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Prior events
Televisions began to appear in the homes of large numbers of the public in Europe and
North America after World War II. This coincided with a period in which ideas about the public’s health, the problems that it faced and the solutions that could be offered, were changing. The threat posed by infectious diseases was receding, to be replaced by chronic conditions linked to lifestyle and individual behaviour. Public health professionals were enthusiastic about how this new technology and mass advertising could reach out to individuals in the population with the new message about lifestyle and risk. TV offered a way to reach large numbers of people with public health messages; it symbolised the post war optimism about new directions in public health. But it could also act as a contributory factor to those new public health problems. Watching TV was part of a shift towards more sedentary lifestyles, and also a vehicle through which products that were damaging to health, such as alcohol, cigarettes and unhealthy food, could be advertised to the public. Population health problems could be worsened by TV viewing. How should we understand the relationship between TV and public health? What are the key changes and continuities over time and place? How does thinking about the relationship between public health and TV change our understanding of both? In this three-day conference, we seek to explore questions such as:
- How did the enthusiasm develop for TV within public health?
- How were shifts in public health, problems, policies and practices represented on TV?
- How was TV used to improve or hinder public health?
- What aspects of public health were represented on TV, and what were not?
- How did the public respond to health messages on TV?
- What were the perceived limitations of TV as a mass medium for public health?
- In what way was TV different from other forms of mass media in relation to public health?
- How were institutions concerned with the public’s health present – and staged – on TV broadcasts?
The conference aims to bring together scholars from different fields (such as, but not limited to, history, history of science, history of medicine, communication, media and film studies, television studies) working on the history of television in Great Britain, France and Germany (West and East) (the focus of the ERC BodyCapital project), but also other European
countries, North and South America, Russia, Asia or other countries and areas.
ERC BodyCapital is a research project centred on audio-visual representations of the body in the twentieth century, up to the birth of YouTube in 2005. BodyCapital considers the birth of the Internet as the point at which film and television were succeeded as modes of mass communication, wherein a new space for democratised content and new forms of expression and sociability was created and developed. The Internet has foregrounded both the broad potential of multimedia and the logic of networking practices for the mass audience. It has consequently opened up a new field of distribution within and responding to known structures (institutions, companies, traditional media) whilst reconfiguring relationships between the mass media and its publics. In this sense, Internet has established a mode of interactivity, inspiring individual initiatives through the creation of personal sites.
INA-Grand Est, 31 rue Kageneck (1e étage), 67000 Strasbourg, France
To register, or for further information, tkoenig@unistra.fr
Une occasion unique de découvrir des films de propagande anti-syphilitique anciens et de participer à une discussion interdisciplinaire sur la place des infections sexuellement transmises (IST) dans les sociétés d’hier et d’aujourd’hui !
Entrée libre le 22 novembre 2018 de 12h à 16h30, aux Hôpitaux Universitaire de Genève (précisions à venir).
Pour cette 3e édition de “Cinéma et syphilis”, nous nous intéresserons aux films de prévention produits au cours de la Deuxième Guerre mondiale. Au programme : projection d’extraits de Sex Hygiene (US, John Ford, 1941), Ein Wort von Mann zu Mann (GER, Alfred Stöger, 1941), L‘ennemi secret (FR, J.K Raymond-Millet, 1945), suivie de discussions avec nos experts invités. (Programme définitif à suivre.)
Organisation : Prof. Alexandre Wenger (UniGe), Dre Laurence Toutous-Trellu (HUG), Prof. Christian Bonah (UniStra)
The concept of excess is ambivalent: It can signify phenomena ranging from certain religious practices to drug abuse to aspects of consumer culture; it can be an empowering self-description or a stigmatizing judgment. This openness is also reflected in a variety of closely related terms that are sometimes shared by multiple languages, such as "ecstasy," "exstase," and "Ekstase" in English, French, and German, but which might also be associated with divergent concepts like "frenzy," "ivresse," or "Rausch." The workshop seeks to analyze these facets of excess and asks how excess has been perceived and constructed in different media. It aims to explore how images of the body, health, morality and emotions varied over history, across cultures, and how the media themselves have contributed to the ways in which the concept of excess has been shaped and used.
