Before 9/11, films addressing torture outside of the horror/slasher genre depicted the practice in a variety of forms. In most cases, torture was cast as the act of a desperate and depraved individual, and the viewer was more likely to identify with the victim rather than the torturer. Since the terrorist attacks of September 11, 2001, scenes of brutality and torture in mainstream comedies, dramatic narratives, and action films appear for little other reason than to titillate and delight. In these films, torture is devoid of any redeeming qualities, represented as an exercise in brutal senselessness carried out by authoritarian regimes and institutions. This volume follows the shift in the representation of torture over the past decade, specifically in documentary, action, and political films. It traces and compares the development of this trend in films from the United States, Europe, China, Latin America, South Africa, and the Middle East. Featuring essays by sociologists, psychologists, historians, journalists, and specialists in film and cultural studies, the collection approaches the representation of torture in film and television from multiple angles and disciplines, connecting its aesthetics and practices to the dynamic of state terror and political domination.

Before 9/11, films addressing torture outside of the horror/slasher genre depicted the practice in a variety of forms. In most cases, torture was cast as the act of a desperate and depraved individual, and the viewer was more likely to identify with the victim rather than the torturer. Since the terrorist attacks of September 11, 2001, scenes of brutality and torture in mainstream comedies, dramatic narratives, and action films appear for little other reason than to titillate and delight. In these films, torture is devoid of any redeeming qualities, represented as an exercise in brutal senselessness carried out by authoritarian regimes and institutions. This volume follows the shift in the representation of torture over the past decade, specifically in documentary, action, and political films. It traces and compares the development of this trend in films from the United States, Europe, China, Latin America, South Africa, and the Middle East. Featuring essays by sociologists, psychologists, historians, journalists, and specialists in film and cultural studies, the collection approaches the representation of torture in film and television from multiple angles and disciplines, connecting its aesthetics and practices to the dynamic of state terror and political domination.

Inspired by Michel Foucault’s examination of state subjugation and control, this book considers post-structuralist notions of the ‘political technology of the body’ and 'the spectacle of the scaffold' as a means to analyse cinematic representations of politically-motivated persecution and bodily repression. Through a critique of sovereign power and its application of punishment ‘for transgressions against the state’, the collected works, herein, assess the polticised-body via a range of cinematic perspectives. Imagery, character construction and narrative devices are examined in their account of hegemonic-sanctioned torture and suppression as a means to a political outcome. Screening The Tortured Body: The Cinema as Scaffold elicits philosophical and cultural accounts of the ‘retrained’ body to deliberate on a range of politicised films and filmmakers whose narratives and mise-en-scène techniques critique corporeal subjugation by authoritarian factions.

Refugee health is growing as an academic medical discipline. More and more health care providers are coming together to exchange research information, educational curricula and social policies related to refugee health. The number of practitioners attending the annual North American Refugee Healthcare Conference has doubled since 2014. Refugees arrive in the United States from different parts of the world. Refugees undergo a medical screening soon after arrival, as recommended by the U.S. Department of State, and it is usually primary care practitioners who usually evaluate these patients at this first visit. Psychiatrists and other specialists may also evaluate them soon after arrival.Though physicians receive a variable amount of training in cross-cultural medicine, virtually none is in the area of refugee evaluations. There are several major ways that the field has changed. U.S. refugee policies and refugee admission numbers have changed dramatically in the past four years as has the epidemiology of medical conditions because the demographics of refugees have changed. The CDC guidelines for domestic screening have also been modified significantly as some of the screening tests are no longer recommended. Protocols have also been updated for presumptive treatment received by refugees before departure to the United States of other countries. A new chapter on end of life care for refugees has been added to the book. Now fully revised and expanded, this second edition reflects the many changes that have occurred in the field of refugee health since 2014. Refugee Health Care remains the definitive resource for primary care physicians and mental health practitioners who see and evaluate refugees. It is also relevant for medical, nursing and public health students involved with refugee health as well as resettlement agency workers and public health officials overseeing refugee care

This edited volume seeks to contest prevailing assumptions about torture and to consider why, despite its illegality, torture continues to be widely employed and misrepresented. The resurgence of torture and public justifications of it led to the central questions that this inter-disciplinary volume seeks to address: How is it possible for torture to be practiced when it is legally prohibited? What kinds of moves do agents make that render torture palatable? Why do so many ignore the evidence that torture is ineffective as an intelligence-gathering technique? Who are the victims of torture? The various contributors in the book look to history, the practices of interrogators, artistic representations, documentary films, rendition policies, political campaigns, diplomatic discourses, international legal rules, refugee practices, and cultural representations of death and the body to illuminate how torture becomes permissible. Building from the personal to the communal, and from the practical to the conceptual, the volume reflects the multivalence of torture itself. This framework enables readers at all levels better appreciate how and why torture is open to so many interpretations and applications. This book will be of much interest to students of International Relations, Security Studies, Terrorism Studies, Ethics, and International Legal Studies.

Examines the ways in which moving images can help us better understand factual political tortureExamines role of images and film in (mis)understanding of tortureOffers synergised knowledge through comparative angle, exploring differences and continuities of torture cases which were documented to vastly different extentsIncludes key popular movies, independent films as well as serial televisionCombines serious film analysis with ethical-political questions and historically and theoretically informed researchExpands on the latest developments of comparative media scholarship, and integrates the nostalgic, material and affective "e;turn."e; Academic work on the subject of torture tends to mirror public debates on its presumed utility, to focus on its historically 'correct' representation or on profilmic structures of identification. This book moves beyond these ideologically charged questions to explore how contemporary films have responded to a growing popular distrust in visual evidence when referencing factual cases of torture. Two cases studies - the United States around 2004 and Chile from 1973 until the end of the dictatorship - provide either an abundance or lack of such visual evidence. Drawing on films and television series such as Zero Dark Thirty (2012), NO (2012), Homeland (2011-) and Los 80 (2008-14), amongst many others, this book analyses the visible components of torture but also its invisibilities. By casting a wider net on the definition of torture, the author promotes a radical, theoretical reframing of our concept of torture and suggests that audiovisual products can help broaden our comprehension of torture as an event which includes collective and emotional dimensions and long-term social effects.

Following the release of Ridley Scott's Gladiator in 2000 the ancient world epic has experienced a revival in studio and audience interest. Building on existing scholarship on the Cold War epics of the 1950s-60s, including Ben-Hur, Spartacus and The Robe, this original study explores the current cycle of ancient world epics in cinema within the social and political climate created by September 11th 2001. Examining films produced against the backdrop of the War on Terror and subsequent invasions of Iraq and Afghanistan, this book assesses the relationship between mainstream cinema and American society through depictions of the ancient world, conflict and faith. Davies explores how these films evoke depictions of the Second World War, the Vietnam War and the Western in portraying warfare in the ancient world, as well as discussing the influence of genre hybridisation, narration and reception theory. He questions the extent to which ancient world epics utilise allegory, analogy and allusion to parallel past and present in an industry often dictated by market forces. Featuring analysis of Alexander, Troy, 300, Centurion, The Eagle, The Passion of the Christ and more, this book offers new insight on the continued evolution of the ancient world epic in cinema.