Showing 61 - 70 of 470 annotations tagged with the keyword "Time"
An animated documentary is the unlikely category assigned by producer/director/writer Ari Folman to this distinguished film. In broad strokes the film is a memory-recovery narrative, the director’s pursuit to fill in the "black holes" in his recollection of the days, during the 1982 Lebanon War, surrounding the massacres at the Palestinian Refugee Camps of Sabra and Shatila by Christian supporters of the assassinated Phalangist leader Bashir Gemayal. While the film finds its climax in the Palestinian genocide, along the way it examines the experience of ordinary Israeli soldiers in richly provocative storytelling –as these accounts are textured by a twenty-year time lapse, which offers perspective, insight, telling gaps, and small revelations, as, for example, when we learn that one character abandoned his ambitions to be a scientist after the war, left Israel to grow wealthy selling falafel in The Netherlands.
Folman recounts the soldiers’ narratives of disorientation, terror and loss by representing not only their experiences, but their dreams, hallucinations, distorted memories –all of which are rendered with exquisite power, mostly in vividly nightmarish cut-out animation. Added to these narratives are interviews with a psychologist, a trauma expert, a reporter who was on the scene at the refugee camps and others –adding texture and commentary to an already multi-layered story.
This films provides a fresh engagement with issues of memory and trauma, and explores the dynamics between the trauma of a nation –not only a war but the deep unexamined scar of “indirect responsibility” for a genocide— and the trauma of an individual soldier. Representing the soldier’s war as a lonely, companionless and even passive experience, the film works to undermine a host of cinematic conventions. The viewer becomes alert to the paradox that the animation has the estranging effect of making what it recounts more “real” through its access to characters’ interior states.
Summary:The film opens on the Coeur d'Alene Indian Reservation -- called "the rez" by its inhabitants -- in 1998. Immediately there is a flashback to July 4, 1976 when the community was celebrating "white man's Independence Day" in drunken abandon. Accidentally Arnold Joseph (Gary Farmer) sets an uncontrollable fire to his neighbor's house, killing the couple who live there. But Joseph catches the baby, Thomas, when he is thrown out of a second story window from the burning house. The rescued Thomas (Evan Adams) is brought up by his grandmother and along side of Victor (Adam Beach), Arnold Joseph's son of about the same age. Joseph keeps on drinking but is in despair about the conflagration and its consequences.
This film documents the quiet devastation of Alzheimer's disease from a daughter's perspective. Using home movie clips and up-close footage of conversations with her 84 year old mother (Doris Hoffmann), a skilled film maker/daughter (Deborah Hoffmann) provides a sustained and poignant documentary of Alzheimer's devastating ability to transform a vibrant and intelligent woman's life.
Interspersed with conversations that reveal her mother's disoriented recollections of the past and the glitches and confusion of daily life routines, home movies and other artifacts provide a contrasting impression of this woman's family and life then and now. Captions and clever title cards are used to organize events and to add gentle humor.
Frances Reid, the camera woman, is mentioned from time to time as someone known to both Deborah and Doris; eventually and without special emphasis, we learn that Frances and Deborah have a lesbian relationship and how Doris adjusted to the couple over the years.
The title refers to a Veteran’s Administration hospital regulation concerning the withholding of full medical benefits if an ailment is not specifically related to military service. In an oftentimes comic battle between the forces of good--physicians and vulnerable patients--and those of evil--the administrators and their minions--the story has currency and direct appeal to viewers.
The Darth-Vader-like administrators are self-serving, inhumane bureaucrats with emotions that run the gamut "from A to B" (Dorothy Parker). Physicians, especially the character played by Ray Liotta, but also his dedicated colleagues, are imaginative and non-rule abiding in their central concerns: the patients. They listen to stories and sympathize; in addition, they turf, lie, steal, and do whatever is necessary to protect, serve, and treat their patients. When the government denies a heart bypass, for example, the docs schedule prostate surgery for the official record and do, instead, the needed heart surgery.
At times, it’s as if the Marx Brothers or the Keystone Cops have donned white coats to sneak around the hospital with patient-centered antics. In the absurd bureaucracy, viewers, perforce, must cheer enthusiastically for the merry band of renegade docs.
