Showing 251 - 260 of 506 annotations tagged with the keyword "Women's Health"
Summary:The story is based on the life of Hanaoka Seishu, Japanese physician, who lived from 1760-1835. The author, using Hanaoka’s personal papers, has created a fictional representation of the jealous hatred that grows between his mother and his wife living in their feudal Japanese household. The physician is involved in trying to develop an anesthetic which would enable surgeons to remove diseased breasts. The beautiful, widowed mother of the young surgeon begins to compete with his wife for the "privilege" of being his first human subject to take the toxic substances. The remainder of the story revolves around the complex relationship among the family members, with predictably unhappy outcomes, and the results of the experiment.
Summary:A pregnant woman describes the harmony she feels with the fetus inside her during her pregnancy. She thinks of this fetus as a child already separate from her but in sympathy with her. She compares her feelings with an eighteenth century illustration of a pregnant uterus with a little man inside. She finds many similarities with this depiction.
Forty-something, a surgeon’s wife, Mrs. Sheila Redden of Ireland arrives in Paris en route to the south of France for a second honeymoon. She has booked the same hotel room as the first honeymoon. Her husband, Kevin, is delayed by his surgical obligations, and promises to join her, but she knows that he is not keen on the trip.
While in Paris she meets Tom, an American at least ten years younger who follows her to the south. They begin a love affair that overwhelms her with its emotional and sexual power. Kevin stays home, at her urging, but he becomes suspicious and uses a fake illness in their teenage son in an attempt to lure her back. Then he flies to the resort to confront her. His brutal manner convinces Sheila to leave him.
Tom wants her to return with him to Vermont. She consults a priest for advice. In desperation Kevin appeals to Sheila’s brother, also a physician. They medicalize her love for Tom as a symptom of early menopause and try to bring her home. Allowing Tom (and the reader) to believe she will go with him, she finally decides for a job in London and solitude in modest rented rooms.
Summary:This documentary presents a pastiche of illness narratives, the stories of seven women (including the filmmaker and the associate producer) who have struggled with mental illness, including depression, bipolar disorder, and multiple personality disorder. Intercut with the interviews are reenactments of key events in the women? lives; vivid depictions of sometimes frightening, sometimes exhilarating mental states experienced by the women; films and still photographs from the womens' childhoods, and archival film footage. In the process of exploring their illnesses and recoveries, the women discuss experiences that hurt them (rape, misdiagnoses, racism) as well as those that helped them heal (creativity, caring, therapists, and spirituality).
The scene is painted on the diagonal, which is both destabilizing and draws the viewer immediately into the picture. In the right foreground looms a large oval or round brown table on which sit a box of matches and a half-full tumbler of clear liquid. As the viewer’s eye follows the tumbler diagonally back, a gray-haired, balding man wearing a brown suit or robe is seated at the table, leaning back in his chair, smoking a cigar.
Behind the cigar smoker, near a corner of the room, standing with her back to the man, is a woman dressed in a white blouse and black skirt. She leans with her bent left arm on a chest of drawers and rests her chin on her right hand, leaning on her bent right elbow. Her features are not clearly visible, but her eyes appear to be closed. A painting of a woman’s upper body hangs above her on the wall that faces the viewer.
In early nineteenth-century England, Gustine is a "dress lodger" who rents a room and a fraying but elegant robe which she wears to work as a prostitute. The dissolute, violent landlord takes all her earnings and to keep her from hiding the money or stealing the dress, he has her followed by an elderly, sinister-seeming woman, called "the Eye."
Gustine has a baby, born with its heart on the outside of its chest (ectopia)--the beating muscle is covered only in a thin membrane. Gustine loves her child and tries to care for it, in the grinding poverty and filth of the crowded rooming house. She is convinced that the Eye is dangerous.
The young physician, Dr. Henry Chiver, is intent on making his name as a scientific doctor and educator through dissections. Cholera breaks out in the town to challenge his skill; even when confronted with death, however, he perceives an opportunity for research much to the alarm and disgust of citizens who fail to understand the advantages promised by an act of desecration. He is both attracted to Gustine and appalled by her profession; but when he discovers the secret of her child he sees yet another opportunity and his obsession to become a famous researcher makes him lose sight of all that is appropriate.
Olga is a lovely, plump, and friendly girl; the kind of girl whom everyone wants to squeeze and cry delightedly, "You darling!" She marries Kukin, the manager of the amusement park, and lives quite happily, selling tickets to his shows and parroting Kukin’s opinions about the theater.
