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Angelica Michelis

This article engages with the discourse of food and eating especially as related to the representation of the abject eating-disordered body. I will be particularly interested in the gothic representation of the anorexic and bulimic body in samples of medical advice literature and NHS websites and how they reinforce popular myths about anorexia by imagining the eating disordered body as a fixed object of abjection. Focusing on the use of gothic devices, tropes and narrative structure, these imaginations will be read against alternative representations of anorexic/bulimic bodies in autobiographical illness narratives, fictional accounts and a psychoanalytical case history in order to explore how gothic discourses can help opening up new understandings and conceptions of illness, healing and corporeality in the dialogue between medical staff and patients.

Gothic Studies
Open Access (free)
Pat Jackson’s White Corridors
Charles Barr

patiently talks him – and us, if we need to know – through the procedures for getting onto a doctor’s list and obtaining an NHS card. His cluster of comic-relief scenes add up to something very reminiscent of the short films of wartime in which the instructional pill is sugared by humour, for instance those of Richard Massingham – right down to the payoff where he breaks an ankle and

in British cinema of the 1950s
Stephen Lacey

main contradictions and conflicts are between the institutions of state and those who lie outside and in opposition to them; it is an ‘us and them’ drama, in political terms, progressing by means of familiar binary oppositions. However, as the Thatcherite revolution progressed, and its ideologues began a ‘long march’ through the welfare state and civil society, the process of managing consent frequently put institutions themselves into crisis. The welfare state, especially the NHS, is a key example. The second mode of representation presents them not so much agents

in Tony Garnett
My life in fanzines
Clare Wadd

we’ve been feminist in this scene for years, without anyone really being interested. ‘Where were you, mummy, when they closed down the NHS? Well, honey, I was busy making photo-collages of Kim Gordon and Anita Hill to stick onto lamp-posts … ’ before a comment about ‘REAL politics’ being ‘boing and grown-up’ (ouch). ‘This is aimed as much at us as at you’, we say in a big font down the side for some balance. Sarah Records continued until 1995 when we reached catalogue number 100, threw a big party and called it a day – it was never about running a business and it

in Ripped, torn and cut
Abstract only
Memento Mori (1992)
Neil Sinyard

hospitals: in the scenes with Taylor, one can almost smell the antiseptic, and the shots of regimented rows of NHS pensioners make a cumulatively powerful contrast between their stoical suffering and the floundering fear of their upper-class visitor Lettie. In her review for the Independent on Sunday (26 April 1992), Allison Pearson drew attention to one particular scene in the hospital where Lettie, on her way to see Taylor

in Jack Clayton
Into the driving seat
Stephen Lacey

called, saw the 1944 Education Act put into effect and the National Health Service (NHS) and a system of comprehensive social insurance established (in 1948). The settlement was accepted by the Conservatives, who returned to power in 1951. This was just one aspect of a wider consensus about the contours of post-war policy in the economic, social and foreign policy fields that dominated government thinking – and much political discourse and policy discussion beyond government – in the 1950s. The principle elements of the consensus were a commitment to full employment

in Tony Garnett
How displaced people are made into ‘migrants’
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya and Janna Graham

explicitly that they had no right to support, as in the interview quote above, but also described in non-verbal communications: downward glances, closed faces or rude looks which gave the impression they were not welcome: I try to open an account in a bank so when they came to know that I am asylum seeker by the law, yes by the law I can’t open an account but even I could see their impressions at first it is not you are not part of the society here. (Birmingham, 24 February 2017) You know, like, when you go to the NHS [National Health Service] and they ask you, like, your

in How media and conflicts make migrants
Documentary form and audience response to Touching the Void
Thomas Austin

-making decisions or film form. And when presented with a deliberately open question – ‘Do you think the film ran into any ethical or moral dilemmas or problems?’ – most took this to be a reference to Yates’ difficult decision to cut the rope on his partner. These three responses are fairly typical: Q16: Do you think the film ran into any ethical or moral dilemmas or problems? Yes – obviously Simon cutting the rope knowing he was sending Joe to his death. A dilemma but justifiable in the circumstances. (Jane, British, white, female, NHS manager, age 46, no climbing experience

in Watching the world
‘What’s the bleeding time?’
Andrew Roberts

back the welfare state or even to return nationalised industries to private hands’ (Sandbrook 2005 : 59). Sir Lancelot stood for patriarchal guidence as a surgeon who treated National Health Service (NHS) and private patients with the same degree of skill. A further key to the success of Doctor in the House was Justice’s comic timing, especially in his scenes opposite Kenneth More’s insouciant Grimsdyke, and to his presenting the human face of authority in a picture where the joie de vivre is palpable. 4 As a screen father figure, Justice looks at least a

in Idols of the Odeons
Heather Norris Nicholson

NHS’s expansion. 26 The national shortage of blood donors provided another early postwar opportunity for an amateur production that received support from local hospitals, the Red Cross and St John’s Ambulance service. When George Monro, Liverpool’s then regional organiser for the National Blood Transfusion Service (NBTS) approached Ashby Ball in 1951 to discuss making a sponsored 16mm film, Southport

in Amateur film