Oscar, the narrator of this fresh fictional gem, is ten years old. Because his form of leukemia has not responded to treatment, he has been living in a French hospital for a very long time. His parents, who bring him gifts and surely love him, are uncomfortable during their infrequent visits. Dr. Dusseldorf and the nurses are kind, but indirect and distant in their communications with him. Because no one talks to him about his illness or what is likely to happen, he feels isolated, alone, and miserable.
When Mamie-Rose, a very elderly hospital "pink lady" (hospital volunteer) with an exotic past, enters Oscar's life, she brings honesty, warmth, and comfort to the lost child known as Bald Egg. Guided by this incredible person--a blunt-spoken, irreverent woman who touches him, kisses him, and tells him wondrous stories of her wrestling feats--the boy grows stronger. Who wouldn't under the influence of the Strangler of Languedoc?
Of course Oscar is going to die. In addition to her generous companionship and her introductions of him to other children in the hospital, Mamie-Rose suggests letters to God as a way of feeling less lonely. "So God, on the occasion of this first letter I've shown you a little of what my life in the hospital is like here, where they now see me as an obstacle to medicine, and I'd like to ask you for clarification on one point: Am I going to get better? Just answer yes or no. It's not very complicated. Yes or no. All you have to do is cross out the wrong answer. More tomorrow, kisses. P.S. I don't have your address: what do I do" (65).
With Mamie-Rose treating him like a real kid, "move your but . . . we're not ambling along like snails" and Oscar scripting very candid letters to God, the first-person story about loneliness, love, and compassion is presented with spirited imagination. Oscar's story is quite extraordinary--and unforgettable.
Because this lucid, rich, and incisive book has not, as yet, been published in the United States, it has not acquired the readership it deserves. For those teaching Medical Humanities or those interested in broader or more global stories and perspectives about physician training, practice, and experiences, Helman’s most recent publication should be considered.
Part One (“Setting Out”) begins in South Africa where Helman’s family, comprised of a dozen doctors, has lived for generations and where his own medical studies occurred. As a child, he accompanied his father on rounds while other children spent holidays at the beach. Before long he discovered how hospitals, during the madness of Apartheid, were to “some extent a distorted mirror-image of the world outside” (3). Appalled by the differences in care and treatment, the keenly aware young man kept notes. His vivid observations of the harsh context of social injustices provide an unequivocal, eloquent, and disturbing critique of medicine then and there. His acute observations of physician behaviors and indigent populations in the city and in the bush contribute, as readers discover in later chapters, to the author’s expanded and compelling interests in cultural anthropology.
Part Two (“The Family Doctor”) leads to London. “After all the heat and light and space of Africa, London—with its low leaden sky and constant drizzle—was like living inside a Tupperware box, one stored deep inside a refrigerator” (47). In the 60s Helman’s migration required an adjustment to a world of technology and order, where as a family practitioner, he had become, in fact, a suburban shaman. In any society, patients wanted “relief from discomfort, relief from anxiety, a relationship of compassion and care, some explanation of what has gone wrong, and why, and a sense of order or meaning imposed on the apparent chaos of their personal suffering to help them make sense of it and to cope with it” (xvi).
Gradually Helman saw connections between the role of family physician and traditional healer: both involved an understanding of “not only a body’s internal equilibrium but also the equilibrium of the patient’s relationships with the world he or she lives in and how treatment should aim not only to treat the diseased organ but also to restore the patient’s life that equilibrium of relationships” (xvii). His encounters with patients and the stories they reveal suggest how important these often overlooked connections are and why they ought to be included in medical training and practice.
By the time readers reach Part Three ("States of the Art”), the author has moved into broader realms of thinking, in which medicine and illnesses are examined anthropologically. After 27 years of clinical practice Helman’s white coat and stethoscope are placed on a hook. Now, as a credentialed anthropologist at University College London, his larger lens allows for sustained scrutiny of the complexities, ambiguities, and nuances in such chapters as “Grand Rounds,” “Hospitals,” “Placebos,” “Third Worlds.” Helman’s range of experiences, multi-disciplinary training, intellectual conclusions, and abundant common sense argues for techno-doctors to learn from holistic practitioners. Whether devastating or humorous, the critiques reflect not just care provision but shared human capacities: the insights are thoughtful and fresh and very worthwhile.
