Analyze

我訪問到的阿嬤也有在高度人力密集的產業中工作過，如餐飲、紡織等等，反映了當代大環境中原民來到都市的處境。都市原民作為台灣產業發展的推手之一，卻無法擁有安身立命的家，而被迫在各處流浪，直到近代才開啟了與政府溝通的橋樑，卻依然有種種難題需要克服。

Did you scan the photos and write down the lyrics?

These are important artifacts that carries memories and stories belong to the grandma and her generation, for instance, their relationship with the ocean, fishery and seafood, etc. 

https://ubrand.udn.com/ubrand/story/12116/4095581

How do they maintain such relationship in the urban setting? What is the meaning of sea to them after living in Hsinchu for decades? Do they feel the difference between the sea in Hsinchu and inTaidung? Why?

TS: In this picture, taken by Paul Jobin at the Yunlin County Court in Central Taiwan, a lawyer explains the details of a Formosa Plastics lawsuit to a group of plaintiffs. In our conversation, Paul Jobin said that this picture symbolizes the difficulties to mobilize and "prepare" plaintiffs. At best, many of them are unaware that they have a right to appear in court, but often they are intimidated and fear retaliation. According to Jobin, social scientists can at times help with political organizing, for example by not only interviewing residents, but also informing them about their rights. Likewise, it was Jobin who encouraged the lawyer to take a moment after the hearing to engage with the plaintiffs. 

The central argument is that healthcare professionals are not trained well enough in mentally/ emotionally handling patient relationships when providing end-of-life care for terminal/ chronic illnesses.

The narrative is sustained through Atul Gawande's experience and research into improving his end-of-life care for his own patients by meeting with other healthcare professionals (oncologists, palliative care experts and surgeons), and analyzing his actions with his father. The film has strong emotional appeal, as loss of loved ones is a common experience, and difficult for all parties involved. 

Scientific info isn't really in depth (disease processes aren't talked about) mostly just psycho-social aspects discussed. 

The stakeholders are Dr. Atul Gawande, other healthcare professionals, and the patients with terminal illnesses. They have to decide what the patient's priorities are, treatment options, and basically how much time and quality of life patients are willing to trade for extended years to live. Is the treatment making the patient worse or better? Doctors have to put themselves in a position of vulnerability by personally getting to know their patients, and deal with the guilt and blame if their treatments aren't successful or what they had said to the patient's family.

Emergency responders not portrayed in the film; only medical professionals involved in long-term patient care are addressed. 

Emergency responders are not portrayed in this film. This film focuses on long term care and the ethics of dealing with death, hospice, and gravely ill patients.

In this film, three groups of stakeholders are portrayed; doctors, patients, and mortality. The doctors depicted fight a loosing battle against aging, death, and terminal illness like cancer. They need to come to terms with the fact that they can't save everyone and they need to honor their patients wishes for how they want to conduct the end of their lives. The patients need to accept their impending death with the assistance of their doctors and advocate for how they want to conduct the end of their lives. And mortality is an object which is immaterial but ever present, and both doctors and patients need to learn how to grasp with it.

The narrative is sustained through emotional stories of end of life care from both the physician and patient perspectives performed by both Dr. Atul Gawande and by other healthcare professionals such as oncologists, palliative care experts, other surgeons. The scientific background of end of life care isn't really discussed in detail, as this film focuses more on the social and emotional aspects of this topic.