Intervention d'ouverture d'Ernest Gibert

Gibert, Ernest

doi:10.4000/books.msha.13959

Cited by 1 publication

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“…Franju 'saw himself as a puppeteer and his actors as puppets', comments Queysanne 95 . He had no interest in psychological naturalism, and didn't rehearse scenes prior to shooting, yet he was obsessive about how his actors stood, their position, pose and silhouette.…”

Section: The Stylistics Of Horrormentioning

confidence: 99%

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Theatres of surgery: The cultural pre-history of the face transplant

Biernoff

2018

Wellcome Open Res

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The first facial transplant, using a donor’s nose, chin and mouth, was performed on Isabelle Dinoire in France in 2005, but the idea of removing or replacing the face – either with a mask, or with a living face – has been around for much longer. This article explores the cultural pre-history of face transplantation: its speculative existence in legend, literature and film before it became a medical possibility at the beginning of the twenty-first century. One of the questions posed here is: how (and for what purpose) do medical ‘firsts’ like Dinoire’s surgery acquire a history? The article begins by considering the uses of the past by transplant surgeons themselves, and by those who are concerned about the ethical or psychological implications of organ and face transplantation. Having considered these different investments in the past – one emphasising medical progress, the other highlighting enduring anxieties about medical experimentation – we turn to the first cinematic portrayal of face transplantation, in Georges Franju’s horror classic Les Yeux sans Visage ( Eyes Without a Face, 1959). An exploration of Franju’s sources suggests a more complicated relationship between medical innovations and their cultural contexts and highlights the changing significance of the face as a site of medical and aesthetic intervention.

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Section: The Stylistics Of Horrormentioning

confidence: 99%

“…You had to hold the glass a certain way. He wanted it framed and frameable … a bit like the way a painter gets his model to strike a pose,' says Scob 96 . When we see Edna after the fateful operation she is being kept in a locked cell, her head wrapped in bandages leaving only her eyes and mouth visible.…”

Section: The Stylistics Of Horrormentioning

confidence: 99%

Theatres of surgery: The cultural pre-history of the face transplant

Biernoff

2018

Wellcome Open Res

View full text Add to dashboard Cite

show abstract

Intervention d'ouverture d'Ernest Gibert

Cited by 1 publication

References 0 publications

Theatres of surgery: The cultural pre-history of the face transplant

Theatres of surgery: The cultural pre-history of the face transplant

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