Suchergebnisse

"A sensibility (as distinct from an idea) is one of the hardest things to talk about; but there are special reasons why Camp, in particular, has never been discussed. It is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration." –Susan Sontag, Notes on Camp (1964) Sontag, whose essay was (and continues to be) revolutionary, would perhaps blanche at the way the word "camp" has entered the wide vernacular of common slang. In her writing, she defines Camp as something ephemeral and whimsical, yet also firmly grounded in the contemporary politics and queer theory at the time. The Rocky Horror Picture Show is one of the most beloved and celebrated pieces of Camp art. It began as a West End stage show and was eventually adapted into a movie in 1975. Across the country and, in fact, the world, Rocky Horror inspired a "shadow cast" tradition, where performers recreate the film, lip-synching and dancing along in costume as it plays on a screen in the movie theater behind them. Moviegoers are encouraged to participate by dressing up, singing along, and heckling the performers with call-outs throughout the evening. Rocky Horror shadow casts are meant to be an empowering, inclusive, and liberating experience. After performing in the Rocky Horror shadow cast that took place on-campus at Kenyon this semester, I was curious to see if a computer could capture the "sensibility" of the film, to use Sontag's word. At first blush, I would assume that a script so odd and unpredictable like Rocky, with incongruous musical numbers, inconsistent speech, and an alien subplot introduced three-quarters of the way through the film, would be too intangible for an AI to accurately replicate. However, I have learned a lot this semester about the capabilities of artificial intelligence, and I have found it astonishing. Using the cutting-edge technology known as GPT-2, the AI was trained to write short segments of film scripts that emulated the Rocky Horror script. I found that GPT-2 was in fact capable of writing short exchanges that could ostensibly have been part of the film. However, this was very dependent on the parameters used to generate the text set with GPT-2.

The figurative logic of the films, beyond exhibiting the world, constructs senses that dialogue and dispute with others in force. That is why the cinema constitutes a privileged social discourse, taking into account, in addition, its capacity to cross different levels of reality. In such a way the cinematographic narratives are not only presented as sources for the historian but also operate as agents in the construction of history and in their agency can produce significant political interventions. This work aims to analyze the documentary film Battlefield. Body of Woman as agent of senses and political intervention. With this purpose it will start from , conceptualizations coming from the field of gender studies, visual studies, those referring to the construction of memory, the contributions of cultural history with respect to representations and the construction of sensibilities. ; La lógica figurativa de los films, más allá de exhibir el mundo, construye sentidos que dialogan y disputan con otros vigentes. Por eso el cine constituye un discurso social privilegiado teniendo en cuenta, además, su capacidad de atravesar distintos niveles de realidad. De tal manera los relatos cinematográficos no solo se presentan como fuentes para el historiador sino también operan como agentes en la construcción de la historia y en su agencia pueden producir intervenciones políticas significativas. Este trabajo se propone analizar el film documental Campo de Batalla. Cuerpo de Mujer (Fernando Álvarez, Argentina, 2013) como agente de sentidos e intervención política. Con este propósito partirá de conceptualizaciones provenientes del campo de los estudios de género, los estudios visuales, aquellos referidos a la construcción de la memoria, los aportes de la historia cultural respecto a las representaciones y la construcción de sensibilidades. ; A lógica figurativa dos filmes, além de exibir o mundo, constrói sentidos que dialogam e competem com outros em vigor. Causa disso o cinema constitui um discurso social privilegiado levando em conta, além disso, a sua capacidade de atravessar diferentes níveis de realidade. Desta forma os relatos cinematográficos não só se apresentam como fontes para o historiador mas também operam como agentes na construção da história e na sua agência podem produzir intervenções políticas significativas. Este trabalho visa analisar o documentário Campo de batalha. Corpo de mulher como agente de sentidos e intervenção política.