In December 1995, at the age of 43, the author suffered a sudden and severe stroke in the brain stem and emerged from a coma several weeks later to find himself in a rare condition called "locked-in syndrome" (LIS). Although his mind was intact, he had lost virtually all physical control, able to move only his left eyelid. There was no hope of significant recovery. This memoir, composed and dictated the following summer, consists of Bauby's brief and poignant reflections on his condition and excursions into the realms of his memory, imagination, and dreams.
The composition of this book was an extraordinary feat in itself. Unable to write or speak, Bauby composed each passage mentally and then dictated it, letter by letter, to an amanuensis who painstakingly recited a frequency-ordered alphabet until Bauby chose a letter by blinking his left eyelid once to signify "yes." In what was likely another heroic act of will, Bauby survived just long enough to see his memoir published in the spring of 1997.
Like her earlier collection, Words Like Fate and Pain (see this database), the thread of connection among these exquisite poems is the experience of chronic suffering. However the poems vary widely in focus and content, including those that touch on the intimacies of love found and lost, family relationships, musings on the road, political events, philosophical ideas, and qualities of words themselves. All open doors to an inner life deeply examined and thoughtfully lived. The poems deal frankly not only with the experiences of various kinds of pain, but with pain remembered and feared, with the mental detachment that enables one in pain not only to endure, but even at times to be playful about the business of living life in spite of ongoing suffering.
One is aware of the speaker in these poems as not only a patient, but as a writer who loves words, a woman who enters wholeheartedly into the relationships life puts in her path, and an observer with a wry wit and sharp sense of irony. Poem titles include "Cripple Time," "Trauerarbeit," "Phantom Life," "The Mind, That Ocean," "Pain as Metaphor," "Sleeping in My Notebook," "One, With Egg Roll," and "Waltzing the Gorilla."
Summary:This memoir, written with the help of Bart Davis, was published two years after the publication of a study that documented Price's "hyperthymestic syndrome"--the exceptional comprehensive memory of the details of daily life that dates back to her early adolescence. Price tells of the relief and fascination she felt in working with researchers at U.C. Irvine to arrive at a diagnosis of her rare, and in some ways unprecedented, condition. The narrative includes both her own account of the testing she underwent for purposes of diagnosis and brain mapping, and her story of growing up with an exceptional, and in some ways burdensome capacity to remember with detailed accuracy everything that happened, by date, including vivid replication of the emotions and sense experiences of the remembered moment. Her story includes a particularly thoughtful chapter on losing her husband suddenly and the role of memory in mourning.
The meeting of John and Florence Dowell and Edward and Leonora Ashburnham in a German health spa is the center of a train of lies, deceptions, adulterous love triangles, and deaths. John Dowell, a memorably "unreliable" narrator, calls it "the saddest story I have ever heard" (7). His narrative distance stems partly from the pastness of the events, partly from his absence for some of them, but mostly from his ignorance or denial of realities as intimate as his wife's serial deceptions of him.
Heart disease is the central narrative trope, a literary device easily unpacked as a site of irony: Each of the two major characters who have a "heart" (i.e. heart condition) is faking it, in service of his/her serial "affairs du coeur." Florence fabricates her heart trouble before her marriage is ever consummated, using it to turn Dowell into a cardiac nurse and keep him out of her bedroom. Edward Ashburnham fakes his illness to escape his military post and take his latest love object (and his stoically Catholic wife) to Germany.
The extramarital romps occasioned by Dowell's solicitude for Florence's "heart" comprise the main gag of this novel's comic beginning. When the focus shifts to Edward, Leonora, and their ward Nancy Rufford, The Good Soldier becomes a tragedy of emotional sadism, sentimental martyrdom, madness, and moral exhaustion that leaves us unsure about who in this novel has a literal or figurative heart.