Flag sign: the trichoscopic feature of white hair phenomenon in alopecia areata

Author(s):  
A Souissi ◽  
M Ben Slimane ◽  
F Alaoui ◽  
T Bacha ◽  
F Zeglaoui ◽  
...  
Keyword(s):  
2014 ◽  
Vol 20 (9) ◽  
Author(s):  
Sheila Z Jalalat ◽  
John R Kelsoe ◽  
Philip R Cohen

Author(s):  
Daniel Asz-Sigall ◽  
María Fernanda Ortega-Springall ◽  
Mariam Smith-Pliego ◽  
Erika Rodríguez-Lobato ◽  
Maria Abril Martinez-Velasco ◽  
...  

1978 ◽  
Vol 114 (7) ◽  
pp. 1036-1038 ◽  
Author(s):  
L. A. Daman
Keyword(s):  

1976 ◽  
Vol 112 (10) ◽  
pp. 1397-1399 ◽  
Author(s):  
D. M. Carter

Praxis ◽  
2003 ◽  
Vol 92 (19) ◽  
pp. 912-914
Author(s):  
von Mühlenen ◽  
Schaub

Ein 23-järiger Mann leidet seit Kindheit an Haarverlust mit einem fast kompletten Fehlen der Kopfhaare seit seinem sechsten Altersjahr. In den letzten Monaten war es zu einem Fortschreiten der Erkrankung mit Entwicklung einer Alopecia universalis gekommen. Wir diskutieren die Pathogenese, Differentialdiagnose und Therapie der Alopecia areata.


2013 ◽  
Author(s):  
Kristina G. Gorbatenko-Roth ◽  
Neil S. Prose ◽  
Cathy Breuer ◽  
Melisa Entinger

1995 ◽  
Vol 5 (1) ◽  
pp. 19-19
Author(s):  
Richard C. Shiell ◽  
Marc A. Pomerantz
Keyword(s):  

Author(s):  
Daniel Martin

The Bride with White Hair (Ronny Yu, 1993) tells the tale of a heroic swordsman’s ill-fated love affair with a woman transformed by hatred into a white-haired killer, elevated the figure of the frosty-follicled executioner into one of the most enduring icons of the Hong Kong horror film. The timelessness and mysticism of the story lends itself to a highly hybridized type of horror, offering wuxia (swordplay), magical fantasy, romance and erotic scintillation alongside bloody fights, savage violence, and a monstrous depiction of malevolent conjoined twins. This chapter examines this film as emblematic of a particular cultural moment in the development of the Hong Kong fantasy-horror, appealing to a global fanbase for its supposedly transgressive and erotic content, and analyses the film in terms of its generic hybridity, its depictions of disability and morality, as well as in the context of the international marketing and reception of cult Hong Kong horror of the 1990s.


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