A Second Chance: Reenactment and Recovery Narratives in a Peruvian Drug Rehabilitation Center.

The following article discusses a collaborative, reenactment film made with the residents of a drug rehabilitation center in Iquitos, Peru. In so doing, it raises questions about narratives of recovery from addiction, and the tensions that emerge between these narratives and the often‐ambivalent fee...

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Published in:Medical Anthropology Quarterly Vol. 35; no. 2; pp. 190 - 209
Main Author: Silverstein, Sydney M.
Format: Article
Published: Wiley-Blackwell Jun2021
Subjects:
Online Access:View this record in EBSCOhost
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        au: Silverstein, Sydney M.
        affil: Department of Population and Public Health Sciences, Boonshoft School of Medicine, Wright State University
      su:
        Iquitos (Peru)
        Peru
        Substance abuse treatment
        Rehabilitation centers
        Motion picture actors & actresses
        Narratives
        Filmmaking
      sug:
        subj:
          Substance abuse treatment
          Iquitos (Peru)
          Peru
          Independent Artists, Writers, and Performers
          Independent actors, comedians and performers
          Motion Picture and Video Production
          Residential Mental Health and Substance Abuse Facilities
          Psychiatric and Substance Abuse Hospitals
          Other Individual and Family Services
          Outpatient Mental Health and Substance Abuse Centers
          Rehabilitation centers
          Motion picture actors & actresses
          Narratives
          Filmmaking
      keyword:
        addiction
        collaborative film
        recovery
        reenactment
        addiction
        collaborative film
        recovery
        reenactment
      ab: The following article discusses a collaborative, reenactment film made with the residents of a drug rehabilitation center in Iquitos, Peru. In so doing, it raises questions about narratives of recovery from addiction, and the tensions that emerge between these narratives and the often‐ambivalent feelings of the people who tell them. Practices of filmmaking and reenactment generate a collaborative theorization of lived experience—in this case, the multifaceted natures of both addiction and recovery. At the same time, these practices are also attentive to the embodied memories and complex feelings of the film's actors. Further engagement with the filmic materials demonstrates how the film became an active exploration of the ongoing nature of recovery, complicating the therapeutic trajectories of a group of actors struggling to reconcile ambivalent feelings as they attempt to craft new narratives of self.
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      doctype: Article
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    language: English
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