Showing 551 - 560 of 3304 annotations
Professor Samuel D. Gross of Jefferson Medical College is demonstrating an operation for osteomyelitis of the femur in the surgical amphitheater in 1875 in this highly dramatic, powerful scene. Light glints off his forehead, and his visage is stern, calm, and surrounded by a halo of gray-white hair. The bloody fingers of his right hand hold a blood-tipped scalpel. He appears to have just made an incision and is turning away to demonstrate his work.
To the surgeon’s left is the patient, lying in right lateral decubitus position, with exposed leg and buttocks. Assistants are retracting the wound, further dissecting within it, and holding the patient’s legs. Blood is on their hands, instruments, and the patient’s leg. The patient’s face is obscured by the chloroform soaked towel that the anesthetist is using to administer general anesthesia. The white of this towel and the operating table’s sheet are the only other bright white values besides the surgeon’s head in this mostly dark painting.
Adding to the drama is the stricken pose of the patient’s female relative--to the surgeon’s right. For charity cases, a family member was required to be present during the surgery. She averts her head and raises her hands, clenched in a claw-like fashion, to block her view.
In the gallery are variously interested and disinterested observers--mostly medical students--in casual poses and dimly seen. The exception is the artist’s self-portrayal--he is studiously drawing in the front row. Dr. Gross’s son (also a surgeon) is standing in the entry tunnel.
This guide identifies short film clips designed to support “Cinemeducation,” word and method both coined by the editor Matthew Alexander. The editorial team consists of three family therapists--two psychologists and a social worker—with input from 26 other psychologists, behavioral scientists, and family physicians—all American, with the exception of one Brazilian. Most contributors train residents in family medicine. Both more and less than a scholarly treatise, this book is predominantly an annotated index.
Thirty short chapters are devoted to various subject themes: chronic illness, sexual behavior, aging, substance abuse, research, and medical error. In a paragraph or two, the clinical problem is outlined, then subheadings introduce specific, related keywords exemplified by the scenes selected. The plot and main actors of every film are summarized briefly at its first mention; a single movie can be cited in several different chapters. Each clip is similarly described and located precisely within the film (minutes and seconds).
In this manner, 125 films are parsed for 400 scenes, ranging in length from 1 to 6 minutes. Most are Hollywood films, released since 1980. Questions for discussion accompany each film clip. The consistency and concise descriptions are admirable, but, sadly, the year of release is not supplied.
A few chapters break from this format. One discusses aspects of technology. Another attempts evaluation of this teaching method through a ten-year retrospective survey of physicians who had been exposed to films in residency. The response rate was 60% but a fifth were rejected because the respondents could not recall the use of films. The remaining 48% who could remember the use of film clips found the method memorable, fun, and effective; however, they thought it would benefit from more context and amplification.
Appendices point to similar resources and more films under other keywords without details. This database is cited by URL without any description.
In 1889, young doctor Ephraim Carroll is in Philadelphia working with the team of the famous physician and pathologist, William Osler. In their zeal to learn more, they conduct careful autopsies, but the body of a young woman upsets Osler and teammate Dr. George Turk, and they defer the examination. Baffled when her body vanishes, Carroll becomes preoccupied with identifying the woman and the cause of her death.
A darling of Philadelphia society, Osler arranges for Carroll to attend a dinner where Carroll meets and falls head over heels in love with the unconventional Abigail Benedict. Abigail is a painter and free thinker, friendly with the great artist Thomas Eakins. Both are worried about their missing friend, Rebecca Lachtmann, and they engage Carroll to help find her. Through a series of adventures he is able to locate and identify the missing corpse as hers. He discovers the cause of death by exhuming the body.
In the meantime, Turk is found dead of what appears to be cholera; however, Carroll’s suspicions lead him to conclude that the young doctor was murdered by a dose of arsenic cleverly calculated to mimic symptoms of the infection. Drug addiction and an abortion ring lie at the heart of this crime.
Osler is being courted for a position at the new Johns Hopkins Medical School and he invites Carroll to consider joining him there. But Carroll decides not to go to Baltimore.