Throughout the age of television health and body-related subjects have been presented and diffused into the public sphere via a multitude of forms, ranging from short films in health education programmes to school television, from professional training to TV ads, from documentary and reality TV shows to TV news, but also as complementary VHS and similar video formats circulating in private and public spheres. From live transmission of daunting surgical operations or accounts of medication scandals in the 1950s and 1960s to participatory aerobic workouts or militant AIDS documentaries, bodies and health on television and more genuinely the interrelationship of the history of health and bodies and the history of the various TV formats has not been extensively researched. Our assumption is that such audio-visuals are not conceived merely as a mirror or expression of what is observed, but that visuals should be regarded as a distinct, interactive performative power of mass media societies.
The three-day conference aims to investigate how television programmes in their multiplicity approached issues like medical progress and its limits, healthy behaviour or new forms of exercise by adapting them to TV formats and programming. A telling example of this is the US born aerobics movement as it was brought to TV in Europe, in shows such as Gym Tonic (from 1982) in France, Enorm in Form (from 1983) in Germany or the Green Goddess on BBC Breakfast Time (from 1983) in Great Britain. Contemporary, similar and yet differing in national broadcast contexts, the conference seeks to analyse how television and its evolving formats expressed and staged bodies, health and in the above example fitness from local, regional, national and international perspectives. How spectators were invited not only to be TV consuming audiences, but how shows and TV set-ups integrated and sometimes pretended to transform the viewer into a participant of the show. TV programmes spread the conviction that subjects had the ability to shape
their own body.
Further, we take into account the long-term evolution of televisual editorialization and staging, notably as it focused on the intimate and adapted to consumer/market logic. We ask what effects these had on the preventive information and the messages related to current health and medical techniques that were diffused. The conference seeks to better understand the role that TV, as a modern visual mass media, has played in what may be cast as the transition from a national bio-political public health paradigm at the beginning of the twentieth century to societal forms of the late twentieth century when better and healthier lives were increasingly shaped by market forces. For further information or to register, tkoenig@unistra.fr
The conference is organized by the ERC funded research group BodyCapital, and hosted by Wellcome Collection. The healthy self as body capital: individuals, market-based societies and body politics in visual twentieth century Europe (BodyCapital) project is directed by Christian Bonah at the Université de Strasbourg in collaboration with Anja Laukötter at the Max Planck Institute for Human Development, Berlin. The project is funded by the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Advanced Grant agreement No 694817).
The scientific committee:
- Christian Bonah (Université de Strasbourg)
- Anja Laukötter (Max-Planck-Institute for Human Development, Berlin)
- Tricia Close-Koenig (Université de Strasbourg)
- Sandra Schnadelbach (Max-Planck-Institute for Human Development, Berlin)
- Angela Saward (Wellcome Collection, London)
- Tim Boon (Science Museum, London)
- Virginia Berridge (London School of Hygiene and Tropical Medicine)
- Alex Mold (London School of Hygiene and Tropical Medicine)
L’Association INEDITS est une association européenne créée en 1991 pour encourager la collecte, la conservation, l’étude et la mise en valeur des films amateurs. Elle regroupe aujourd’hui des associations, des institutions ou des particuliers. En 2017, elle compte une quarantaine de membres issus de plusieurs pays européens (France, Grande Bretagne, Italie, Luxembourg, Monaco,Pays-Bas, RépubliqueTchèque). Ses membres se retrouvent chaque année pour échanger sur leurs pratiques, autour d’interventions d’universitaires ou de témoins et découvrir des films ou des spectacles conçus à partir de films amateurs.
Le secret, le non-dit, la dissimulation font partie intégrante de l’histoire de la syphilis et, plus largement, de celle des IST. La syphilis avance masquée : d’une part parce que la variété de ses manifestations la rend parfois indétectable par le malade. D’autre part parce qu’elle a longtemps été considérée comme une maladie intime et honteuse qui doit être cachée aux proches : en faire l’aveu est difficile, alors même que la précocité du diagnostic est un enjeu de santé fondamental. Jusqu’à la découverte de la pénicilline, cette clandestinité de la maladie a favorisé le recours à de soi-disant “remèdes secrets”, présentés comme des panacées indolores et d’utilisation discrète. Aujourd’hui encore, la confidentialité et le secret de fonction peuvent mener les praticiens à des dilemmes éthiques, dès lors que la santé de personnes tierces est en jeu.
