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The Diagnostic Moment in Film and Television 123
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This texture is what gives “realness” to them, in which, when the film
is successful, we may end up convinced that this is what it’s like, that
these diagnostic scenes are examples of medicine, doctors, and their
interactions with patients.
Yet it is not necessarily so, because these scenes are creative representations and have their primary function in the unfolding of the narrative. Their representation is not so much to show what it is to be a
doctor and what it is to receive a diagnosis. It is situated at a different
level. To operate effectively in narrative, the diagnostic scene must appeal to socially recognizable structures, like diagnostic power, sacrifice,
or denouement, both in film and television and outside of it. It must
also respond to the conventions of cinematic and television storytelling: characters are revealed by action; the diagnostic moments constitute initiation of the transformative journeys of the characters. The
diagnostic moments need to have some kind of emotional pay-off for
the characters and the viewers; they must affect us.
Films and television create a convincing sense of reality, so convincing, indeed that medical educationalists use diagnosis films for their
value in portraying disease, the patient-doctor relationship, and beliefs
about illness.33 And, at another extreme, there is a “cinematherapy”
movement, which touts the use of films as treatment. Like its partner
“bibliotherapy” (which uses fiction for the same purpose) the focus of
this movement is on how these creative portrayals offer a means for
reflecting on life, its struggles, and its joys. We certainly believe that all
things in life should give one pause, but our interest in the diagnostic
moment in film is anchored elsewhere beyond measuring the accuracy
of the representation of the experience of illness and the moment of
diagnosis or the use of stories as dependable mood-altering tools for
therapeutic self-management.
As we look at the narrative role of diagnosis in film and television,
we are more interested in the way they punctuate conventions. Each
diagnostic moment highlights recognizable social values, well beyond
the individual scene, about gender, knowledge, class, the role of the
professions, institutions, and more. These are the elements of narrative and of diagnosis that films reveal. They reveal the investment we
(storytellers and viewers) make in stories for finding significance in the
events of our lives.
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CHAPTER SIX
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A Picture Paints a Thousand Words:
The Graphic Diagnosis
with Ian Williams
Like the films and television shows discussed in chapter 5, cartoons,
comics, and graphic novels may use diagnosis as a tool for telling stories, leaving their readers in suspense, or making them laugh. In this
chapter, I have reproduced a series of images from Ian Williams’s
graphic novel The Bad Doctor to show how diagnosis can create characters, insert doubt, and emphasize the sometimes uncomfortable power
of being a doctor. The graphic diagnosis is fictitious and entertaining
but at the same time very serious; it punctuates important social issues
in diagnosis and in the practice of medicine. In the pages that accompany these images, we will discuss both the representation of these social issues and how graphic novels and visual storytelling can play an
important role in health care delivery.
Cartoons are a helpful way of getting a joke. They often point a finger
directly at the punch line, showing a reader when it’s time to laugh (or
cry). There’s a picture, along with the words, and it’s static, so viewers
can take their time. The characters won’t change expression until the
viewer’s eyes drift to the next frame.
Of course, I personally enjoy medical and particularly diagnosis cartoons; at least I understand the topic, if not the humour. The points they
usually choose to parody are the same ones I pick apart in my theoretical readings. For them to be funny, they have to focus on issues that
either trouble, or are familiar to, their readers. The cartoons underline,
in a different way from my scholarly readings, the role of diagnosis in
6.1–6.8 Julie’s diagnosis. [Pages 38–45 reproduced with permission from The
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Bad Doctor by Ian Williams © Myriad Editions Ltd., London, 2014; Penn State
University Press, PA, 2015.]
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