Notebook
Operating the frame: interventions in the genre of the medical film from the Novecento and the First World War at Oh! Uomo, by Yervant Gianikian and Angela Ricci-Lucchi
Published 2016-01-01
Keywords
- Film,
- Medical film,
- Documentary,
- Found Footage,
- Yervant Gianikian
- Angela Ricci-Lucchi,
- First World War,
- Novecento. ...More
Abstract
Italian filmmakers Yervant Gianikian and Angela Ricci-Lucchi ended with Oh! Uomo the trilogy dedicated to the First World War, also formed by Prigionieri della guerra (1995) and Su tutte le vette e Pace (1998). In Oh! Uomo they recover the archive of the medical and the neurological film from the Novecento in order to show the devastating effects of the First World War and criticize the social, scientific and technological ideologies that backed it. In this paper we present a genealogy of the genre of the medical film and we name the main European scientists, doctors and filmmakers of the early xx century. In doing so, we will reveal, on the one hand, the rhetoric of its mise en scène and, on the other hand, we will identify the discursive strategies that Gianikian and Ricci-Lucchi adopt when analyzing and modifying those images by using the so-called analytic camera.
References
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Benavente, Fran (2008). Arqueología de la visión: Oh, Uomo Yervant Gianikian, Angela Ricci Lucchi. <em>Cahiers du cinéma: España</em>, (1), pp.24–25. <br />
Bonah, Christian, Laukötter, Anja (2009). Moving Pictures and Medicine in the First Half of the 20th Century. <em>Gesnerus</em> 66 (1), 121-46.<br />
Canguilhem, Denis, chéroux, Clément (2004). <em>Le Merveilleux scientifique. </em><em>Photographies du monde savant en France, 1844-1918</em>. París: Gallimard<br />
Cartwright, Lisa (1995). <em>Screening the body: tracing medicine’s visual culture</em>. Minneapolis: University of Minnesota Press<br />
Catala, M. Poirer, J. (2012). Georges Marinesco (1863-1938): neurologist, neurohistologist and neuropathologist. <em>Romanian journal of morphology and embryology = Revue roumaine de morphologie et embryologie</em>, 53 (4), pp.869–77. <br />
Crocq, m.a., Crocq, l. (2000). From shell shock and war neurosis to posttraumatic stress disorder: a history of psychotraumatology. <em>Dialogues in clinical neuroscience</em>, 2(1), pp.47–55. <br />
Dagna, Stella, Gianetto, Claudia (2013). The neuropathological films int the collection of the museo Nazionale del Cinema in Turin. <em>Tijdschrift voor Mediageschiedenis</em>, 16 (1), pp.117-120.<br />
De Ceglia, Franceso Paolo (2012). From the laboratory to the factory, by way of the countryside: Fifty years of Italian scientific cinema (1908-1958). <em>Public Understanding of Science</em>, 21(8), pp.949–967.<br />
De Lucas, Gonzalo (2001). <em>Vida secreta de las sombras: imágenes del fantástico en el cine francés</em>. Barcelona: Paidós <br />
Didi-Huberman, Georges (2003). <em>Invention of hysteria: Charcot and the photographic iconography of the Salpêtrière</em>. Cambridge: MIT Press<br />
Essex-Lopresti, Michael (1998). The medical film 1897-1997: Part I. The first half-century. <em>Journal of Audiovisual Media in Medicine</em> 21 (1), pp.7-12.<br />
“European Film and the First World War” is part of the European Film Gateway. Recuperado de <http://exhibition.europeanfilmgateway.eu/efg1914/theme?id=Suffering-in-and-after-the-war><br />
Faccioli, Alessandro (2014). Film/Cinema Italy. <em>1914-1918-online. International Encyclopedia of the First World War</em>, ed. by Ute Daniel, Peter Gatrell, Oliver Janz, Heather Jones, Jennifer Keene, Alan Kramer, and Bill Nasson, issued by Freie Universität Berlin, Berlin. Recuperado de <http://encyclopedia.1914-1918-online.net/article/filmcinema_italy> <br />
Meneghelli, Andrea (2014). Suffering in and after the war. <br />
Farinotti, Luisella (2009) Memoria di cobertura. Il cinema di Yervant Gianikian e Angela Ricci Lucchi come catalogo dell’orrore della storia. En B. Grespi (comp.) <em>Locus Solus. Memoria e immagini</em> (pp.49-65). Milano: Bruno Mondadori.<br />
