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Film therapy – the creative use of film art in practice
In: Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura, Band 11, Heft 4, S. 47-62
ISSN: 2391-4432
The art of film has great potential to influence the viewer. Thanks to the fact that the film is very deeply rooted in culture and that contact with it is not difficult, the possibilities of using it in various activities are enormous. This potential is exploited by film therapy, a kind of art therapy. The way the art of film is applied to work with a human being is determined by many psychological, pedagogical, sociological, or film studies theories. One of them is the theory of creativity. The creative approach to the reception of a film, its creation and its use for purposes other than entertainment is an unusual way of thinking about the essence of film art. It also shows the extraordinary qualities of this audiovisual type of art, which can be used in many areas of social activity.
An Exploration into the Potential of Irish Films (1896-1962) for Empathic Approaches to the History Classroom
This thesis applies historical empathy as a lens through which Ireland's filmic heritage can be explored within the teaching of history. In its approach, the research asserts that critical perspective recognition and affective exploration can be achieved through a sustained model of historical narrative inquiry. Undertaking textual analysis of a series of pre-televisual films from the National Film Archive, it argues that there is value in these records for understanding the formulation and assessment of political and social representation in the nascent Republic. While remaining cognizant of the constraints placed on both the educational and archival professions in Ireland, the thesis determines that the unique characteristics of film make it an invaluable resource for history scholarship. It further emphasizes the manner in which working with the medium in an empathic mode exposes young people to a series of critical-theoretical subject positions that have wider benefits beyond the four walls of the Irish classroom. Despite the fact that Ireland's engagement with cinema, and film education, is as old as the medium itself, this thesis operates against a contemporary backdrop that sees film and moving image media explicitly ignored in the educational landscape. It argues that a number of politically and religiously determined actions in the middle of the 20th century relegated the initial momentum the medium maintained into a state of virtual non-existence. While recent revisions to policy and intent have created spaces for critically engaging with film and moving image media at both subject-specific and cycle-wide levels, the nationally sanctioned plan of action through the year 2020 sees working with any kind of media as little more than the capability to send an email. Through analysis of the filmic record and its use within the classroom – and a championing Ireland's film heritage as viable and necessary to a comprehensive history syllabus – this thesis intends to redress such thinking.
BASE
The Swedish warship Wasa
Mortality among Swedish Journalists
In: Journalism quarterly: JQ ; devoted to research in journalism and mass communication, Band 64, Heft 2-3, S. 533-536
ISSN: 0196-3031, 0022-5533
Perspectives on Swedish Immigration
In: International migration review: IMR, Band 14, Heft 3, S. 436
ISSN: 1747-7379, 0197-9183
Schwerpunkt: Film in Afrika
In: Zeitschrift für Afrikastudien: ZAST, Heft 9-10, S. 5-81
ISSN: 1013-8048
Fünf Beiträge zu verschiedenen Aspekten des afrikanischen Films. F. Pfaff diskutiert Darstellungsformen und soziale Bedeutung der Erotik in den Filmen Schwarzafrikas. P. Haffner entwickelt die These, daß das afrikanische Kino, speziell das Kino von Schwarzafrika, ein politischer Ort par excellence ist, weil Filmemacher ähnlich den Staatschefs von der panafrikanischen Ideologie beeinflußt sind und erklärtermaßen gegen Entfremdung und Kulturimperialismus kämpfen. N. J. Schmidt erörtert kulturspezifische Aspekte der darstellerischen Arbeit in afrikanischen Filmen (Darstellung als sozialer Prozeß). G. Convents untersucht, wie Filme über Afrika in der deutschen Kolonialpropaganda zu Beginn dieses Jh.s verwendet worden sind. W. Grausgruber berichtet über die Filmfestspiele in Tunis (Oktober/November 1990) und Ouagadougou (Februar/März 1991).(DÜI-Hns)
World Affairs Online
The film studio: film production in the global economy
In: Critical media studies
Terrorism in film media: An international view of theatrical films
In: Journal of war & culture studies: JWCS, Band 4, Heft 2, S. 207-222
ISSN: 1752-6280
RUBRIKEN & KOLUMNEN: Film-Schnitte (II): Formvollendete Filme über die Liebe
In: Forum Kommune: Politik, Ökonomie, Kultur, Band 29, Heft 4, S. 103
ISSN: 0723-7669
Kommentare & Kolumnen: Film-Schnitte: Durch die Wand. Es tut sich was im deutschen Film
In: Forum Kommune: Politik, Ökonomie, Kultur, Band 22, Heft 2, S. 104-105
ISSN: 0723-7669
Chronik: Film: Über Seitenwege zurück zur Wirklichkeit: Zur Situation des polnischen Films
In: Ansichten: Jahrbuch des Deutschen Polen-Instituts Darmstadt, Band 9, S. 229-238
ISSN: 1432-5810
Kinder, Film und Dritte Welt: eine Studie zur Film- und Gegenstandsaneignung durch Vor- und Grundschulkinder
In: Studien zur Kinder- und Jugendmedien-Forschung 7
Historical Perceptions about Children and Film: Case Studies of the British Board of Film Censors, the British Film Institute, and the Children's Film Foundation from the 1910s to the 1950s
In: Open cultural studies, Band 8, Heft 1
ISSN: 2451-3474
Abstract
This article explores how ideas regarding children and film were shaped and shifted from the 1910s to the 1950s by consulting three critical moments and key institutions: the British Board of Film Censors in the 1910s, the British Film Institute in the 1930s, and the Children's Film Foundation in the 1950s. By doing so, the article elucidates how discourse and ideas about children's films and audiences have transformed, resulting in policy shifts from restrictive to encouraging approaches that appreciate children's tastes and the entertainment value of children's cinema. Based on comparative historical research, this article empirically reveals that perceptions of children's cinema have changed throughout history and that the policy documents offer significant materials to explain this.