Difference between revisions of "Bas 1:Let there be light"
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Revision as of 14:35, 30 May 2018
| Let there be light
| |
|---|---|
| Title | Let there be light |
| Year of production | 1946 |
| Country of production | États-Unis |
| Director(s) | John Huston |
| Duration | 58 minutes |
| Format | Parlant - Noir et blanc - 35 mm |
| Original language(s) | English |
| Archive holder(s) | National Library of Medicine |
Main credits
(français)
Content
Medical themes
- Traumata. Injuries. Wounds
- Regressive and reparative processes
- Neural (nervous) disorders
- Various aspects of disease, patients and medical intervention
- Semeiology. Symptomatology. Signs and symptoms. Examination. Diagnosis. Propaedeutics
- Treatment
- Psychiatry. Pathological psychiatry. Psychopathology. Phrenopathies. Psychoses. Mental abnormality. Morbid mental states. Behavioural and emotional disturbances
Theme
(français)
Main genre
Synopsis
(français)
Context
(français)
Structuring elements of the film
- Reporting footage : Yes.
- Set footage : No.
- Archival footage : No.
- Animated sequences : No.
- Intertitles : Yes.
- Host : No.
- Voice-over : Yes.
- Interview : No.
- Music and sound effects : Yes.
- Images featured in other films : No.
How does the film direct the viewer’s attention?
(français)
How are health and medicine portrayed?
(français)
Broadcasting and reception
Where is the film screened?
(français)
Il n'a jamais été diffusé car il a été censuré par l'armée.
Presentations and events associated with the film
(français)
Ce film a fait partie de la sélection Un certain regard du Festival de Cannes en 1981.
Audience
(français)
Local, national, or international audience
Description
(français)
Supplementary notes
(français)
Musique : Dimitri Tiomkins
Photo : Stanley Cortez
Voix off : Walter Huston (père de John Huston)References and external documents
(français)
C. A. Morgan III, From Let there be light to Shades of Grey: the construction of authoritative knowledge about combat fatigue (1945-1948) in Signs of life, Cinema and Medicine, edited by Graeme Harper and Andrew Moor, Wallflower Press, London and New York, 2005.
