Filmmakers have often encouraged us to regard people with physical disabilities in terms of pity, awe, humor, or fearas "Others" who somehow deserve to be isolated from the rest of society. In this first history of the portrayal of physical disability in the movies, Martin Norden examines hundreds of Hollywood movies (and notable international ones), finds their place within mainstream society, and uncovers the movie industry's practices for maintaining the status quokeeping people with disabilities dependent and "in their place." Norden offers a dazzling array of physically disabled characters who embody or break out of the stereotypes that have both influenced and been symptomatic of societys fluctuating relationship with its physically disabled minority. He shows us "sweet innocents" like Tiny Tim, "obsessive avengers" like Quasimodo, variations on the disabled veteran, and many others. He observes the arrival of a new set of stereotypes tied to the growth of science and technology in the 1970s and 1980s, and underscores movies like My Left Foot and The Waterdance that display a newfound sensitivity. Nordens in-depth knowledge of disability history makes for a particularly intelligent and sensitive approach to this long-overlooked issue in media studies.
This dynamic and richly layered account of mental health in the late twentieth century interweaves three important stories: the rising political prominence of mental health in the United States since 1970; the shifting medical diagnostics of mental health at a time when health activists, advocacy groups, and public figures were all speaking out about the needs and rights of patients; and the concept of voice in literature, film, memoir, journalism, and medical case study that connects the health experiences of individuals to shared stories. Together, these three dimensions bring into conversation a diverse cast of late-century writers, filmmakers, actors, physicians, politicians, policy-makers, and social critics. In doing so, Martin Halliwell’s Voices of Mental Health breaks new ground in deepening our understanding of the place, politics, and trajectory of mental health from the moon landing to the millennium.
In the late 1910s Dr. Harry J. Haiselden, a prominent Chicago surgeon, electrified the nation by allowing the deaths of at least six infants he diagnosed as "defectives". He displayed the dying infants to journalists, wrote about them for the Hearst newspapers, and starred in a feature film about his crusade. Prominent Americans from Clarence Darrow to Helen Keller rallied to his support. Martin Pernick tells this captivating story--uncovering forgotten sources and long-lost motion pictures--in order to show how efforts to improve human heredity (eugenics) became linked with mercy killing, as well as with race, class, gender and ethnicity. It documents the impact of cultural values on science along with the way scientific claims of objectivity shape modern culture. While focused on early 20th century America, The Black Stork traces these issues from antiquity to the rise of Nazism, and to the "Baby Doe", "assisted suicide" and human genome initiative debates of today.
This book traces the concept of idiocy as it has developed in fiction and film in the nineteenth and twentieth centuries. It focuses particularly on visual images of idiocy and argues that writers as diverse as Gustave Flaubert, Fyodor Dostoevsky, Joseph Conrad, John Steinbeck, Flannery O'Connor and Rohinton Mistry, and filmmakers such as Jean Renoir, Akira Kurosawa, Alfred Hitchcock, Werner Herzog and John Huston have all been attracted to idiot figures as a way of thinking through issues of language acquisition, intelligence, creativity, disability, religion and social identity. Martin Halliwell provides a lively and detailed discussion of the most significant literary and cinematic uses of idiocy, arguing that scientific conceptions of the term as a classifiable medical condition are much too narrow. With the explosion of interest in idiocy among American and European filmmakers in the 1990s and the growing interest in its often overlooked history, this book offers a timely reassessment of idiocy and its distinctive place at the intersection of science and culture.
Filmmakers have often encouraged us to regard people with physical disabilities in terms of pity, awe, humor, or fearas "Others" who somehow deserve to be isolated from the rest of society. In this first history of the portrayal of physical disability in the movies, Martin Norden examines hundreds of Hollywood movies (and notable international ones), finds their place within mainstream society, and uncovers the movie industry's practices for maintaining the status quokeeping people with disabilities dependent and "in their place." Norden offers a dazzling array of physically disabled characters who embody or break out of the stereotypes that have both influenced and been symptomatic of societys fluctuating relationship with its physically disabled minority. He shows us "sweet innocents" like Tiny Tim, "obsessive avengers" like Quasimodo, variations on the disabled veteran, and many others. He observes the arrival of a new set of stereotypes tied to the growth of science and technology in the 1970s and 1980s, and underscores movies like My Left Foot and The Waterdance that display a newfound sensitivity. Nordens in-depth knowledge of disability history makes for a particularly intelligent and sensitive approach to this long-overlooked issue in media studies.
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