{"id":3561,"date":"2022-12-27T10:00:11","date_gmt":"2022-12-27T09:00:11","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3561"},"modified":"2022-12-15T12:21:49","modified_gmt":"2022-12-15T11:21:49","slug":"collecting-affect-emotion-and-empathy-in-world-war-ii-photographs-and-drawings-of-plastic-surgery","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2022\/12\/27\/collecting-affect-emotion-and-empathy-in-world-war-ii-photographs-and-drawings-of-plastic-surgery\/","title":{"rendered":"Collecting Affect: Emotion and Empathy in World War II Photographs and Drawings of Plastic Surgery"},"content":{"rendered":"<p><strong>Article Summary by Christine Slobogin<\/strong><\/p>\n<p>Diana \u201cDickie\u201d Orpen (1911-1987) and Percy Hennell (1911-1987) were both surgical artists who represented Second World War patients\u2019 wounds and their reconstructive processes within English plastic surgery wards. The major difference between these two actors is that Orpen made drawings and Hennell took photographs. This article looks at the work made by Orpen and Hennell to determine the differing emotional effects of these two groups of images, and at how photographs and drawings of reconstructive plastic surgery \u201ccollect affect\u201d differently within the archive.<\/p>\n<p>This article uses visual analysis, personal experience, and interviews with others who have worked closely with these materials to determine that the colour photographs by Hennell are the more emotive objects, and that the particular emotion that they encourage is empathy.<br \/>\nSeveral visual elements of Hennell\u2019s photographs mark them out to be particularly affective objects. First of all, they are taken in colour. While a controversial idea, especially for historians, it is often assumed that an image in colour is more \u201crelatable\u201d than a monochrome one. Hennell\u2019s photographs also contain much more detail, both intentional and unavoidable, than Orpen\u2019s drawings. The personal specifics of the depicted patients (such as bright lipstick or patterned pyjama collars) contrast with the ostensibly sterile and objective purpose of Hennell\u2019s photographs, jarring the viewer.<\/p>\n<p>When the viewer of Hennell\u2019s photographs becomes emotionally taken aback by the images, what emotion is it that is best embodied in these photo-objects? I argue that it is empathy, which is the idea that you can feel <em>into <\/em>or <em>with <\/em>someone else\u2019s suffering while still acknowledging that a full submersion into that suffering is impossible.<\/p>\n<p>Overall, this article uses varied methodologies to determine how and why Hennell\u2019s photographs\u2014when compared with Orpen\u2019s drawings\u2014collect greater affect within their archival collection to affect today\u2019s viewers. An analysis of the characteristics of empathy shows that this is the directed and socially determined emotion that most clearly affects researchers and archivists. Sustained engagement with the archival experiences with different mediums like these could further reveal how emotions such as empathy exist within historic medical collections.<\/p>\n<p>&nbsp;<\/p>\n<h4>Read the full article on the <a href=\"https:\/\/mh.bmj.com\/content\/48\/4\/431\"><strong>Medical Humanities journal website<\/strong><\/a>.<\/h4>\n<p>&nbsp;<\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-3562 alignleft\" src=\"https:\/\/blogs.bmj.com\/medical-humanities\/files\/2022\/12\/Slobogin-Christine-Collecting-affect-emotion-and-empathy-in-World-War-II-photographs-and-drawings-of-plastic-surgery-251x300.jpg\" alt=\"Portrait of Christine Slobogin\" width=\"251\" height=\"300\" srcset=\"https:\/\/blogs.bmj.com\/medical-humanities\/files\/2022\/12\/Slobogin-Christine-Collecting-affect-emotion-and-empathy-in-World-War-II-photographs-and-drawings-of-plastic-surgery-251x300.jpg 251w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2022\/12\/Slobogin-Christine-Collecting-affect-emotion-and-empathy-in-World-War-II-photographs-and-drawings-of-plastic-surgery-768x918.jpg 768w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2022\/12\/Slobogin-Christine-Collecting-affect-emotion-and-empathy-in-World-War-II-photographs-and-drawings-of-plastic-surgery-640x765.jpg 640w, https:\/\/blogs.bmj.com\/medical-humanities\/files\/2022\/12\/Slobogin-Christine-Collecting-affect-emotion-and-empathy-in-World-War-II-photographs-and-drawings-of-plastic-surgery.jpg 848w\" sizes=\"auto, (max-width: 251px) 100vw, 251px\" \/>Christine Slobogin is an art historian of medicine who is currently a Postdoctoral Fellow in the History of Medicine and the Center for Medical Humanities &amp; Social Medicine at Johns Hopkins University.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<!--TrendMD v2.4.8--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Article Summary by Christine Slobogin Diana \u201cDickie\u201d Orpen (1911-1987) and Percy Hennell (1911-1987) were both surgical artists who represented Second World War patients\u2019 wounds and their reconstructive processes within English plastic surgery wards. The major difference between these two actors is that Orpen made drawings and Hennell took photographs. This article looks at the work [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/2022\/12\/27\/collecting-affect-emotion-and-empathy-in-world-war-ii-photographs-and-drawings-of-plastic-surgery\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15028,15047],"tags":[15044],"class_list":["post-3561","post","type-post","status-publish","format-standard","hentry","category-journal-announcements","category-special-issues","tag-research"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Collecting Affect: Emotion and Empathy in World War II Photographs and Drawings of Plastic Surgery - Medical Humanities<\/title>\n<meta name=\"description\" content=\"Christine Slobogin compares Diana \u201cDickie\u201d Orpen&#039;s drawings with Percy Hennell&#039;s photography of WWII patients&#039; wounds and their reconstructure processes.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3561\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Collecting Affect: Emotion and Empathy in World War II Photographs and Drawings of Plastic Surgery - Medical Humanities\" \/>\n<meta property=\"og:description\" content=\"Christine Slobogin compares Diana \u201cDickie\u201d Orpen&#039;s drawings with Percy Hennell&#039;s photography of WWII patients&#039; wounds and their reconstructure processes.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3561\" \/>\n<meta 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