When one thinks of audio-visual recordings of psychiatric patients in the United States in the 1960s, the distressing images of Frederick Wiseman’s observational documentary Titicut Follies (1967) may come to mind. The Depressive Neurosis series from 1969 bears no resemblance to these films. Instead, the series offers a rare glimpse into the day-to-day world of late 1960s psychiatric practice, in which people with addiction, mental illness, or mental disabilities seek help and are received with an open mind and treated with dignity by the doctors they speak to and the camera crew that films them.
Public health and war have long been close companions. In the first terrible round of “modern wars”—the American Civil War, the Franco-Prussian War and World War I—military officials and civilian leaders called on health professionals and volunteers to help mobilize and protect military forces and civilian populations. Health experts in turn viewed these conflicts as a sort of laboratory to test and implement their theories, and an opportunity to use fresh knowledge and nascent technologies. They boarded the bandwagon to advance their professional, scientific, political, and ideological goals—and film was a medium with which to do so.
The National Library of Medicine is home to 83 films created by virologist Telford H. Work documenting his life’s work and travels. The films supplement Work’s manuscript collection, which covers his education, career, hobbies, and achievements. Captured between 1942 and 1988, the films were primarily shot on 16mm film, with video copies made later.
By David Cantor, PhD Instituto de Desarrollo Económico y Social (IDES), Buenos Aires
In 1949 the U.S. National Cancer Institute (NCI) and the Canadian Department of National Health and Welfare (DNHW) commissioned a cancer educational film, eventually called Challenge: Science Against Cancer. It was to be one of the first of a new form of film. The urgent task was to induce young scientists to think of cancer research and biomedicine as careers, and Challenge was to be a key part of the response.
By Benjamín Schultz-Figueroa, PhD, Assistant Professor in Film Studies, Seattle University
The history of animal testing and the history of the life sciences go hand in hand. Donna Haraway describes the emotional and ethical complexities with this work as the “shared suffering” of the lab. This argument is premised on the recognition of animal agency in the lab, a space where animals, apparatuses, and scientists are all responding and responsible to each other, though in very different ways.
Dr. Mary Catterall (1922-2015), doctor and sculptor, script and medical adviser to the film, It Takes Your Breath Away, became concerned with lung health when she was appointed Senior Registrar in Respiratory Medicine at Leeds General Infirmary, England in 1960. The film won a Silver Medal at the British Medical Association annual film competition in 1964.
The 1960s represent a turning point in popular awareness about environmental problems. The modern environmental movement that emerged in the mid-1960s and early ‘70s focused on a new set of concerns such as air pollution, water pollution, and pesticides. More federal environmental bills were signed in the 1960s and early 1970s than at any other period in U.S. history.
In the early twentieth century, American nursing leaders came to see the motion picture as a quintessentially modern instrument of education, training, and recruitment. In their view, movies were a powerful tool to transform public opinion, to instruct new recruits in the mysteries of nursing practice, and to keep the qualified nurse abreast of new developments in the field.
The United States Public Health Service (PHS) released several education films in the 1930s and 1940s as part of a broader campaign against venereal-disease (VD). The agency had been operating a VD program since World War I, when concern over the number of Army recruits infected led Congress to enact a law that created a Venereal Disease Division in the PHS.