Les films antisyphilitiques de la première moitié du 20e siècle montrent la maladie mais pas la sexualité, qui doit pudiquement rester dissimulée aux yeux des jeunes gens. Le discours prophylactique qu’ils véhiculent voile autant qu’il ne dévoile : que peut-on dire pour prévenir, que faut-il taire pour ne pas inciter ? Pour les autorités politiques et morales de l’époque, la syphilis apparaît comme une tache d’impureté marquant une population, un opprobre qu’il faut cacher. Les prostituées, que tant de films incriminent, sont dérobées aux yeux de la population, cantonnées dans de discrètes maisons closes, ou reléguées dans la clandestinité. Enfin, la lutte contre la syphilis a motivé des expérimentations pathologiques, elles aussi marquées du sceau du secret.
Informations complémentaires
An international conference, Université de Strasbourg
Do you know how much rapid eye movement (REM) sleep you need to work efficiently, look at food labels to ensure that you are getting all the required vitamins and minerals or know someone who uses a step counter to know if they are getting enough physical activity? These are just a few examples of the perceptions of health and individual practices in twentieth century Europe. This century may be characterized by an expansion of products and techniques for the body and its health. These are not only witnessed by, but contributed to and were affected by, a flood of visuals that circulated transnationally and the advent of a media society. Bodily health has evolved as a new form of capital (Bourdieu 1979): a form of symbolic capital that can be transformed into economic capital. The ERC funded research group “The healthy self as body capital: individuals, market-based societies and body politics in visual twentieth century Europe” led by Christian Bonah (Université de Strasbourg) and Anja Laukötter (MPIHD, Berlin) will research this understanding of body capital, and its history, by focusing on the history of visual mass media (film, TV, Internet) and inédits (amateur, family and private visuals) throughout the twentieth century in Europe and beyond...
Programme
A milestone of BodyCapital, the ERC project focusing on the impact of body visuals produced for audiovisual broadcasting media across 20th century Europe, this study day invites us to look closely into the specific French television context. How has television taken over health and well-being topics? What kind of editorial lines and mise-en-scène did they choose? Was this only about relaying the institutional, governmental and commercial discourses, or did they include the critical approach that is specific to journalism? Our study approach is both specific and global. It chooses to highlight a show’s original approach or simply confront a whole set of programmes on the topic. By looking into contents submitted to censorship, we will also see which topic choices and types of treatment helped television push against imposed editorial limits. We will then examine the representation of the body within this corpus of visuals: gendered body, anonymous body, body silhouette, head, trunk, entire body, body in motion, body at rest.
At a time when syphilis was considered a social scourge against which both traditional remedies (mercurial therapy) and medical breakthroughs (chemotherapy and arsenic derivatives) remained hardly efficient, anti-syphilitic propaganda films proved to be a modern, unconventional and powerful prophylactic weapon.
During this Syphilis and cinema study day, film excerpts will be shown and commented by specialists. Rediscover these remarkable black and white silent films that inspire a rich reflection on the history of prophylaxis, the societal status of venereal diseases, and the ideological representations that can determine public health policies.
Workshop 5 CIERA - MedFilm – ERC BodyCapital
In March 1915, the French army established the Section Cinématographique de l’Armée (French Army Cinematographic Section or SCA), after an agreement signed by the first four French film producers – Pathé, Gaumont, Éclair and Eclipse. These companies would provide the army with their own technicians in order to document the war. In return, the pictures shot under the supervision of the military would feed the producers with news. The aim was threefold: illustrating the material and moral strength of the French army, film-documenting the destruction caused by the German army, and finally showing the population what daily military life was like, from the trenches to military equipments and institutions.
Journée d'études Ciera MedFilm 4
La médecine et la santé comptent parmi les thèmes courants abordés par le cinéma. Nombreux sont les films qui placent la maladie, considérée comme fléau ou combat personnel, au cœur de leur récit. D’autres, ou les mêmes, esquissent le portrait de patients ou de médecins, prennent pour cadre l’institution de santé ou de traitement. Ils participent de cette façon à l’élaboration des représentations culturelles de la médecine comme enjeu vital et comme pratique professionnelle. Certaines de ces représentations concernent la maladie dans son historicité, considérée dans une époque donnée, d’autres atteignent l’expérience permanente, « trans-temporelle », de la condition de patient.