Purpose
The Cameos of Care Homes project is an opportunity to use the medium of film to showcase the experiences and reflections of frontline care home staff whose employers participated in the National Health Service (NHS) England Vanguard programme. Reflecting on their involvement in one of the Enhanced Health in Care Homes Vanguards, 12 staff describe, in front of the camera, the impact on themselves and their colleagues, on their care for their older residents, and on the wider culture of the care home. The paper aims to discuss this initiative.


Design/methodology/approach
The paper reports the experiences of care home staff that were purposefully recorded on film about their participation in a care home Vanguard. The recruitment of the care homes and staff is described, as are the development of interview questions and approaches needed when filming is considered as a research method.


Findings
Participating care home staff reported that their involvement in the Vanguard programme had improved knowledge, confidence, morale, communication skills and the homes' learning cultures. They were enthusiastic about reporting their experiences on film. Examples were given of proactive early support from local NHS staff leading to improvements in care, thereby reducing demand on the NHS. However, participation was resource intensive for care homes. Care home staff hoped the support that accompanied the Vanguard programme would continue but were uncertain to what degree this would happen once the Vanguard programme ceased.


Research limitations/implications
The interviews were undertaken with a self-selecting group of care home staff from two care homes operating in one of the six Vanguard sites in England. By their very nature, interviews for a public film cannot provide anonymity.


Practical implications
Researchers seeking the views of care home staff may wish to consider filming interviews and presenting the film as a research output that is engaging and informative for care home and wider audiences.


Originality/value
The paper presents an analysis of filmed interviews with care home managers and care workers working with older people. Their views on the Vanguard initiative have not been widely considered, in contrast to the sizeable literature relating to NHS activity and expenditure.

Every two years since 1997, the Forum for the Inculturation of Liturgical Music (FILM) has given a platform for many of Nigeria's cultures to contribute to the future direction of the Roman Catholic liturgy in Nigeria. This case study focuses on the 2013 Biennial Choral Competition, specifically 13 settings of the Ave Maria text in seven of Nigeria's hundreds of languages. Prior to that year, FILM had already introduced music with lyrics in minority languages including Bini, "Osolobruvwe Do", and Efik, "Yak Ikom Abasi", into the Nigerian canon of choral music, including both concert and church performance. In 2013, the majority of participants knew these polyphonic compositions from memory and sang them in an impromptu mass choir. Also in 2013, the year we observed the competition, the Motet I award (for a setting of the "Ave Maria" in an indigenous language) went to a composition in Igala by Abel Obaje of Kogi State University. The setting competed against four Yoruba-language settings and three Igbo-language. The consistent success of music in minority languages at FILM is a hopeful indicator of the future direction of Nigerian society. In a nation marred by ethnic conflict soon after independence (the Nigerian Civil War of 1967-70), with complex ethnic and religious tensions to this day, FILM offers an opportunity for Nigeria's many cultures to be celebrated on a level playing field, distinct from most environments where one ethnicity or language is favored over another, or alternatively, uniformly displaced by English. The conflict between cultural continuity and preservation of Nigeria's many ethnolinguistic cultures and national identity formation is persistent and hard to reconcile, both theoretically and practically. The ideal of unity in diversity is much emphasized (and the concept paraded around by the federal government), but it is rarely realized. Many choral competitions hosted by church bodies in Nigeria (Anglican, Catholic or Pentecostal organizations) often center around one ethnolinguistic culture. Thus, FILM seems to be a unique multi-ethnic contribution to sacred music in Nigeria. Although Catholic in practice and the direct influence is limited to Christian practice, because of cross-fertilization of Muslim and Christian practices, the model will hopefully impact other sectors of Nigerian society.