Foucault, Michel (1980). <em>El nacimiento de la clínica: una arqueología de la mirada médica</em>. México D.F.: Siglo Veintiuno Editores<br />
Gianetto, Claudia, bertellini, Giorgio (2000). The Giant Ambrosio, or Italy’s Most Prolific Silent Film Company. <em>Film History</em>, 12 (3, Early Italian Cinema), pp.240-249<br />
Gibelli, Antonio (1991). <em>L’officina della guerra: la grande guerra e le trasformazioni del mondo mentale</em>. Torino: Bollati Boringhieri<br />
Gibelli, Antonio (1998). <em>La grande guerra degli italiani: 1915-1918</em>. Milano : Sansoni<br />
Gleyse, j., bui-xuân, g., pigeassou, ch. (1999). Demeny et Taylor. Etude comparée de Deux Discours de la Deuxième Révolution Industrielle. <em>Sport History Review</em>, 30, pp.168-185.<br />
Gleyse, Jacques (2012) The machine body metaphor: From science and technology to physcial education nd sport in France (1825-1935). <em>Scandinavian Journal of Medicine and Science in Sports</em>, 23, pp. 758-765. <br />
Johannison, Karin (2006). <em>Los signos: el médico y el arte de la lectura del cuerpo</em>. Barcelona: Melusina<br />
Kaes, Anton (2009). <em>Shell shock cinema: Weimar culture and the wounds of war</em>. Princeton: Princeton University Press<br />
Leed, Eric J. (1981). <em>No man’s land</em> <em>: combat & identity in World War I</em>. Cambridge: Cambridge Univ. Press<br />
Lefebvre, Thierry (1995). Le doctoeur Doyen, un précurseur. En A. martinet (coord.), <em>Le cinéma et la Science </em>(pp. 70-77). Paris: CNRS Éditions<br />
Lumley, Robert (2011). <em>Entering the Frame. Cinema and History in the Films of Yervant Gianikian and Angela Ricci-Lucchi.</em> Bern: Peter Lang<br />
Mereghetti, Paolo, nosei, Enrico (cord.) (2000). <em>Cinema anni vita: Yervant Gianikian e Angela Ricci Lucchi</em>. Milano: Il castoro<br />
Myers, Charles S. (1915) Contribution to the Study of Shell Shock. <em>The Lancet</em>, 185 (4772), pp.316-330.<br />
Panese, Francesco (2009). Décrire et convaincre: rhétoriques visuelles de la cinématographie en médecine. <em>Gesnerus</em> 66, pp.40–66.<br />
Redacción (1908). <em>MOVING PICTURES OF CLINICS.; Prof. Negro Successfully Uses Them in Demonstrating Nervous Diseases</em>. <em>The New York Times</em>. Recuperado de <http://query.nytimes.com/gst/abstract.html?res=9C05E4D81F3EE233A25750C2A9649C946997D6CF><br />
Vähili, Pasi. (2014). Biopolitics of Gesture: Cinema and the Neurological Body. En H. Gustafsson, A. Gronstad (coord.) <em>Cinema and Agamben. Ethics, Biopolitics and the Moving Image</em> (pp. 103-120). London: Bloomsbury Academic<br />
Venturini, Simone, lorusso, Lorenzo (2013). Vincenzo Neri: Anatomy of a Finding. <em>Tijdschrift voor Mediageschiedenis</em>, 16 (1), pp. 112-116.</p>
Benavente, Fran (2008). Arqueología de la visión: Oh, Uomo Yervant Gianikian, Angela Ricci Lucchi. <em>Cahiers du cinéma: España</em>, (1), pp.24–25. <br />
Bonah, Christian, Laukötter, Anja (2009). Moving Pictures and Medicine in the First Half of the 20th Century. <em>Gesnerus</em> 66 (1), 121-46.<br />
Canguilhem, Denis, chéroux, Clément (2004). <em>Le Merveilleux scientifique. </em><em>Photographies du monde savant en France, 1844-1918</em>. París: Gallimard<br />
Cartwright, Lisa (1995). <em>Screening the body: tracing medicine’s visual culture</em>. Minneapolis: University of Minnesota Press<br />
Catala, M. Poirer, J. (2012). Georges Marinesco (1863-1938): neurologist, neurohistologist and neuropathologist. <em>Romanian journal of morphology and embryology = Revue roumaine de morphologie et embryologie</em>, 53 (4), pp.869–77. <br />
Crocq, m.a., Crocq, l. (2000). From shell shock and war neurosis to posttraumatic stress disorder: a history of psychotraumatology. <em>Dialogues in clinical neuroscience</em>, 2(1), pp.47–55. <br />
Dagna, Stella, Gianetto, Claudia (2013). The neuropathological films int the collection of the museo Nazionale del Cinema in Turin. <em>Tijdschrift voor Mediageschiedenis</em>, 16 (1), pp.117-120.<br />
De Ceglia, Franceso Paolo (2012). From the laboratory to the factory, by way of the countryside: Fifty years of Italian scientific cinema (1908-1958). <em>Public Understanding of Science</em>, 21(8), pp.949–967.<br />
