In Love With Cancer: Netflix Portrayals of the Cancer Experience

Rayna Morel, Colby Miyose

Abstract


Cancer is a common cause of death in the United States. With such prevalence, it is not surprising that the cancer experience is the focus of many films over the years. Cancer is depicted both in mainstream feature films as well as other venues of viewership including online platforms (i.e. Netflix). Little research has explored the representation of the cancer experience in these mediums. This paper seeks to conceptualize trends in depicting the cancer experience from available films on the popular streaming service, Netflix, via textual analysis. Three films that we analyzed are, Then Came You (2019), Irreplaceable You (2018), and Her Only Choice (2018), which all belong to the comedy/drama genre. Three themes emerged including stigmatized sympathy and disgust, caretaking and domesticity, and cancer mantras of “live like you are dying” versus “fight to live.” While these types of films may bring awareness or hope to a prevalent health condition, the problem of romanticizing cancer remains.


Keywords


cancer; critical/cultural studies; textual analysis; film studies

Full Text:

PDF

References


Albert, Ross. 2017. “End-of-Life Care: Managing Common Symptoms.” American Family Physician 95, (6): 356-361. https://pubmed.ncbi.nlm.nih.gov/28318209/.

Barrett, Lisa, Michael Lewis, and Jeannette Haviland-Jones. 2016. Handbook of Emotions. New York: The Guilford Press.

Brown, Ryan. 2017. “TV and Movies Get Cancer all Wrong.” Vice. Accessed 5 July, 2022. https://www.vice.com/en/article/wjj8qy/tv-and-movies-get-cancer-all-wrong.

Clark, Robert A. 1999. "Reel Oncology: How Hollywood Films Portray Cancer." Cancer Control 6 (5): 1-6. https://doi.org/10.1177/107327489900600510.

—. 2001. “How Hollywood Films Portray Illness.” New England Journal of Public Policy 17 (1): 139-165. https://scholarworks.umb.edu/nejpp/vol17/iss1/11.

Coreil, Jeannine, Jaime Wilke, and Irene Pintado. 2014. "Cultural models of illness and recovery in breast cancer support groups." Qualitative Health Research 14, (7): 905-923. https://doi.org/10.1177/1049732304266656.

D’Acci, Julie. 2004. “Television, Representation, and Gender. In The Television Studies Reader, edited by Robert Allen and Annette Hill, 373-388. London: Routledge.

Daher, M. 2012. "Cultural Beliefs and Values in Cancer Patients." Annals of Oncology 23 (3): iii66-iii69. https://doi.org/10.1093/annonc/mds091.

Drukarczyk, Laura, Carsten Klein, Christoph Ostgathe, and Stehpanie Stiel. 2014. “Life Threatening Illness in Popular Movies: A First Descriptive Analysis.” SpringerPlus 3 (411): 1-7. https://doi.org/10.1186/2193-1801-3-411.

Gardner, Kirsten. 2006. Early Detection: Women, Cancer, and Awareness Campaigns in the Twentieth-Century United States. Chapel Hill: University of North Carolina Press.

Gerbner, George, and Larry Gross. 1976. “Living with Television: The Violence Profile.” Journal of Communication 26 (2): 172-199. https://doi.org/10.1111/j.1460-2466.1976.tb01397.x

Gladkova, Anna. 2010. “Sympathy, Compassion, and Empathy in English and Russian: A Linguistic and Cultural Analysis.” Culture and Psychology 16 (2): 267-285. https://doi.org/10.1177/1354067X10361396.

Goffman, Erving. 2014. “Stigma and Social Identity.” In Understanding Deviance, edited by Tammy Anderson, 256-265. New York: Routledge.

Hall, Stuart. 2003. "Encoding/decoding." In Culture, Media, Language. Edited by Stuart Hall, Doothy Hobson, Andrew Lowe and Paul Willis, 127-137. New York: Routledge.

Hamilton, Jill B. 2017. "Cultural Beliefs and Cancer Care: Are We Doing Everything We Can?" Cancer Nursing 40 (1): 84-85. https://doi.org/10.1097/NCC.0000000000000421.

Hartley, John. 2002. Uses of Television. London: Routledge.

The Internet Database. 2022. “Alexa and Kate.” The Internet Database. Accessed 5 July, 2022. https://www.imdb.com/title/tt6916746/.

Lederer, Susan. 2007. “Dark Victory: Cancer and Popular Hollywood Film.” Bulletin of the History of Medicine 81 (1): 94-115. https://doi.org/10.1353/bhm.2007.0005.

Lokody, Isabel. 2016. "Deadpool: Using Pop Culture for Cancer Advocacy." The Lancet Oncology 17 (3): 285. https://doi.org/10.1016/S1470-2045(16)00094-2.