This article systematizes the learning experiences developed by members of a film analysis community of practice whose purpose was to educate gazes to offer resistance to the coloniality of seeing. It describes the theoretical foundations of decolonial audiovisual literacy, and the political-pedagogical project from which the education process was promoted. In addition, it presents the films that were analyzed and the criteria that guided the selection process. It explains from which assumptions and in which way the systematization of experiences was carried out by facilitators and apprentices participating in the Sound Film Grammar subject of the Specialization in Film Studies (EEC) of the University of Veracruz (Mexico): a graduate program where apprentices from diverse academic disciplines participate. By presenting empirical evidence of the apprentices' voices and gazes, it describes an innovative educational experience due to the diverse profile of the apprentices; the academic, institutional and national framework in which it took place; and the integration of critical perspectives of film studies, visual studies, media education and education aimed at building inter­culturality and decoloniality. ; Este artículo sistematiza las experiencias de aprendizaje desarrolladas por miembros de una comunidad de práctica de análisis cinematográfico con el propósito de educar miradas para resistir la colonialidad del ver. Describe los fundamentos teóricos de la alfabetización audiovisual en clave decolonial, el proyecto político-pedagógico desde el cual se impulsó la formación de miradas; además, presenta las películas que se analizaron y los criterios que guiaron el proceso de selección. Da cuenta desde qué supuestos y de qué modo se hizo la sistematización de las experiencias por el facili­tador y los aprendices del curso Gramática del Cine Sonoro, en la Especialización en Estudios Cinematográficos (EEC) de la Universidad Veracruzana (México), un programa de posgrado con participantes provenientes de disciplinas académicas diversas. Al presentar evidencia empírica de las voces y miradas de los aprendices, describe una experiencia educativa innovadora por el perfil diverso de los aprendices, por el marco académico, institucional y nacional en el que tuvo lugar y por integrar perspectivas críticas de los estudios cinematográficos, los estudios visuales, la educación para los medios y la educación orientada a construir interculturalidad y decolonialidad.

Resumo Esse estudo se apoiará em duas obras da fotógrafa Bárbara Wagner – a série fotográfica "Mestres de Cerimônias" (2016) e o curta-metragem "Estás Vendo Coisas" (2016) – que foram expostas, recentemente, na 32ª Bienal de São Paulo. Pretende-se compreender, por meio desses trabalhos, as tensões entre realidade e ficção, documento e obra de arte; perceber os jogos de identidade, gênero e consumo da cena funk brega e funk ostentação de Recife; bem como, realizar, uma comparação entre os jogos identitários vistos nas fotografias e no curta-metragem. Nesse sentido, serão realizadas descrições e interpretações das fotografias e das cenas fílmicas de Wagner, comparações com os videoclipes que deram origem a elas, digressões históricas e correlações bibliográficas. A obra imagética de Bárbara Wagner revelou ser um objeto complexo que emana em sua superfície, simultaneamente, realidades e ficções, além de expor, acentuar e desconstruir as concepções de identidade, gênero e consumo pertencentes aos movimentos funk brega e funk ostentação de Recife.Palavras-Chave: Bárbara Wagner. Fotografia. Filme. Funk. Sociedade Contemporânea. "FUNK BREGA" AND "FUNK OSTENTAÇÃO": Conceptions of Identity, Gender and Consumption in Barbara Wagner's Imagery. Abstract The present essay is based on two works by photographer Bárbara Wagner - the photo series "Masters of Ceremony" (2016) and the short film "You Are Seeing Things" (2016) - which were recently exhibited at the 32nd São Paulo Biennial. It aims to understand, through these works, the tensions between reality and fiction, between document and work of art; to perceive the games of gender, identity and consumerism of Recife's "funk brega" and "funk ostentação" scene; and finally to make a comparison between identity games seen in the photographs and in the short film. In this sense, the essay will make descriptions and interpretations of Wagner's photographs and film scenes, comparisons with the video clips that sparked them, historical reviews and bibliographic correlations. Barbara Wagner's imagery has revealed to be a complex object that simultaneously presents realities and fictions on the surface, while exposing, accentuating and deconstructing deeper conceptions of gender, identity and consumerism belonging to Recife's movements of "funk brega" and "funk ostentação".Keywords: Bárbara Wagner. Photography. Film. Funk. Contemporary Society.

