Le «corps» du texte néotestamentaire dans les films Ben-Hur (1925) et Golgotha (1935)

L'article se propose de discuter la question des modalités de la référence aux évangiles au cinéma en s'attachant à l'étude de la composante verbale et de ses liens avec la représentation de la figure christique dans deux films: le premier, Ben-Hur (Fred Niblo, 1925), est une superproduction produite par Hollywood à l'époque de l'apogée du muet; le second, Golgotha (1935), est réalisé par le cinéaste français Julien Duvivier durant les premières années de la généralisation du parlant. D'un côté l'écrit (sous forme d'intertitres), de l'autre la profération orale d'un texte. Le rapprochement proposé entre ces deux films tient à la façon dont la citation néotestamentaire participe à la construction par le film de la figure de Jésus, ou plutôt à la mise à distance de celle-ci, constamment rejetée dans une forme de hors-champ.

Prostate Cancer Unit Initiative in Europe: A position paper by the European School of Oncology.

The Prostate Cancer Programme of the European School of Oncology developed the concept of specialised interdisciplinary and multiprofessional prostate cancer care to be formalized in Prostate Cancer Units (PCU). After the publication in 2011 of the collaborative article "The Requirements of a Specialist Prostate Cancer Unit: A Discussion Paper from the European School of Oncology", in 2012 the PCU Initiative in Europe was launched. A multiprofessional Task Force of internationally recognized opinion leaders, among whom representatives of scientific societies, and patient advocates gathered to set standards for quality comprehensive prostate cancer care and designate care pathways in PCUs. The result was a consensus on 40 mandatory and recommended standards and items, covering several macro-areas, from general requirements to personnel to organization and case management. This position paper describes the relevant, feasible and applicable core criteria for defining PCUs in most European countries delivered by PCU Initiative in Europe Task Force.

The Transnational Zombie: Postcolonial Memory and Rage in the Recent European Horror Film

An ever increasing number of films, books, and scholarly works dealing with the undead have appeared in the last decade, making the zombie the very incarnation of American popular culture on a global scale. In this chapter I show that the zombie is also a surprisingly complex sign for transnational movement and multidirectional cultural flow. While the zombie may appear as the very epitome of American cultural production and influence, a mindless movie monster born of a vapid stream of Hollywood B-horror, the zombie has a rich transnational history and an eloquent figurative resonance that have fed into its current ubiquity as cultural sign. This chapter reviews that history and then examines some of the ways that the zombie figure has traveled between the Caribbean, where it emerged, the United States, where it was translated into a film device of startling pathos and horror, and Europe, to which it owes some of its most interesting recent innovations.