De Lucas, Gonzalo (2001). <em>Vida secreta de las sombras: imágenes del fantástico en el cine francés</em>. Barcelona: Paidós <br />
Didi-Huberman, Georges (2003). <em>Invention of hysteria: Charcot and the photographic iconography of the Salpêtrière</em>. Cambridge: MIT Press<br />
Essex-Lopresti, Michael (1998). The medical film 1897-1997: Part I. The first half-century. <em>Journal of Audiovisual Media in Medicine</em> 21 (1), pp.7-12.<br />
“European Film and the First World War” is part of the European Film Gateway. Recuperado de <http://exhibition.europeanfilmgateway.eu/efg1914/theme?id=Suffering-in-and-after-the-war><br />
Faccioli, Alessandro (2014). Film/Cinema Italy. <em>1914-1918-online. International Encyclopedia of the First World War</em>, ed. by Ute Daniel, Peter Gatrell, Oliver Janz, Heather Jones, Jennifer Keene, Alan Kramer, and Bill Nasson, issued by Freie Universität Berlin, Berlin. Recuperado de <http://encyclopedia.1914-1918-online.net/article/filmcinema_italy> <br />
Meneghelli, Andrea (2014). Suffering in and after the war. <br />
Farinotti, Luisella (2009) Memoria di cobertura. Il cinema di Yervant Gianikian e Angela Ricci Lucchi come catalogo dell’orrore della storia. En B. Grespi (comp.) <em>Locus Solus. Memoria e immagini</em> (pp.49-65). Milano: Bruno Mondadori.<br />
Foucault, Michel (1980). <em>El nacimiento de la clínica: una arqueología de la mirada médica</em>. México D.F.: Siglo Veintiuno Editores<br />
Gianetto, Claudia, bertellini, Giorgio (2000). The Giant Ambrosio, or Italy’s Most Prolific Silent Film Company. <em>Film History</em>, 12 (3, Early Italian Cinema), pp.240-249<br />
Gibelli, Antonio (1991). <em>L’officina della guerra: la grande guerra e le trasformazioni del mondo mentale</em>. Torino: Bollati Boringhieri<br />
Gibelli, Antonio (1998). <em>La grande guerra degli italiani: 1915-1918</em>. Milano : Sansoni<br />
Gleyse, j., bui-xuân, g., pigeassou, ch. (1999). Demeny et Taylor. Etude comparée de Deux Discours de la Deuxième Révolution Industrielle. <em>Sport History Review</em>, 30, pp.168-185.<br />
Gleyse, Jacques (2012) The machine body metaphor: From science and technology to physcial education nd sport in France (1825-1935). <em>Scandinavian Journal of Medicine and Science in Sports</em>, 23, pp. 758-765. <br />
Johannison, Karin (2006). <em>Los signos: el médico y el arte de la lectura del cuerpo</em>. Barcelona: Melusina<br />
Kaes, Anton (2009). <em>Shell shock cinema: Weimar culture and the wounds of war</em>. Princeton: Princeton University Press<br />
Leed, Eric J. (1981). <em>No man’s land</em> <em>: combat & identity in World War I</em>. Cambridge: Cambridge Univ. Press<br />
Lefebvre, Thierry (1995). Le doctoeur Doyen, un précurseur. En A. martinet (coord.), <em>Le cinéma et la Science </em>(pp. 70-77). Paris: CNRS Éditions<br />
Lumley, Robert (2011). <em>Entering the Frame. Cinema and History in the Films of Yervant Gianikian and Angela Ricci-Lucchi.</em> Bern: Peter Lang<br />
Mereghetti, Paolo, nosei, Enrico (cord.) (2000). <em>Cinema anni vita: Yervant Gianikian e Angela Ricci Lucchi</em>. Milano: Il castoro<br />
Myers, Charles S. (1915) Contribution to the Study of Shell Shock. <em>The Lancet</em>, 185 (4772), pp.316-330.<br />
Panese, Francesco (2009). Décrire et convaincre: rhétoriques visuelles de la cinématographie en médecine. <em>Gesnerus</em> 66, pp.40–66.<br />
Redacción (1908). <em>MOVING PICTURES OF CLINICS.; Prof. Negro Successfully Uses Them in Demonstrating Nervous Diseases</em>. <em>The New York Times</em>. Recuperado de <http://query.nytimes.com/gst/abstract.html?res=9C05E4D81F3EE233A25750C2A9649C946997D6CF><br />
Vähili, Pasi. (2014). Biopolitics of Gesture: Cinema and the Neurological Body. En H. Gustafsson, A. Gronstad (coord.) <em>Cinema and Agamben. Ethics, Biopolitics and the Moving Image</em> (pp. 103-120). London: Bloomsbury Academic<br />
Venturini, Simone, lorusso, Lorenzo (2013). Vincenzo Neri: Anatomy of a Finding. <em>Tijdschrift voor Mediageschiedenis</em>, 16 (1), pp. 112-116.</p>