentary on Doctor Who , Piers D. Britton defines heteronormativity as ‘that cluster of institutional practices which enjoy authority as unquestioned norms in contemporary societies [… producing] stable, absolute categories which do not need to be explained or qualified because they are “natural”’ ( 2011 : 113). Normalisation is a process which effaces complex variation and difference in favour of a simplistic account of a homogenous world. The simplistic – which gives an excessive impression of straightforwardness structured on an exclusion or

in Complexity / simplicity
The professionalisation of medicine in Poldark
Sadler Barbara

’. As a character, Choake personifies the greedy physician with a somewhat tarnished reputation. He is laying claim to healing as science and aiming to elevate his position within the assembled company. Throughout the seasons, Choake uses a haughty manner and some medical language to maintain and encourage belief in his authority. At first, it appears he is defending his position or his right to make a living from his work

in Diagnosing history
Meyer Jessica

such relationships. Social relationships are, of course, the basis of all good drama, contemporary or historical, in whatever medium presented. Medicine in period drama, as noted, allows us to consider continuity and discontinuity in our understanding of mental and physical health and illness, and who has the authority to provide advice and care, across time. Is there, however, something particular about the small screen as a medium for

in Diagnosing history
The lady physician in the American western
Antonovich Jacqueline D.

’s maternal logic’ (Dow, 179). Furthermore, because there is no sheriff in town, Dr Quinn’s authority is rarely challenged. Dr. Quinn also appealed to 1990s America for its emphasis on a multicultural West. Jane Seymour, the British actress who played Dr Quinn, emphasised this perspective when reflecting on the show in 2018: ‘It’s a great way of teaching … different cultures … [ Dr. Quinn ] was all about

in Diagnosing history
Televised historical portrayals of women’s shifting roles in medicine
Fogel Jennifer M. and Sutherland Serenity

Randall (also played by Tobias Menzies), pregnant with Jamie’s child. Claire and Frank decide to move to the United States to start anew. But in 1950s Boston, Claire is bored by the domesticity she once craved with Frank (and Jamie) and – having grown accustomed to her wartime authority amongst eighteenth-century Scottish men – vexes Frank’s male Harvard colleagues by freely offering her opinions on current events (‘The

in Diagnosing history
Gender, nostalgia, and the making of historical heroines
Aeleah Soine

staff, still begin the day with prayer and ward checks (S1E1). While physicians make occasional rounds, they are more often found performing their authority and expertise in the operating or lecture theatres – masculine spaces filled with male medical students hanging on their every word. Only occasionally is there a crossover: the ‘interfering strumpet’ (a.k.a. the head nurse), who dares to venture into the cellar of the

in Diagnosing history