AbstractThe Bengalibhadralokhave had an important impact on Indian nationalism in Bengal and in India more broadly. Their commitment to narratives of national progress has been noted. However, little attention has been given to how 'earthly paradise', 'garden of delights', and related ideas of refinement and nobility also informed their nationalism. This article excavates the idea of earthly paradise as it is portrayed in Satyajit Ray's 1958 Bengali filmJalsaghar, usually translated asThe Music Room.Jalsagharis typically taken to depict, broadly, the decadence and decline of aristocratic 'feudal' landowners (zamindars) who were granted their holdings and, often, noble rank, such as 'Lord' or 'Raja', during Mughal or British times, representing the languid past of the nobility, and the ascendance of a restless business-oriented class that represents an emerging present and possible future. Thezamindarsare shown as pursuing aesthetic and spiritual delight, ecstasy, and edification through soirées. These soirées are produced for those among the nobility who are sufficiently cultivated and cosmopolitan to appreciate the finer things in life, such as the classical music and dance showcased in this film. The businessmen, too, aspire to host such exceptional events, but are too crass to do so properly and, moreover, they are motivated by a desire to accrue prestige, thus using soirées as a means to an end, rather than to experience aesthetic and spiritual elevation as an end in itself. I argue that the film calls on thebhadralokto value aesthetic cultivation and to actively counter its evanescence. The film thus beckons and authorizes thebhadralokto sustain the value of the timeless past, including nobility and refinement. Yet thebhadralokare also expected to embody and expand a new, progressive, and utilitarian spirit that would modernize India. With the aristocrats gone, and the entrepreneurs eager to assume authority, the film charges thebhadralokto construct a nationalism in which the immortal, character-building values of classical art, for example, can yet be sutured to utilitarian progressivism. I argue that the film conveys this even though it does not explicitly portray or even mention thebhadralok, or feature uniquely Bengali music and art. Accordingly, this article does not focus on the actual aesthetic and political practices ofbhadraloknationalism. The aim is to shed light on one genealogy through which thebhadraloksanctioned themselves as India's stewards along these lines.

Este trabajo presenta el uso de la técnica de corriente directa y la implementación de las técnicas de corriente pulsante con inversión (PRC) y sin inversión de polaridad (PDC) para electrodepositar películas delgadas Cu/Cd en forma de bicapa sobre substratos de Zamak. Se estudió la influencia de las diferentes variables involucradas en cada uno de los procesos: voltaje y tiempo de deposición (VHigh y tHigh), voltaje y tiempo de disolución (VLow y tLow) y el ciclo de carga ( =tHigh /tHigh+tLowf), obteniendo como respuesta el monitoreo de la corriente anódica (ILow) y catódica (IHigh). Los electrodepósitos de Cu/Cd se caracterizaron mediante microscopia óptica de barrido para hallar el tamaño de grano además, se halló la rugosidad utilizando Scanning Probe Image Processor (SPIP). Se observó que el control pulsante del voltaje durante el depósito permite obtener películas de Cu/Cd más densas y de tamaño de grano más fino, que las películas convencionales depositadas por la técnica de corriente directa. Además Para evaluar la potencia protectora anticorrosivas de las películas se utilizó la técnica TAFEL.Palabras Clave: Corriente Pulsante Inversa; corrosión; electrodeposición; películas delgadas ABSTRACT This work presents the use of the technique of current pulsant inverse, pulse direct current and direct current for electrodeposition thin films Cu/Cd in double-layer shape on Zamak substrate. The influence of the different variables was studied involved in each one of the processes: voltage and time of deposition (VHigh and VLow), voltage and time of breakup (VLow and tLow) and the load cycle ( =tHigh/tHigh+tLow), obtaining the average of the anodic (ILow) and cathodic (IHigh) currents as a function of the anodic (tLow) and cathodic (tHigh) times, respectively. The electrodeposits of Cu/Cd were characterized by means of optic microscopy to obtain the grain size; moreover the ruggedness was obtained using a Scanning Proved Image Processor (SPIP). These results showed that the control of pulsed voltage during the deposit allowing to obtain Cu/Cd films denser, and with a size of grain finer that the conventional films deposited by the technique of direct current. The protective anticorrosive power of the thin films was evaluated by means the technique TAFEL.Keywords: Corrosion, current pulsant inverse, electrodeposition, thin films.

