<> <http://www.w3.org/2000/01/rdf-schema#comment> "The repository administrator has not yet configured an RDF license."^^<http://www.w3.org/2001/XMLSchema#string> . <> <http://xmlns.com/foaf/0.1/primaryTopic> <https://discovery.ucl.ac.uk/id/eprint/1461739> . <https://discovery.ucl.ac.uk/id/eprint/1461739> <http://www.w3.org/1999/02/22-rdf-syntax-ns#type> <http://purl.org/ontology/bibo/AcademicArticle> . <https://discovery.ucl.ac.uk/id/eprint/1461739> <http://www.w3.org/1999/02/22-rdf-syntax-ns#type> <http://purl.org/ontology/bibo/Article> . <https://discovery.ucl.ac.uk/id/eprint/1461739> <http://purl.org/dc/terms/title> "Electricity crackles with authenticity"^^<http://www.w3.org/2001/XMLSchema#string> . <https://discovery.ucl.ac.uk/id/eprint/1461739> <http://purl.org/ontology/bibo/abstract> "Since the dawn of cinema, epilepsy has been employed by film makers as shorthand to convey madness, stupidity, or both. In 1929, in one of the first British talking pictures (To What Red Hell?), an aristocratic young man named Harold murders a woman while having a seizure. In the climax of the film, Harold is told he has epilepsy and that the murder is not his fault; his immediate relief that he is not morally culpable for his crime is short-lived. 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