Journée d'études Ciera MedFilm 3
Né avec le début du cinéma, le film biographique ou biopic (biographical motion picture) est un sous genre qui connaît un premier âge d'or dans les anées 1930 à Hollywood, et s'incarne notamment dans la collaboration avec la Warne Brothers et le réalisateur Wilhelm Dieterle (Elsaesser, 1986). Aux cotés de "grands personnages" (hommes politiques, héros militaires ou inventeurs), le médecin/chercheur devient une figure classique de cette production. Le récit canonique montre invariablement un individu progressiste luttant pour une innovation scientifique au bénéfice de l'humanité contre un cadre institutionnel plutôt réactionnaire, attaché à la défense de conceptions et de valeurs traditionnelles mais dépassées.
Journée d'études Ciera MedFilm 2
Dans les années soixante, avec l’essor du film d’entreprise, le cinéma médical connaît un développement intense grâce à l'implication des laboratoires pharmaceutiques dans leur production et leur distribution. Elle vise à contribuer à l'enseignement universitaire et à la formation continue des médecins. Il s'agit en même temps d'augmenter la notoriété, voire le prestige de la marque en l'associant aux films projetés.
Information, persuasion, propaganda. The medical and public health film as a means of communication between science, medicine, public and society in France, 1900-1960
Les activités de santé s’inscrivent dans la trame historique de la vie collective et individuelle, s’écrivent au fil de l’existence intersubjective et intime, et se déclinent à travers des discours et des récits.
Dans les récits se tisse la texture du monde : des récits mythiques à la narration à l’œuvre dans l’échange quotidien - et singulièrement dans l’espace de la clinique -, en passant par l’historia antique, la littérature, la représentation artistique, les journaux intimes et publics, les histoires que nous racontons agencent les heurs et les malheurs, dans l’expérience langagière que nous en faisons.
Organisé par le COSHSEM - Collège des enseignants de SHS en santé - le centre d'histoire des sociétés , des sciences et des conflits (CHSSC, EA 4289) et le département de sciences humaines et sociales du pôle santé UPJV.
L'œuvre du réalisateur en elle-même sera notre objet d'études. Nous entreprenons cette nouvelle phase de notre analyse à travers trois thèmes directeurs : le style propre d'Eric Duvivier en tant que cinéaste, la question du récit et des motifs qui les sous-tendent et enfin le goût de l'expérimentation qui marque sa production.
Voir les vidéos des interventions (Canal-U)
À la croisée de l’orientation professionnelle et de l’éducation sanitaire à l’école. Les films du SCÉRÉN-CNDP (années 1960-1970).
Laurent Garreau, Émannuelle Simon, France Garat, Annette Bon, Vincent Lowy, Jacques Rutman, Alexandre Sumpf, Christian Bonah, Joël Danet, Anne Masseran, Thierry Lefebvre.
Communicating Good Health: Movies, Medicine, and the Cultures of Risk in the Twentieth Century
This conference aims to explore the historical development of the public health education film as a medium for transforming public ideas and practices about disease, health and the body. In particular, it seeks to show how a variety of medical and public health organizations turned to movies to educate the public, reform their health behaviours, and manage their anxieties and hopes about health, illness, and medical interventions.
ressources : http://medfilm.misha.fr/
Du 14 mars au 13 avril, l’Université de Strasbourg rend hommage aux victimes de Tchernobyl, catastrophe nucléaire majeure, et s’interroge sur la situation actuelle des populations irradiées et de leur descendance.
The digital platform of teaching and research MedFilm is a collaborative initiative accommodated by the University of Strasbourg.
Every person who wishes to participate in the constitution of the database, in the location of medical and sanitary utilitarian movies or the writing of notes about movies is invited to contact us at: MedFilm ( at ) unistra.fr. The information contained on the platform MedFilm is validated in an academic way before their publication by the editorial persons in charge of MedFilm. The writers are recognized and mentioned as authors of the produced texts.
Collaborations can be made either from movies already spotted by ourselves either from outside suggestions. The latter have to concern utilitarian movies / unpublished for which we can obtain an authorization of restricted on-line publishing.
We hold at the disposal of the writers aform of blank typical analysis. The persons in charge of MedFilm wish that the site is mentioned to medfilm.unistra.fr when a communication or a publication leans on the movies that it puts on-line or the contents of the concerned notes.