To write more would give too much away. The surprise ending implicates famous doctors for unethical behavior, if not murder.
Summary:This groundbreaking international film documents the positive impact of art and other creative activities on people with Alzheimer's disease. The film's intention is to change the way we look at the disease. It does just that. Brilliantly.
Summary:Holding Our Own: Embracing the End of Life is a documentary film that shows aging and dying as anything but morbid, and death as the final healing in the hospice way. Art and music are combined as a way to bring people into a subject that they'd rather resist.
Summary:George Washington Crosby is dying from kidney failure. The eighty-year-old man has a crumbling body - Parkinson's disease, cancer, diabetes, and previous heart attacks - and a murky mind. He is hallucinating and his memories are disordered. George occupies a hospital bed in the living room of a house that he constructed himself. His family keeps him company as they await his imminent demise.
Summary:Extraordinary Measures, based on events in the life of John Crowley and his family, dramatizes the father's quest to find a cure for Pompe disease, a relatively rare genetic condition that afflicts two of his three children. The quest brings into play three powerful, often competing human motives: a father's love for his children, a scientist's pursuit of knowledge and recognition, and a corporation's mandate for profits. Crowley (Brendan Fraser), an energetic marketing executive, and his wife Aileen (Keri Russell) are told that their children Megan (Meredith Droeger), age eight, and Patrick (Diego Velazquez), age six, have reached the upper limits of their life expectancies.
McMurphy (Jack Nicholson) escapes work on a prison farm by feigning mental illness, but he finds himself in a far more coercive institution than the one he left behind. The other men, both sane and insane, are just like him: they hide in the locked ward from the law, their families, or the despair of their own lives.
McMurphy animates the dull monotony with fractious games, pranks, and excursions, but he encounters stiff opposition from the head nurse, Mildred Ratched (Louise Fletcher), whose system provides her with pills and electroshock to maintain control. When the nurse discovers that McMurphy has smuggled two women into the ward, she threatens to tell the mother of young Billy (Brad Dourif). Billy commits suicide and an enraged McMurphy tries to strangle Ratched. McMurphy is lobotomized and returned to the ward only to be smothered by his friend Bromden, who then escapes.
Summary:In 1954, a United States Marshal (Leonardo DiCaprio) and his partner (Mark Ruffalo) take the ferry to Ashecliff Hospital, a forbidding asylum for the criminally insane located on Shutter Island. Their mission is to investigate the disappearance of an inmate who has apparently escaped without a trace. Under the supervision of the chief psychiatrist, Dr John Cawley (Ben Kingsley), they become increasingly entwined in a twisting tale of fear and suspicion.
This novel interweaves facts about the history of genetics with compelling fictional characters and plots in two connected stories. The primary story traces the life and work of the fictional Benedict Lambert, brilliant 20th Century geneticist, and an achondroplastic dwarf; his research is to discover the gene mutation which has caused his condition. He is also the great-great-great nephew of Gregor Mendel.
The life and genetic work of Gregor Mendel comprise the second story. Intersecting with Gregor Mendel's 19th Century scientific experiments to artificially fertilize pea plants is Lambert's affair with married librarian Jean Piercey. When Jean becomes pregnant, she decides on termination after learning from Benedict that there is "a fifty-fifty change of ending up like me . . . a second Benedict, another squat and crumpled creature betrayed by mutation and the courtly dance of chromosomes . . . " (180).
By the novel's end, Mendel's work has been published, and dismissed; Benedict Lambert has discovered the location of the gene mutation which causes achondroplastic dwarfism, publishes the results in Nature, and is asked to make a presentation on "the New Eugenics". Jean regrets the abortion, and wants Benedict's child, but a ?normal" one. In an attempt to help Jean in her quest, Benedict uses his genetic knowledge, his laboratory privileges, and his sperm without the knowledge or consent of Jean's husband.
In the lab with eight of Jean's fertilized embryos Lambert must decide: "Four of the embryos are proto-Benedicts, proto-dwarf; the other four are, for want of a better word normal. How should he choose?" The results of this scientific and personal act of fertilization are unexpected and tragic.