RESUMEN Los avances acaecidos en el estudio sobre las sociedades indígenas de Pampa y Patagonia han permitido complejizar los análisis clásicos sobre la cuestión indígena. Los trabajos interdisciplinarios en el desarrollo de estas investigaciones dieron lugar a la incorporación de diversos tipos de fuentes que fundamentan así como cuestionan viejas interpretaciones. Las miradas tradicionales sobre la cuestión indígena en Argentina han penetrado en la elaboración de estos tipos de fuentes, evidenciando así usos del pasado que legitiman la dicotomía clásica entre civilización y barbarie. Fotografías, pinturas, entre otras fuentes visuales, son testigo de estas construcciones negativas, en las cuales el cine ha sido parte. En este trabajo se intentará analizar dos producciones cinematográficas de 1940 que reconstruyen la historia argentina durante los gobiernos de Juan Manuel de Rosas. Se propone una reflexión sobre los discursos, las narrativas y las representaciones de dichos films respecto al tratamiento de las problemáticas de la frontera sur, que pretende generar nuevos interrogantes en torno a las formas de apropiación, construcción y reproducción de la memoria colectiva sobre los Pueblos Originarios.Palabras clave: Cine – Pueblos Originarios – Memoria – Discurso hegemónico. ABSTRACT Advances have occurred in the study of indigenous societies of Pampa and Patagonia have allowed complicate the classic analysis of the Indian question. Interdisciplinary work in the development of these investigations led to the incorporation of various types of sources that support and question old interpretations on the subject. Traditional perspectives on the indigenous question in Argentina have penetrated in the development of these types of sources and uses of the past showing that legitimize the classic dichotomy between civilization and barbarism. Photographs, renderings, paintings, and other visual sources are testament to these negative constructions, and the film has been a part. This paper will attempt to analyze two film productions of 1940 that reconstruct the history of Argentina during the governments of Juan Manuel de Rosas. A reflection on the discourses, narratives and representations of these films on the treatment of the problems of the southern border, which aims to generate new questions about the forms of appropriation, construction and reproduction of the collective memory of the Peoples is proposed originating.Key word: Film – Pueblos Originarios – Memory – Hegemony.

International audience ; According to many commentators the two adaptations of the play Waterloo Bridge (Robert E. Sherwood, 1930) directed by James Whale (1931) and Mervyn LeRoy (1940) represent a good example of ideological and moral changes undergone by Hollywood after the publication of theHays Code in 1934. However, whilst a comparison of the two films does indeed throw light upon the changes in question, which sprung from a crisis in cinematographical narration, each work speaks particularly eloquently of its own epoch through the story of love between a prostitute and a soldier during the great political crisis of the First World War; the two films can thus be considered as cinematographical narrations of crisis. Far more than the simple result of political and social engagement, these films are also the works of directors in touch with their time.In this way, LeRoy's version marks the beginning of the meeting between melodrama and film noir which would define the latter throughout the 1940s and 1950s. ; Se suelen conocer las dos adaptaciones de la obra de teatro Waterloo Bridge (Robert E. Sherwood, 1930) por parte de James Whale (1931) y de Mervyn LeRoy (1940) como un buen ejemplo de los cambios ideológicos y morales que sufrió Hollywood a partir de la aparición del código de censura Hays en 1934. Sin embargo, si la comparación de las dos películas pone de realce, en efecto, estos cambios que podemos asimilar a una crisis de la narración cinematográfica, al contar la historia de amor entre un soldado y una prostituta durante la gran crisis política que fue la Primera Guerra Mundial, estos filmes nos hablan sobre todo de su actualidad –la gran depresión en el caso de Whale y el principio de la Segunda Guerra Mundial con LeRoy– y pertenecen a la narrativa cinematográfica de la crisis. Más que el mero resultado de un compromiso político y social, estas películas son también auténticas obras de autores en simbiosis con su época. En este sentido, la versión de LeRoy marca el principio de una mezcla entre melodrama y cine negro que determinará este género a lo largo de las décadas de los cuarenta y de los cincuenta.