But Kukin dies while in Moscow on a business trip. Olga goes into deep mourning, but within a few months she marries Pustovalov, the timber merchant. Now Olga adopts Pustovalov’s opinions--all business, no theater. When Pustovalov dies, Olga begins an affair with Smirnin, an army veterinary surgeon who is separated from his wife. While she lives with Smirnin, Olga is full of talk about animals and their diseases.
Finally, Smirnin is transferred elsewhere; Olga is left with nothing to talk about--the darling has no opinions of her own. Many years later, Smirnin returns to the town with his wife and son. Olga becomes attached to the young boy and her eyes light up again. She has something to talk about!
Helen and Chris are seventeen, living in Sheffield, England, and preparing for their exams in English and music. Both look forward to university and to careers they love. They also love each other. When Helen finds she’s pregnant, she keeps it a secret for awhile.
She and Chris visit with Chris’s tough but sympathetic aunt, who had an abortion years ago. When Helen’s mother finds out, she urges Helen to have an abortion, makes an appointment, signs her in at the hospital, but Helen leaves. Her mother forbids Chris to see her unless he plans to marry her.
Helen begins a series of letters to her unborn baby, chronicling the lonely and also strangely exciting months of pregnancy, decision-making, altered relationship with family and with Chris. (Among other things, she learns that her mother was born out of wedlock, at a time when illegitimacy was a serious social stigma, which accounts in part for her harshness toward Helen now.) Helen addresses her letters to "Dear Nobody," since so many around her who urge abortion want to convince her that what’s in her body isn’t a person.
Chris goes on a hiking trip to France, passes his A-level exams, meets a new girl who is interested in him, and prepares for university, all the time missing Helen. The day she has the baby, he breaks the barrier of silence and bikes to the hospital to meet his daughter. With no clear decisions for the future, the two open a new door at least to friendship and commitment to care for the child.
This film traces the shared career and dissolution of Beverly and Elliot Mantle, male identical twins (both played, thanks to seamless special effects, by Jeremy Irons) who are gynecologists, running a successful fertility clinic in Toronto in the 1980’s. They share both work and personal lives; Elliot, the dominant twin, lectures at the hospital, accepts awards, plays the smooth professional--and seduces women. Beverly, the quiet one, sees patients, does research--and sometimes has affairs with women his brother passes on to him.
They usually draw the line at patients, not because of ethics, but because "it’s not safe." Their dealings with women have to be carefully compartmentalized, for the ambiguous intimacy of the gynecological doctor-patient relationship is difficult and dangerous for the twins, who form a psychologically unstable and deeply interdependent relationship on their own, likening themselves to the original Siamese twins, Eng and Chang, whose names they eventually take on, too.
Their symbiotic system is disrupted when a television actress, Claire Niveau (Genevieve Bujold), consults them about her infertility. She has a trifurcate uterus--the twins call her a "mutation"--and will never have children. Elliot, fascinated, seduces her, and then gives her to Beverly, who falls in love, with disastrous consequences. When Claire discovers that they’ve deceived her and temporarily leaves, Beverly becomes addicted to the amphetamines and sleeping pills that Claire habitually abuses.
The drugs impair his work, he begins to hurt patients, is hospitalized, and after a calamitous breakdown in the operating room (where Beverly attempts to use the monstrously beautiful surgical instruments he designed himself
"for operating on mutant women") both brothers keep their hospital privileges only on condition that they don’t use them. Elliot tries to rehabilitate Beverly, but realizes that the need to do so comes from their absolute interdependence--they might as well be physically joined. So Elliot begins taking drugs as well, and when Claire returns and Beverly goes back to her, Elliot breaks down completely.
The rest of the film traces Beverly’s failed attempt to become a separate individual. The instruments he invented are now, he says, "for separating Siamese twins," and, in a terrifying surgery scene, the drugged Beverly "operates" on his conscious though equally drugged brother, apparently disemboweling him. Next morning, Beverly leaves the apartment where his dead brother lies and calls the woman he loves, but he cannot talk to her. He goes back, his bid for independent identity a failure, and the film ends on a shot of the two, dead, in an embrace echoing the Renaissance anatomical illustrations of in utero twins which illuminate the film’s opening credits.
A woman dressed in simple clothes sits sideways in a small room. The furniture is sparse and primitive; a shaft of daylight shines from above into a corner--the effect is almost dungeon-like. In the left foreground is a standing object--perhaps a churn or other implement.
The woman is leaning forward, facing the floor, the left side of her head resting on her bent left arm. Her eyes seem to be closed. Close by, in a corner, two young children are tangled up with each other--playing or fighting.