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This book is the first to explore 'old age' in cinema at the intersection of gender, ageing, celebrity and genre studies. It takes its cue from the dual meanings of 'silvering' - economics and ageing - and explores shifting formulations of 'old age' and gender in contemporary cinema. Broad in its scope, the book establishes the importance of silver audiences to the survival of cinema exhibition while also forging connections between the pleasures of 'old age' films, consumer culture, the 'economy of celebrity' and the gendered silvering of stardom. The chapters examine gendered genres such as romantic comedies, action and heist movies, the prosthetics of costume, and CGI enabled age transformations. Through this analysis, Josephine Dolan teases out the different meanings of ageing masculinity and femininity offered in contemporary cinema. She identifies ageing femininity as the pathologised target of rejuvenation while masculine ageing is seen to enhance an enduring youthfulness. This book has interdisciplinary appeal and will engage scholars interested in 'old age' and gender representations in contemporary cinema.

The World Health Organization (WHO) defines ageism as the stereotyping, prejudice and discrimination towards people on the basis of age. Ageism cuts across the life-course and stems from the perception that a person might be too old or too young to be or to do something. Ageism is highly prevalent; however, unlike other forms of discrimination, including sexism and racism, it is socially accepted and usually unchallenged, because of its largely implicit and subconscious nature. Children as young as 4 years are aware of their cultures' age stereotypes. These stereotypes focus predominantly on the negative aspects of ageing, with older age typecast as an inevitable decline in physical and mental capacities and a period of dependency. Language and media, including films, television, popular music, print and social media, most often echo and reinforce these stereotypes, because ageist depictions tend to be the norm. As we get older, we experience ageism from others, but also from ourselves, because of the unconscious internalization of society's negative attitudes and stereotypes towards older people. This helps to explain why older people often try to stay young, feel shame about getting older and limit what they think they can do instead of taking pride in the accomplishment of ageing. Perceived discrimination, whether based on race, gender or age, has negative health outcomes. Ageism has been shown to have significant impact on our participation in society, health and longevity. For example, evidence shows that those who hold negative attitudes on ageing have slower recovery from disability, live on average 7.5 years less than those who hold positive attitudes and are less likely to be socially integrated. Ageism also imposes barriers to the development of good policies on ageing and health as it influences the way problems are framed, the questions that are asked and the solutions that are offered. In this context, age is often understood as sufficient justification for treating people unequally and limiting their opportunities for meaningful contribution.

This essay attends to the problem of cinematic deceleration and the resistance to the \"measurability\" of life and labor under colonial modernity by looking at an early work of Iranian new-wave cinema, Sohrab Shahid Saless's Still Life (1974)—a slow reflection on the relationship between labor time and life time in the lives of an elderly couple who are falling out of sync with the labor demands of capitalist modernity. Drawing on images of the unceasing domestic labor of the nameless woman in the film and the problem of spectatorial labor, I underline a notion of time that is accumulative, infinitely folded, and immeasurable—that which precedes all the externally regulated forms of labor in capitalist-colonial modernity. In Still Life , accumulative time paradoxically emerges through a nonliquid form of filmic language, which, in the first encounter, seems strictly measured, minimalist, and static. Slowness and certain forms of deceleration pave the way for the expression of time as accumulation; however, once this notion of time emerges, it becomes a critique of the very measures through which we create categories of slowness and fastness, deceleration and acceleration.

Emotional response in aging is typically studied using the dimensional or the discrete models of emotion. Moreover, it is typically studied using subjective or physiological variables but not using both perspectives simultaneously. Additionally, tenderness is neglected in emotion induction procedures with older adults, with the present work being the first to include the study of physiological tenderness using film clips. This study integrated two separate approaches to emotion research, comparing 68 younger and 39 older adults and using a popular set of film clips to induce tenderness, amusement, anger, fear, sadness and disgust emotions. The direction of subjective emotional patterns was evaluated with self-reports and that of physiological emotional patterns was evaluated with a wearable emotion detection system. The findings suggest a dual-process framework between subjective and physiological responses, manifested differently in young and older adults. In terms of arousal, the older adults exhibited higher levels of subjective arousal in negative emotions and tenderness while young adults showed higher levels of physiological arousal in these emotions. These findings yield information on the multidirectionality of positive and negative emotions, corroborating that emotional changes in the adult lifespan appear to be subject to the relevance of the emotion elicitor to each age group.

Presenting research findings from recent studies, including pilot projects led by the authors in the UK and Brazil, this book provides an accessible, timely, practically relevant and jargon-free overview of how music and films are currently used in nursing homes, dementia wards and day care centres for the older population.

This study introduces the Meiji Nutritional Profiling System (Meiji NPS), which was specifically designed to respond to age-related shifts in nutrient requirements among Japanese adults (<65 years old) and older adults (≥65 years old). Japan has one of the most aged societies in the world. The health issues of interest are malnutrition and lifestyle-related diseases among adults and frailty among older adults. Two versions of the NPS were developed based on nutrients to encourage (protein, dietary fibers, calcium, iron, and vitamin D), food groups to encourage (fruits, vegetables, nuts, legumes, and dairy), and nutrients to limit (energy, saturated fatty acids, sugars, and salt equivalents). The Meiji NPS for older adults did not include iron or saturated fatty acids. The algorithms were based on the Nutrient-Rich Foods Index (NRF). The convergent validity between the Meiji NPS and the existing NPSs for the same foods was confirmed using Spearman’s correlation coefficients (NRF: r = 0.67 for adults and r = 0.60 for older adults; Health Star Rating: r = 0.64 for adults and r = 0.61 for older adults). The Meiji NPS may be useful for nutritional evaluation and reformulation of food products, tailored to adults and older adults to ameliorate health issues in Japan.

