在两次世界大战之间的非虚构性卫生电影中的危险性表现:法德比较。

Q4 Arts and Humanities
Joël Danet
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引用次数: 1

摘要

在两次世界大战之间的时期,性病预防电影伴随着对梅毒的新的“永久”治疗的引入。虽然他们仍然警告观众关于感染的危险,这些电影主要是为了告知这些治疗梅毒的新方法。这些方法只有在被感染的病人在出现第一个症状时立即咨询有资格的医生(而不是骗子)时才有效。卫生教育影片制作专员的目标往往不仅仅是传达宣传信息。他们坚持并发挥电影媒介提供给成人观众的教育潜力。在讨论性健康等主题时,这些电影讲述了观众的私密生活,面对的角色的性行为是为了呼应他们自己或他们的朋友和亲戚。为了适当地提高人们的意识,影片必须为他们护航,帮助他们克服混乱,并说服他们,他们在道德上能够采取必要的措施来避免传染。本文对1928年至1931年间制作和放映的三部反性电影进行了深入的比较研究,这是欧洲大陆预防梅毒电影发展的一个短暂但关键的时期。这三部电影说明了剧本动作的两种形式。在法国电影中,病人被认为是一个悲剧英雄,而医疗机构则被认为是一个有天意的人。与这些法国电影相反,德国电影倾向于展示一种更实事求是的方法,这不是为了淡化风险,而是为了清楚地识别和解决面临危险的社区,并展示一旦确诊感染是如何处理的。在这里,我将这些电影放在一起考虑,以展示如何采用不同的方式传达相同的医学话语来适应国家电影环境。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Representation of Dangerous Sexuality in Interwar Non-Fiction Sex Hygiene Films: A Franco-German Comparison.
In the interwar period VD prevention films accompanied the introduction of new "permanent" treatments for syphilis. While they still warned the audience about the dangers of infection, these films were primarily designed to inform about these new methods for curing syphilis. These methods could only be effective if the infected patient immediately consulted a certified doctor (as opposed to a charlatan) upon experiencing the first symptoms. The objectives of the commissioners of health education films tended to go beyond simply conveying a propaganda message. They adhere to and act on the educational potential that the film medium offers to an adult audience. In addressing subjects like sexual health, the films speak to the intimate lives of the audience members, faced with characters whose sexual behaviour is meant to echo their own or that of their friends and relatives. In order to properly raise awareness, the film must escort them, help them overcome their disarray, and persuade them that they are morally able to adopt the necessary measures to avoid contagion. This paper consists in an in-depth comparative study of three anti-venereal films produced and shown between 1928 and 1931, a short but pivotal period in the development of continental European syphilis prevention films. The three films illustrate two forms of screenplay action. In the French films, the patient is identified with a tragic hero and the medical institution embodied by a providential man. Contrary to these French films, the German film tends to display a more matter-of-fact-approach, which is not meant to downplay the risks but rather to clearly identify and address the community exposed to danger and to present how the infection is taken care of once it is diagnosed. Here I consider these films together to show how different ways of conveying the same medical discourse were adopted to adjust to national cinematographic environments.
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期刊介绍: Gesnerus is the official journal of the Swiss Society for the History of Medicine and Sciences (SSHMS). It publishes original articles, short communications and documents on different periods and aspects of the history of medicine and sciences and also focuses on theoretical and social aspects of this subject.
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