Accueil:Workshop 7 novembre 2016/en

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Monday 7 November
Workshop 5 CIERA - MedFilm – ERC BodyCapital

War medicine and medicine under war in nonfiction cinema: information, communication, propaganda?
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.

Programme workshop5 FR.pdf
In the German context, a similar evolution took place a little later on, with the setting up of the Universal Film Aktiengesellschaft (UFA). Founded in Berlin in 1917, the UFA established a government funded department dedicated to the production of educational health related films under wartime. Similarly in November 1917, the Art Department of the Army Medical Museum took on a new task, with the setting up of the Instruction Laboratory and the American Armed Forces’ Commission on Training Camp Activities (CTCA). They produced about a hundred films related to the war effort between late 1917 and March 1919. In Russia, the Skobelev Committee was given the monopoly of war zone filming from December 1914, despite its lack of experience in the field. The sale of exclusive images was to help fund support to the wounded, which had always been the Committee’s primary task. Increasing its expenses and recruiting the best technicians from private studios such as Pathé Russia, the Committee soon started producing war news for the Russian audience and then, propaganda documentaries (1915). The cinematographic documentation of war includes numerous medical and health related films ranging from clinical motion pictures featuring shell-shock victims to field hospital and transportation of casualties filming. These films are usually either stored in archives or lost. Of particular interest is the series of fifteen clinical films devoted to shell-shock victims suffering from nervous disorders, some of them filmed naked. Such images were used for military training purposes, and sometimes intended for the entire population.

1 - A5-Français(3).pdf
The “war medicine and medicine under war” workshop will study (a) the mise-en-scene of life and health in wartime both for military and civilian audiences; (b) the evolution of its form and content from the First to the Second World War; and (c) how these films as means of communication were associated with other media such as brochures, booklets, posters, postcards and radio. Here attendants will be invited to consider these films as means of communication in a wider context. How did the French, Germans, Brits and Russians film the ordeal endured by bodies and minds because of machine warfare? During the Great War, how did governments promote, on the Eastern and Western fronts, the organization of efficient health systems, the purpose of which was to send back to the battlefield as many wounded soldiers as possible? How does cinema use images to rebuild the social status of diminished men, whose flaws science strives to alleviate?

Programme and filmography
2016 11 2 WS5 ABSTRACTS.pdf
The films will not be projected during the workshop, so make sure you view them (see attached file) on MedFilm beforehand. We recommend you use Chrome as your browser in its latest update for a better viewing experience, especially regarding the display of subtitles.

Salle des fêtes de l’Hôpital civil de Strasbourg
1 Place de l'hôpital
67000 Strasbourg
Contact : Mme Thérèse Vicente /

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