Search results

You are looking at 1 - 7 of 7 items for :

  • Photography and Film x
  • Manchester History of Medicine x
Clear All
A disrupted digression on productive disorder, disorderly pleasure, allegorical properties and scatter

wanted. I wrote for print and web on mid-twentieth-century modernist medical illustration; obscure and eccentric mid-twentieth-century medical films; a study of a late nineteenth-century cataleptic stage performer who was dissected; the silent medical cinema of suffering; an imaginary exhibition on anatomy's photography; really anything that struck my fancy. In this kind of historical practice what counted for usefulness carried a strange

in Communicating the history of medicine

well as national bodies such as the Deaf Camping and Caravanning Club and the Deaf Motorists Club, fell walking groups were established in both Kendal (on the edge of the Lake district) and Manchester (close to both the Lake and Peak Districts), and attracted members from across the country. 58 A whole range of local self-help and interest groups were set up, with keep fit classes, film and photography clubs and drama groups being particularly popular. Drama groups were a feature of many deaf clubs, with a wide range of plays being produced, and these were usually

in Deafness, community and culture in Britain
Abstract only

buildings as filming locations or as ‘haunted’ attractions. The ‘dark’ heritage – associated with human suffering or death – of former lunatic asylum buildings and their frequent grouping with prisons and workhouses has impacted their study as built heritage, as well as their development. Indeed, the problematic legacy of the buildings has overshadowed their role as large-scale employers, suppliers, customers, venues for community building, and dwelling places, with the result that redevelopment rarely considers the impact of a modified landscape or rebranding on the

in An archaeology of lunacy
Prostheses for women in nineteenth-century literature and commerce

, Kirsten E. Gardner, Marquard Smith, Vanessa Warne and Galia Ofek investigate a wide range of prostheses for women (including artificial legs, breast implants and wigs).7 Warne shows how financial networks are tied to artificial legs in two Victorian marriage plots. Smith explores what he calls ‘technofetishism’ in the commercial photography of nineteenth-​ century Chard-​based limb maker James Gillingham, arguing that the exposure of a prosthesis for a woman in this period equated to an ‘assault to modesty’, bringing to the fore ‘the pivot between invisibility and

in Rethinking modern prostheses in Anglo-American commodity cultures, 1820–1939
Mirrored narratives of sanity and madness

profession and the general public’. Representations of the psychiatrist as ‘an idiotic and incompetent figure of fun’ in film and fiction had plumbed new depths, he complained.68 Yellowlees depicted psychiatry as a profession beset on all sides, distinguishing PSYCHIATRISTS AND THEIR PATIENTS 39 between an elite ‘public’, composed of professionals, and the man-­in-­the-­pub public, who copied their betters. Yellowlees was very dismissive of the general public, even questioning ‘whether anything can or should be done to put them in a position to grasp just the very

in Destigmatising mental illness?
Abstract only
The moron as a poorly functioning human

(especially when these subjects were institutional residents) pose and dress them in particular ways, use lighting, focus, and other photographic ‘trickery’ to enhance specific physical aspects of the persons and create a setting that supported various eugenic perspectives.109 A particular example of the latter were photos and films commissioned by the Third Reich designed to lend support for their euthanasia program. As Burleigh noted, the most grotesque asylum patients (heads shaved and dressed alike to remove any semblance of individuality) were set against the exterior

in Framing the moron
WWI and the revolution in artificial limbs

and engineers tested efficiency and measured the productivity of these new prosthetic creations.38 They also offered construction advice to engineers and mechanics who were inventing new devices, drawing on their own experiences and the experiences of the office’s test subjects.39 In addition to evaluating the new artificial limbs, orthopaedists conducted scientific studies of the movements of the human body – both whole, able bodies and disabled ones outfitted with prostheses. They studied the motions of the foot as it stepped, tapped, or powered pedals. Using film

in Recycling the disabled