Visual consumption, collective memory and the representation of war

Conceiving of the visual as a significant force in the production and dissemination of collective memory, we argue that a new genre of World War Two films has recently emerged that form part of a new discursive “regime of memory” about the war and those that fought and lived through it, constituting a commemoration as much about reflecting on the present as it is about remembering the past. First, we argue that these films seek to reaffirm a (particular conception of a) US national identity and military patriotism in the post–Cold War era by importing World War Two as the key meta‐narrative of America’s relationship to war in order to “correct” and help “erase” Vietnam’s more negative discursive rendering. Second, we argue that these films attempt to rewrite the history of World War Two by elevating and illuminating the role of the US at the expense of the Allies, further serving to reaffirm America’s position of political and military dominance in the current age, and third, that these films form part of a celebration of the generation that fought World War Two, which may accord them a position of nostalgic and sentimental greatness, as their collective spirit and notions of duty and service shine against the foil of what might frequently be seen as our own present moral ambivalence

Recommendations from the European Working Group for Value Assessment and Funding Processes in Rare Diseases (ORPH-VAL)

International audienceAbstractRare diseases are an important public health issue with high unmet need. The introduction of the EU Regulation on orphan medicinal products (OMP) has been successful in stimulating investment in the research and development of OMPs. Despite this advancement, patients do not have universal access to these new medicines. There are many factors that affect OMP uptake, but one of the most important is the difficulty of making pricing and reimbursement (P&R) decisions in rare diseases. Until now, there has been little consensus on the most appropriate assessment criteria, perspective or appraisal process. This paper proposes nine principles to help improve the consistency of OMP P&R assessment in Europe and ensure that value assessment, pricing and funding processes reflect the specificities of rare diseases and contribute to both the sustainability of healthcare systems and the sustainability of innovation in this field. These recommendations are the output of the European Working Group for Value Assessment and Funding Processes in Rare Diseases (ORPH-VAL), a collaboration between rare disease experts, patient representatives, academics, health technology assessment (HTA) practitioners, politicians and industry representatives. ORPH-VAL reached its recommendations through careful consideration of existing OMP P&R literature and through a wide consultation with expert stakeholders, including payers, regulators and patients. The principles cover four areas: OMP decision criteria, OMP decision process, OMP sustainable funding systems and European co-ordination. This paper also presents a guide to the core elements of value relevant to OMPs that should be consistently considered in all OMP appraisals. The principles outlined in this paper may be helpful in drawing together an emerging consensus on this topic and identifying areas where consistency in payer approach could be achievable and beneficial. All stakeholders have an obligation to work together to ensure that the promise of OMP’s is realised

The limits of fiction: politics and absent scenes in Susumu Hani’s Bad Boys (Furyōshōnen, 1960). A film re-reading through its script

This text proposes an updated analysis of Susumu Hani’s Bad Boys (1960) through the director’s theoretical contribution and the re-reading of his script. This film, made within the limits of reality and fiction, was instrumental in the cinematic language of the sixties in Japan. Hani implemented herein a style that he developed during his earlier decade as a documentary maker for Iwanami Eiga studios. Hani based his filmmaking method on a philosophical pragmatism extracted from the practices of an amateur writing called seikatsu kiroku (life document) that appeared in the early 1950s. In fact, Bad Boys is a loose adaptation of Tobenai Tsubasa (Wings that Cannot Fly) an example of seikatsu kiroku consisting of a compilation of experiences written by inmates from the Kurihama reformatory. Hani responded to the demands for a new realism of the time with this film, which he made collectively with the former inmates of that reformatory. Additionally, a close analysis of the script reveals significant ‘absent scenes’ of student demonstrations, which are similar to those Oshima and Yoshida used in 1960. This fact evidences Hani’s shared concern with other filmmakers of the time about the necessities of bringing cinema closer to topical issues