Lupkin, Sydney. 2014. “‘The Fault in Our Stars’ Praised and Feared for Realism.” ABC News, Accessed 5 July, 2022. https://abcnews.go.com/Health/fault-stars-praised-feared-realism/story?id=24076649.

Mastumoto, David, Mark Frank, and Hyi Sung Hwang. 2013. “Body and Gestures.” In Nonverbal Communication: Science and Applications, edited by David Mastumoto, Mark Frank, and Hyi Sung Hwang, 75-97. Los Angeles: Sage.

Meslow, Scott. 2011. “‘50/50’: Finally, a Film that Does Cancer Right.” The Atlantic. Accessed 5 July, 2022. https://www.theatlantic.com/entertainment/archive/2011/09/50-50-finally-a-film-that-does-cancer-right/245925/.

Morgan, Leslie, and Michael Brazda. 2013. “Transferring Control to Others: Process and Meaning for Older Adults in Assisted Living.” Journal of Applied Gerontology 32 (6): 651-668. https://doi.org/10.1177/0733464813494568.

Moyer, Anne, and Jackelyn Payne. 2018. “Cancer on Screen as Cancertainment.” Psychology Today. Accessed 5 July, 2022. https://www.psychologytoday.com/us/blog/beyond-treatment/201811/cancer-screen-cancertainment.

Pati, Sanghamitra. 2015. "Bollywood's Cancer: Disconnect Between Reel and Real Oncology." Lancet Oncology 16 (8): 894. https://doi.org/10.1016/S1470-2045(15)00153-9.

Pavisic, Jovana, Julie Chilton, Garry Walter, Nerissa L. Soh, and Andrés Martin. 2014. "Childhood Cancer in the Cinema: How the Celluloid Mirror Reflects Psychosocial Care." Journal of Pediatric Hematology/Oncology 36 (6): 430-437. https://doi.org/10.1097/MPH.0000000000000195.

Post, Stephen, Lauren Ng, Janet Fischel, Mary Bennett, and Linda Bily. 2014. “Routine, Empathic and Compassionate Patient Care: Definitions, Development, Obstacles, Education and Beneficiaries.” Journal of Evaluation in Clinical Practice 20 (6): 872-880. https://doi.org/10.1111/jep.12243.

Raj, Y. Pritham. 2003. "Medicine, Myths, and the Movies: Hollywood's Misleading Depictions Affect Physicians, Patients Alike." Postgraduate Medicine 113 (6): 9-13. https://doi.org/10.3810/pgm.2003.06.1440.

Robb, Kathryn A., Alice E. Simon, Anne Miles, and Jane Wardle. 2014. "Public Perceptions of Cancer: A Qualitative Study of the Balance of Positive and Negative Beliefs." BMJ Open 4 (7): e005434. https://doi.org/10.1136/bmjopen-2014-005434.

Rosti, G., A. Costantini, M. Di Maio, E. Bria, D. Lorusso, and L. De Fiore. 2012. "Oncomovies: Cancer in Cinema." Annals of Oncology 23 (9): ix458. https://doi.org/10.1016/S0923-7534(20)33959-4.

Selzer, Jack. 2003. Rhetorical Analysis: Understanding How Texts Persuade Readers. London: Routledge.

Siegel, Rebecca, Kimberly Miller, Hannah Fuchs, and Ahmedin Jemal. 2022. “Cancer Statistics, 2022.” A Cancer Journal for Clinicians 72 (1): 7-33. https://doi.org/10.3322/caac.21708.

Slack, Jennifer Daryl. 2016. “Beyond Transmission, Modes, and Media.” In Communication Matters: Materialist Approaches to Media, Mobility, and Networks, edited by Jeremy Packer and Stephen Crofts Wiley, 143-158. New York: Routledge.

Sontag, Susan. 1978. Illness as Metaphor. New York: Farrar, Straus, and Giroux.

Stam, Robert. 1991. “Bakhtin, Polyphony, and Ethnic/Racial Representation.” In Unspeakable Images: Ethnicity and the American Cinema, edited by Lester Friedman, 251-276. Chicago: University of Illinois Press.

Films

Her Only Choice.2018. Directed by Christel Gibson. Netflix. Foxtrout Studios. Film.

Irreplaceable You. 2018. Directed by Stephanie Laing. Netflix. Rocliffe Ltd. Film.

Then Came You. 2018. Directed by Peter Hutchings. Netflix. BCDF Pictures. Film.




DOI: http://dx.doi.org/10.17951/nh.2022.7.131-152
Date of publication: 2022-12-28 15:00:05
Date of submission: 2022-01-08 02:13:50


Statistics


Total abstract view - 430
Downloads (from 2020-06-17) - PDF - 0

Indicators



Refbacks

  • There are currently no refbacks.


Copyright (c) 2022 Rayna Morel

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.