Reconstructing Faces

Both World War I and World War II played an influential role in the evolution of plastic and maxillofacial surgery in the first half of the 20th century. This book examines four of the key figures involved in this wartime surgery: Sir Harold Gillies, Sir Archibald McIndoe, Rainsford Mowlem, and Henry Pickerill. The book describes how these surgeons revolutionized plastic surgery and the treatment of facial trauma, working on soldiers, fighter pilots, and civilians who were disfigured by bombs, shrapnel, and burns. Eventually, these four men were supported by a vast medical enterprise that included surgeons, dentists, anaesthetists, artists, photographers, nurses, and orderlies. The book is fully illustrated with photos, drawings, and case notes by the surgeons and war artists from World War I military hospitals at Boulogne-sur-Mer, Aldershot, and Sidcup, as well as civilian hospitals at East Grinstead, Basingstoke, and Hill End during World War II. The book includes a DVD containing a series of four 16-mm cinematographic instructional films - 'Techniques in Plastic Surgery' - produced in 1945 and showing Rainsford Mowlem performing a variety of plastic surgery operations. Reconstructing Faces is a must for anyone interested in the history of medicine and the treatment of casualties in World Wars I and II.

What did Robert the Bruce really look like? Or a Bronze Age man from Lewis? Find out in this look at the techniques and detective work involved in facial reconstruction. This book describes how innovations in science and technology can assist in producing replica skulls from damaged or fragile archaeological material, and how the clues gained from contemporary descriptions, portraits and busts enable us to give faces back to our ancestors. Six case studies are examined, including Robert the Bruce, George Buchanan and an ancient Eqyptian princess.

Reconstructing the face of an individual who died 3,500 years ago takes patience and skill to build up an identity from a skull, adding layer upon layer of knowledge to known circumstances, then reapplying `flesh to the bones¿. Here, standard techniques used in forensic work are applied to archaeological remains. After overcoming difficulties of fragile, even damaged material, innovations in science and technology can assist identification. The case studies illustrated here include: a young girl whose bones were found on a beach near Amble, UK; the reconstruction of the famous face of Robert the Bruce; the life histories of a Bronze Age `Lewis Man¿ and a 9th cent. boy warrior from Sutherland; and reconstructing the faces of two mummies. Illus.

Applied also to modern criminal investigations, facial reconstruction brings together the work of numerous specialists ranging from dentists to geneticists, and from archaeologists to radiologists. The important historical implications of their work are no more strongly demonstrated than in their confirmation that the body resting in Tomb II at Verginia was that of King Philip II, the father of Alexander the Great: when the face was reconstructed, the eye-injury received by Philip at Methone was unmistakable. Making Faces takes the reader into byways of forensic study, surgery and folklore and reveals how the art of facial reconstruction has opened up whole new vistas of the past.

This book's major contributions include a detailed description of the Manchester method of facial reconstruction, using all the available published data on tissue depths and variation with age, sex, stature and ethnic origin. Caroline Wilkinson also includes an evaluation of the methods and problems associated with reconstructing the faces of children. Forensic facial reconstruction reproduces an individual's face from skeletal remains. Used when identification is otherwise impossible, it can give a name to the dead in forensic cases, or in archaeological contexts, provide a tangible impression of real individuals from our past.

A New York Times Bestseller Finalist for the 2022 Kirkus Prize | Named a best book of the year by The Guardian "Enthralling. Harrowing. Heartbreaking. And utterly redemptive. Lindsey Fitzharris hit this one out of the park." —Erik Larson, author of The Splendid and the Vile Lindsey Fitzharris, the award-winning author of The Butchering Art, presents the compelling, true story of a visionary surgeon who rebuilt the faces of the First World War’s injured heroes, and in the process ushered in the modern era of plastic surgery. From the moment the first machine gun rang out over the Western Front, one thing was clear: humankind’s military technology had wildly surpassed its medical capabilities. Bodies were battered, gouged, hacked, and gassed. The First World War claimed millions of lives and left millions more wounded and disfigured. In the midst of this brutality, however, there were also those who strove to alleviate suffering. The Facemaker tells the extraordinary story of such an individual: the pioneering plastic surgeon Harold Gillies, who dedicated himself to reconstructing the burned and broken faces of the injured soldiers under his care. Gillies, a Cambridge-educated New Zealander, became interested in the nascent field of plastic surgery after encountering the human wreckage on the front. Returning to Britain, he established one of the world’s first hospitals dedicated entirely to facial reconstruction. There, Gillies assembled a unique group of practitioners whose task was to rebuild what had been torn apart, to re-create what had been destroyed. At a time when losing a limb made a soldier a hero, but losing a face made him a monster to a society largely intolerant of disfigurement, Gillies restored not just the faces of the wounded but also their spirits. The Facemaker places Gillies’s ingenious surgical innovations alongside the dramatic stories of soldiers whose lives were wrecked and repaired. The result is a vivid account of how medicine can be an art, and of what courage and imagination can accomplish in the presence of relentless horror.

This book constitutes the refereed proceedings of the International Conference on Biometrics, ICB 2007, held in Seoul, Korea, August 2007. Biometric criteria covered by the papers are assigned to face, fingerprint, iris, speech and signature, biometric fusion and performance evaluation, gait, keystrokes, and others. In addition, the volume also announces the results of the Face Authentication Competition, FAC 2006.

The goal of a forensic artist is to produce a likeness of an individual that might lead to recognition, using various skeletal markers and identifiers to reconstruct the face. This reference provides information that will help forensic artists increase their skills, enhance their talents, and learn those details that will add additional realism to their work.