Background Edutainment aims to spread educational messages in an entertaining way, and often reaches large audiences. While studies increasingly report the impacts of edutainment interventions, there is limited context-specific evidence on the underlying processes and barriers to effective delivery, especially in rural areas. This article presents results from a process evaluation of a community-based edutainment intervention designed to improve knowledge, attitudes, and practices on gender-based violence (GBV), sexual and reproductive health (SRH), and maternal and child health. The intervention focused on the television series, C’est la Vie!, screened through biweekly film clubs in rural Senegal and included post-screening discussions and thematic workshops, meant to reinforce messages, increase knowledge, and change social norms. The objectives of this study were to assess intervention adaptation, implementation fidelity, participants’ responsiveness or engagement, and series appropriateness. Methods The intervention was implemented from December 2019 to March 2020 in 120 villages in Kaolack and Kolda regions of Senegal, and targeted adolescent girls and young women aged 14 to 34. The process evaluation was carried out in March 2020 in 14 villages using: i) individual semi-structured interviews with implementers ( n  = 3), village chiefs ( n  = 8), married women ( n  = 9), adolescent girls (n = 8), and men (n = 8); ii) focus groups with men ( n  = 7, 29 participants) and women ( n  = 10, 100 participants); and iii) observations of screening sessions ( n  = 4) and post-screening discussions ( n  = 2). Data were analyzed using thematic and content analysis. Results The results highlight that adaptation of the intervention helped reach the target population and improved participant attendance, but might have compromised fidelity to original design, as intervention components were shortened and modified for rural delivery and some facilitators made ad hoc modifications. The screenings coverage and frequency were adequate; however, their duration was shortened due to COVID-19 restrictions in Senegal. Participant responsiveness was excellent, as was the series appropriateness for most topics, including GBV. SRH remains a sensitive topic for youth, especially when the film clubs included non-peers, such as slightly older women. Conclusions This study showed that using film clubs to deliver sensitive edutainment content in rural areas is feasible and has potential for scale-up.

Background Dance is a powerful means to reduce stigma associated with dementia by promoting, preserving, and sustaining human flourishing. However, dance is rarely adopted for this purpose in the context of dementia care; as with other art programming, dance is primarily adopted in dementia care to achieve individual therapeutic or functional needs and outcomes rather than to support access to the art form itself and social engagement through co-creativity. Dance also rarely features in culture change initiatives to raise critical awareness of stigma-related inequities and to foster social justice. In order to promote broad community awareness building, education, and practice change regarding the value of dance for life enrichment, we developed and evaluated a short documentary film – Dancer Not Dementia – about dance for people living with dementia. Methods Participants viewed Dancer Not Dementia and participated in either an interview or a focus group discussion immediately following viewing the film and then again 8–12 weeks later. Participants included people living in residential or long-term care, family carers, practitioners, healthcare managers, members of the dance community, government and policy makers, and members of the general public with no relationship to dementia. Results Our thematic analysis highlights the ways that Dancer Not Dementia challenged stigma by supporting participants’ capacity to see individuals living with dementia as relational as captured in the themes ‘seeing interconnectedness’, ‘new understandings of dance and dementia’, ‘inspiring change’, and ‘aesthetic qualities of the film’. Conclusion This film is positioned to inspire reforms to policy and practice that are urgently needed to challenge entrenched and oppressive attitudes and social relations, and support more inclusive and relational approaches to caring.

Playing the roles, Nakadai, also fighting against negative effects of the aging process, revealed serious issues of aging through his versatile performances captured by Kobayashi's masterful filmic direction. [...]fewer and fewer young people support more and more elderly people. According to the journal's population research, the number of the elderly people more than 65 years old in 2010 was approximately 29,580,000, which is a bit less than the total population of Canada: 34,110,000.' Though he mainly made art films, they were targeted at the commercial market, and his films sharply focused on Japan's serious social issues, especially those of family.

Americans are living longer and reinventing both work and retirement, but Hollywood movies barely hint at this reality of contemporary society. In many popular films, older characters fade into irrelevance, inactivity, or absurdity, or else they stay in the background as wise elders while younger characters provide the action. Most American films do not attempt to portray the rich variety of experiences or the sensitive aging issues that people confront in the years beyond fifty. Fade to Gray offers one of the first extended studies of the portrayal of older people in American cinema from the silent era to the present. Writing in an accessible style for both general audiences and scholars, Timothy Shary and Nancy McVittie examine social attitudes toward aging through an analysis of hundreds of individual films, including such classics as You Can’t Take It With You (1938), Rosemary’s Baby (1968), Grumpy Old Men (1993), and Nebraska (2013). They show how representations of the aging process and depictions of older people embracing or enduring the various experiences of longer lives have evolved over the past century, as well as how film industry practices have both reflected and influenced perceptions of aging in American society. Exposing the social and political motivations for negative cinematic portrayals of the elderly, Fade to Gray also gives visibility to films that provide opportunities for better understanding and appreciation of the aged and the aging process.