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Cinematic prophylaxis: Globalizatio...

Ostherr, Kirsten Anne.

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Cinematic prophylaxis: Globalization and contagion in the audiovisual discourse of world health.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Cinematic prophylaxis: Globalization and contagion in the audiovisual discourse of world health./
作者:	Ostherr, Kirsten Anne.
面頁冊數:	371 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 3700.
Contained By:	Dissertation Abstracts International62-02A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3006778
ISBN:	9780493160894

Cinematic prophylaxis: Globalization and contagion in the audiovisual discourse of world health.
Ostherr, Kirsten Anne.

Cinematic prophylaxis: Globalization and contagion in the audiovisual discourse of world health. - 371 p.

Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 3700.

Thesis (Ph.D.)--Brown University, 2001.

This item must not be sold to any third party vendors.

This dissertation interrogates the relationship between globalization, cultural production, and identity formation, by examining public health and Hollywood films that represent the spread of contagious disease across national borders. In these films, a concept of "world health" is constructed through a collapse of discourses of globalization and discourses of bodily integrity. This collapse produces a highly self-contradictory epistemological formation that is preoccupied with the borders of physical bodies as signifiers of national geographies. The resulting discourse of world health celebrates the ideals of modernization and global sanitation, but simultaneously views any international contact as the site of a breakdown of boundaries that will inevitably result in worldwide contagion. It is my contention that this contradiction is repeated at the level of representation. In my analysis of the films produced by global health surveillance organizations, I argue that the compulsion to visualize invisible contagions founders in the very medium that would seem most fitted to the task. But as my comparison of public health and Hollywood films confirms, instead of forestalling audiovisual articulation of the ideals of world health, the impossibility of producing a concrete indexical image of contagion has resulted in a proliferation of attempts to visualize the invisible, in both scientific and popular cultures, from the rudimentary educational films of the 1940s--50s to the sophisticated digital imaging technologies of the present. Through a formal, historical, and ideological study of the cinema of world health, this dissertation examines a key intersection of the geopolitical and the subjective in postwar cinema and culture. The investigation begins from an analysis of animation and voiceover as nonindexical strategies for "documenting" the spread of contagion, then proceeds to a critique of the audiovisual conflation of "non-normative" sexuality and race with disease. The second part of the project compares public health and science fiction films that represent national and bodily invasions, concluding with an examination of conspiracy films and computer virus imagery in which the human body is the site of convergence between the global flow of information and commerce and the global flow of contagious disease.

ISBN: 9780493160894Subjects--Topical Terms:

2122736
Film studies.

Cinematic prophylaxis: Globalization and contagion in the audiovisual discourse of world health.
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520 $a This dissertation interrogates the relationship between globalization, cultural production, and identity formation, by examining public health and Hollywood films that represent the spread of contagious disease across national borders. In these films, a concept of "world health" is constructed through a collapse of discourses of globalization and discourses of bodily integrity. This collapse produces a highly self-contradictory epistemological formation that is preoccupied with the borders of physical bodies as signifiers of national geographies. The resulting discourse of world health celebrates the ideals of modernization and global sanitation, but simultaneously views any international contact as the site of a breakdown of boundaries that will inevitably result in worldwide contagion. It is my contention that this contradiction is repeated at the level of representation. In my analysis of the films produced by global health surveillance organizations, I argue that the compulsion to visualize invisible contagions founders in the very medium that would seem most fitted to the task. But as my comparison of public health and Hollywood films confirms, instead of forestalling audiovisual articulation of the ideals of world health, the impossibility of producing a concrete indexical image of contagion has resulted in a proliferation of attempts to visualize the invisible, in both scientific and popular cultures, from the rudimentary educational films of the 1940s--50s to the sophisticated digital imaging technologies of the present. Through a formal, historical, and ideological study of the cinema of world health, this dissertation examines a key intersection of the geopolitical and the subjective in postwar cinema and culture. The investigation begins from an analysis of animation and voiceover as nonindexical strategies for "documenting" the spread of contagion, then proceeds to a critique of the audiovisual conflation of "non-normative" sexuality and race with disease. The second part of the project compares public health and science fiction films that represent national and bodily invasions, concluding with an examination of conspiracy films and computer virus imagery in which the human body is the site of convergence between the global flow of information and commerce and the global flow of contagious disease.
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