Neurology behind the lens
2022; Elsevier BV; Volume: 22; Issue: 1 Linguagem: Inglês
10.1016/s1474-4422(22)00310-6
ISSN1474-4465
Autores Tópico(s)Neurology and Historical Studies
ResumoIn 2017, during my time as a neurology fellow in the Netherlands, I was tasked with capturing the essence of a lesser-known dimension of Parkinson's disease. My supervisor had astutely noticed that some features of the condition could be heard in addition to being seen, thanks to an elite violinist who sought help because he was unable to play the violin as well as he used to. When I discussed my research with friends and colleagues, I was advised to see the film A Late Quartet (2012), starring Christopher Walken as a world-renowned cellist (Peter) who developed Parkinson's disease. To my surprise, I realised we were not the first to acknowledge that some signs of Parkinson's disease could be heard. Peter had noticed during a rehearsal “our vibrato does not match”, which prompted him to consult a neurologist. Eelco Wijdicks' book, Neurocinema: the Sequel—a History of Neurology on Screen, celebrates the educational, insightful, and (at times) prescient power of neurology, seen through the lens of a filmmaker. Neurocinema: the Sequel follows on from Wijdicks' 2015 book, Neurocinema: When Film Meets Neurology. This latest work is comprehensive regarding most things neurology taking place on screen (Wijdicks acknowledges that covering all neurological features portrayed on television or in film would be impossible). The book is an analysis of how neurological disorders and the people involved are portrayed in films and documentaries, and the author's goal is to explore “whether film from a neurologic perspective can provide insight and debate”. The considerable toll of neurological disorders on patients and their families, and the general public's interest about the inner workings of the human brain, might explain why neurological topics are increasingly portrayed in the media. For a neurocinema enthusiast, this would be reason enough to undertake the Herculean task of reviewing so many films about neurology, and distinguish those that contain accurate descriptions apt for teaching (scoring three to four reflex hammers, according to Wijdicks' rating) from the ones with incorrect depictions (one to two reflex hammers). However, Wijdicks is also interested in the underlying meaning of the filmmaker's choice of topic, ranging from personal coping mechanisms to raising societal awareness. The numbers of footnotes and references in the book are impressive, and Wijdicks expertly reviews more than 180 films and documentaries. Wijdicks' writing style is both scholarly and that of an aficionado (“well done, Eddie Redmayne!”). This combination makes the book a very enjoyable reading experience, and not simply a catalogue of neurology films. The book is divided into several sections: the introductory chapters showcase how medicine and neurology have been displayed in film over the years. Later chapters expand on films that illustrate core neurology topics, addressing neurological signs and symptoms and major neurological disorders, such as stroke and Alzheimer's disease. The book contains a separate category for films addressing ethical issues, such as physician-assisted suicide and institutionalisation. Celebrities who have endured neurological diseases and whose lives have been portrayed in film or documentary are discussed in their own category. Notably, Wijdicks decided to provide a separate chapter for themes that overlap between neurology and psychiatry, specifically functional neurological disorder and neurological disorders with psychiatric manifestations, such as autoimmune encephalitis. Wijdicks begins this chapter by presenting his own view on the boundaries and intersections of the two medical specialties, adding nuance and context to the interpretations that follow. One of the final and most entertaining sections of the book is Neurofollies in Film, featuring films in which neurological concepts are grossly misrepresented or the plot is simply absurd (from a neurological viewpoint). In this part, Wijdicks uses pinpricks to rate a film: one pinprick signals minor discomfort from an improbable plot, and three pinpricks indicate severe pain from a wildly imaginative storyline. In The World is Not Enough (1999), James Bond faces an able-bodied terrorist with a bullet in the medulla, which makes his opponent impervious to pain. The squirming neurologist in the audience with three pinpricks under the seat (courtesy of Wijdicks' rating system) might wish for a similar impairment. However, it is important to stress that Wijdicks does not fall into cynicism and intellectual superiority. On some occasions, he seems genuinely impressed by the screenwriters' imagination. The book ends with a personal reflection of how neurocinema can be used for teaching purposes and to bring about new perspectives on our reality. Wijdicks also provides his much-requested list of top-ten films. Wijdicks takes us on a journey throughout neurology, as shown on screen. The reader is treated to a comprehensive study of the subject, written in an informative and pleasant manner. In the final pages, Wijdicks reflects on how these stories about neurological impairment are able to convey hope and dignity and allow us to attain a deeper meaning about our profession—and even ourselves. Regardless of the art form, I find this to be very true. So please, put your smartphones into flight mode, and enjoy. Neurocinema: the Sequel—a History of Neurology on Screen Eelco F M Wijdicks CRC Press ISBN 9781032220024 £38·99
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