Suchergebnisse

Am Psychologischen Institut der Universität zu Köln wird seit mehr als 40 Jahren eine spezifische qualitative Form der Film-Analyse, die von Wilhelm SALBER entwickelt wurde, angewandt. Film-Analyse ist dabei nicht Selbstzweck, sondern dient zugleich der Erforschung kultureller Zusammenhänge. Filme erscheinen insofern als Seismografen kultureller Tendenzen, als sie allgemeine Visionen und Bilder zukünftiger Entwicklung zum Ausdruck bringen. Sie zeigen sowohl den Zustand der Gesellschaft in seiner Entstehung und Komplexität als auch Entwicklungsperspektiven auf, die über Krisen, Verengungen des Spielraums und immanente Selbstheilungskräfte Aufschluss geben. Ähnlich wie bei der Traumdeutung wird die "manifeste" Film-Erzählung mit den Einfällen und eingehenden Beschreibungen der Zuschauer in Austausch gebracht, um die "latente" so genannte Komplexentwicklung, den Verlauf psychologischer Entwicklungslinien, zu rekonstruieren. Suspense und das Gefesseltsein der Zuschauer basiert darauf, dass eine bedeutungsvolle Verwandlungserfahrung aktiviert wird – nur Filme, denen es gelingt, solch einen Prozess anzustoßen, berühren die Zuschauer. Die psychologische Analyse arbeitet die morphologische Dramaturgie des Filmerlebens heraus, welche in ihrer besonderen dynamischen Figur ausgestaltet wird. Paradoxe unlösbare Problem-Konstellationen sind die treibenden Kräfte in diesem bewegenden Prozess. Die bloße Untersuchung des Drehbuchs oder der Film-Story berücksichtigt nicht, dass der Zuschauer stets Teil der Szene ist. Zuschauer modifizieren die Story in einer charakteristischen Weise, während sie den Film betrachten – entsprechend der Dynamik des psychologischen Prozesses, den sie durchmachen. Ein Zusammenspiel, eine Mischung aus Mitgehen und beobachtender Distanz, welche jeden wirkungsvollen Prozess – sei es in Psychotherapie, Werbung oder Erziehung – kennzeichnet, ist stets am Werk. Da die signifikanten Faktoren unbewusst wirksam sind, ist es notwendig, eine spezifische qualitative Methode anzuwenden, um in der Lage zu sein, diesen vielschichtigen Prozess adäquat zu erfassen. Kurze beispielhafte Analysen der Filme Das Piano, Fight Club, Dogville, Punch-Drunk Love, Catch Me If You Can, The Hours, City of God, Hero und Chihiros Reise ins Zauberland sollen einen Eindruck von der Vorgehensweise geben und demonstrieren, wie qualitative Film-Analyse zum Verstehen kultureller Prozesse beitragen kann. Außerdem wird exemplarisch Einblick in die Arbeit mit Märchenkonstruktionen gegeben.

The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity. In the context of Chinese culture, films such as Hou Hsiao-hsien's City of Sadness and Lou Ye's Summer Palace and novels such as Ye Zhaoyan's Nanjing 1937: A Love Story and Wang Xiaobo's The Golden Age collectively reimagine past horrors and give rise to new historical narratives.Michael Berry takes an innovative look at the representation of six specific historical traumas in modern Chinese history: the Musha Incid

Introduction : copy rites -- The promise and threat of reproducibility -- 8 mm and the "blessings of books and records" -- Bootlegging experimental film -- Copyright and the commons -- The limited edition -- The event of projection -- A cinematic Bayreuth -- Transmission, from the movie-drome to vdrome

Reactive magnetron sputtering was used to deposit YxAl1-xN thin films, 0≤x≤0.22, onto Al2O3(0001) and Si(100) substrates. X-ray diffraction and analytical electron microscopy show that the films are solid solutions. Lattice constants are increasing with Y concentration, in agreement with ab initio calculations. Spectroscopic ellipsometry measurements reveal a band gap decrease from 6.2 eV (x=0) down to 4.9 eV (x=0.22). Theoretical investigations within the special quasirandom structure approach show that the wurtzite structure has the lowest mixingenthalpy for 0≤x≤0.75. ; funding agencies|Linkoping Linnaeus Initiative on Nanoscale Functional Materials (LiLiNFM)||Swedish Research Council (VR)|349-2008-6582|FCT Portugal|SFRH/BPD/66818/2009|VR|2010-3848|Swedish Governmental Agency for Innovation Systems (VINNOVA)|2011-03486|

In this dissertation I analyze Black embodiment and performance in contemporary sports films, particularly through their documentary impulse, the gestures and markers through which these films establish their reference to real sporting and non-sporting bodies and histories. I argue that through this impulse, sports films make claims to an historical real, and they can therefore be explored for how they represent the Black sporting body. Though my project focuses primarily on fiction films, I begin by analyzing this impulse in a sports documentary for how it represents the performance and embodiment of the Black sporting body as an historical contestant. I then trace these strategies as they appear in and shape sports in fiction films, specifically through narratives of triumph and defeat, dissent, and gendered visibility. Throughout, I focus on and read the Black sporting body as a an individuated multiplicity which, through performance and embodiment, represents, references, and relates to Black sporting and non-sporting embodied histories and experiences.Sports films offer a privileged viewpoint on Black embodiment because of their high concentration of Black actors, one that mirrors representation in contemporary athletics. In sport films, sporting history is literally and figuratively choreographed. On the literal level, sports films' formal elements (cinematography, editing conventions), actor training (making them into credible athletes), and overall studio production infrastructure (contracting sport consultants) work together to make the sporting elements plausible and real. On the figurative level, sports films implicitly reference, at the level of embodied performance, historical narratives concerning the social, cultural, and political conditions of Black people. Using textual analysis with attention to historical context, I argue that sports films contain embodied histories, mythologized through filmic and generic conventions, of competing Black bodies in both film and American history. To read these texts and bodies for their historical and bodily memory, I mobilize sports, dance, and performance studies methods as well as gender and critical race theories on embodiment.

In this paper I endeavour to explain the fact that the Swedish parliament, the Riksdag, emerged the realm's most powerful institution in the 18th century – an accomplishment only equalled by the British Parliament. I trace the roots to the success to the Riksdag of the 17th century and argue that during this century a political culture of cooperation became strongly entrenched in the assembly; furthermore I make the claim that constitutionalist ideas took roots even outside the Nobility, among the three Commoner estates (the estates of Clergy, Burghers and Peasants). It is at the same time true that the Commoners as well as the Nobility often expressed strong support for the rulers' bids for more power. The estates were thus surprisingly flexible both with respect to with whom they cooperated, and in ideological outlook. This explains why Sweden was characterized by strong state, strong national representation, and strong rule of law. I argue that the Clergy and the Burghers played a crucial political role in the Riksdag that thwarted both royal and noble bids for supremacy. Furthermore, I compare the Swedish development with Britain's during the same period.