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Please use this identifier to cite or link to this item: https://hdl.handle.net/20.500.12439/2822
Title: One scar too far: the perception of scarring through time.
Northern Health Authors: Alison Long
Northern Health first author: Alison Long
Northern Health affiliation: (Long) Northern Health, Melbourne, VIC, Australia
Authors: Long A.
Citation: British Journal of Dermatology. Conference: 104th Annual Meeting of the British Association of Dermatologists, BAD 2024. Manchester United Kingdom. 192(Supplement 1) (pp i171), 2024. Date of Publication: July 2024.
Issue Date: 1-Jul-2024
Abstract: The English word, 'scar,' has roots in several languages: Latin (eschara), Old French (escharre), Greek (sigmachialpharhoalpha or eskhara), Middle English (skar) and Old Norse (skar). Ancient civilizations such as the Romans, Greeks and Egyptians viewed scars in a sacred light, as scars were often linked to ritualistic practices. The Ancient Egyptians even employed scarring as a mark of authentication, to be displayed and observed. In Ancient Rome, the symbology of scarring was a practical element in ratifying democratic office after the fall of the Tarquin kings; scars demonstrated that these politicians were not godly as kings wished to be. If scars were to be treated in ancient times it was for symptomatic relief of pain or itching, rather than for aesthetic reasons. In more recent times, society has grown less accepting of facial imperfections and scarring. One example we often see is how scarring is portrayed on screen, highlighting the dichotomy between good and evil. There is a statistically higher preponderance for scarring in antagonistic characters vs. protagonists. Some movies go as far as to name the villain after their imperfections, such as Scar in The Lion King, and Al Pacino's Scarface. When the 'good guys' are shown to have scarring it typically highlights their virtuousness, and can underpin an image of bravery, such as Harry Potter's famous forehead scar. Recently, films have been criticized by their use of facial scarring on villains. In the James Bond film No Time To Die, the villain played by Rami Malek once again displays facial disfigurement. This was met with backlash for the villain cliche, resulting in the British Film Institute no longer funding films with facially scarred villains from 2018. Scars are often used as a shorthand for villainy, repeatedly exaggerated to depict a character flaw or convey an element of disquiet. Perpetuating these negative ideas will serve to bolster unsavoury views, foster prejudices and deepen the psychological impact that scarring can have. We now have various treatments that can be utilized to improve the appearance of scars, including medicated dressings, corticosteroid injection, laser therapy and surgery. However, scarring cannot be cured and so we must endeavour to promote a more accepting landscape for patients struggling with distressing scars.
URI: https://hdl.handle.net/20.500.12439/2822
DOI: https://dx.doi.org/10.1093/bjd/ljae090.361
Type: Conference abstract
Study/Trial: Review article (e.g. literature review, narrative review)
Place of publication: Netherlands
Conference Name: 104th Annual Meeting of the British Association of Dermatologists, BAD 2024
Conference Location: Manchester, United Kingdom
Appears in Collections:Conference papers, presentations, and posters

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