![]() ![]() During the scenes where the doctor and patients are directly communicating with each other, I tried to view the patient’s perspective with an insider’s gaze as it was important to understand their subjective illness experience for the doctors to effectively help them. Understanding these factors can influence our sense of empathy and interactions with others.Īs I was viewing this film, my gaze kept shifting from an outsider to insider perspective in response to the camera’s gaze. In the course “Perspectives on Culture, Illness, and Healing” (HLTB42), we have discussed the importance of understanding the practices and meanings of everyday life in terms of language, our bodies, our identities, and social environments. Combined, these factors disempower patients in the culture of psychiatric centers as they get trapped in the mindset–and to some extent, the partial reality– that there is no way out of the institutionalization of mental illness, or that treatment and cure are harder than simply receiving a discharge. Compounding this issue is the problem of the “glass-ceiling,” which describes the patients’ barrier to employment due to the stigma of mental illness in many workplaces. These two interrelated determinants of health are the root causes of what Dr Skorzewska and Lapeyre described as “the revolving door” of mental health care, where patients get trapped in the system of returning back to the inpatient psychiatric unit instead of recovering back into the community outside of the hospital. Issue 1: The Significance of the Social Determinants of Health (SDoH): Socio-economic Status (SES) and Employment The discussion following the film included filmmaker and physician Dr Anna Skorzewska, director Jason Lapeyre, and UTSC alumnus and mental health advocate Joshua Miller. ![]() Some of the key issues were the power dynamics of patients and health care professionals, patients’ typically disempowered position in the health care setting, and the systematized provision of health care. Various elements of the film, such as the gaze of the camera, art therapy, and music, formed a well structured illustration of the ongoing issues prevalent in one inpatient psychiatric unit located in downtown Toronto. Faceless (2012) illustrates patients’ daily life experiences in an inpatient psychiatric unit, viewed through the lens of both the patients aiming to get well and the staff trying to understand the patients’ perspective of their illness experience. On March 1, 2018, the audience engaged in critical thinking about the multiple issues raised by this Toronto-based documentary. Through an examination of the videos published on its YouTube Channel, this paper considers how Anonymous uses issues-based collective identity narratives to mobilize and sustain members around a concept that is, traditionally, subjective and shaped by our ideological, socioeconomic and cultural experiences.The first film screened at this year’s International Health Film Series & Expo (IHFSE) at UTSC was a great hit. Its diverse members strike wherever they see injustice-a subjective concept that is defined and shaped by individual lived experiences. The digital hacktivist group Anonymous, whose membership is both placeless and faceless, does not focus its efforts against a single target or a single cause. Despite seemingly loose and temporary ties, virtual social movements are nevertheless able to maintain a sustained membership and successfully carry out collective action operations. They attract a geographically, socioeconomically, and culturally diverse membership whose engagement ebbs and flows on issues rather than ideologically based motives. Virtual social movements are not restricted by traditional borders or boundaries. ![]()
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