The paper aims at describing the problem of historical memory such as it emerges in the films of the contemporary Lithuanian video-artist Deimantas Narkevičius. The questions raised are whether it may be conveyed through cinematic means and which techniques in particular may well preserve and nourish it. In the oeuvre of Narkevičius, the problem is closely tied to the autoreflexivity of the medium itself, since cinema allows recalling events both personal and "universal" and moving them from one context to another, forcing them to lose their documental status in the process. Yet no manipulation of document and history may pass without consequences, and all historic images, traumatic narratives and translating between different languages and experiences reveal ruptures in the narrative texture. This, in turn, makes us question the possibility and probability of memory itself. These questions are in the forth of Narkevičius' films, yet they are posed wordlessly, through images alone, thus making the spectator wonder as to whether cinema might have its own techniques of working with the memory, history, and forgetting.Editing is the main cinematic technique used in the process, and the "Role of a Lifetime" of Narkevičius, to quote his another film, proves to be one of the Great Editor. Editing empowers one with the means of control over cinematic discourse and thus provides a very particular type of cinematic memory. Instead of merely showing things, the editor has control over what shall and shall not be seen. Yet Narkevičius chooses not to merely tell documentary stories about a life long gone. Instead, he reviews the once-traditional ways of looking (soviet filming techniques, film and TV genres) aiming at revealing their own inner instability, forcing them to display their own ruptures and discontinuities. A strategy like that closely resembles such practices of the Soviet Lithuanian art as the so-called "Quiet Modernism" or "Aesop's language"; yet the overall status of Narkevičius' work is under the question. Is such a strategy merely a suggestion of a way of remembering? Or, is it a convenient and institutionally approved way of opposing the mainstream? The films analysed here provide no definite answer; however, they do prove that the means of the medium play a significant role in how we perceive and understand our past.

This article examines the new Kazakh nation-state's attempt to provide a history to its people and how this attempt functions as a sort of "nomadic nationhood": an ongoing, vibrant process of building both a sense of national identity and a sense of historical remembrance that center on nomads. The state has taken the lead in this nation-building exercise, and Kazakh films, often relying on state support, have also played a starring role. Surveying a number of recent Kazakh films, the author argues that Kazakh filmmakers, responding to President Nursultan Nazarbayev's calls to create national narratives, have turned to nomads and the nomadic past as the source for Kazakh nationhood and remembrance. The reception among Kazakh citizens has produced a mixed bag: many audience members have celebrated what they see as a "new Kazakh patriotism" articulated onscreen. Others have criticized certain aspects of the onscreen nomadic nationhood, particularly the Kazakh state's role in promoting it and Kazakh filmmakers' adaptation of Hollywood techniques. Still others have stayed away from Kazakh films entirely, choosing instead to check out the latest Hollywood blockbusters. As a result, Nazarbayev declared in late 2009 that Kazakh filmmakers should start to pay more attention to the present and not just the past, but the cinematic nomadic nationhood has not stopped. The May 2012 film Myn Bala [A Thousand Boys] mines the same historical territory as 2005's The Nomad , the film that in many ways initiated the new Kazakh cinema's turn to the nomadic past.
В статье рассматривается политика истории в современном Казах­стане, который продвигает концепцию "кочевой национальности". Стивен Норрис понимает эту политику как живой процесс строи­тельства национальной идентичности и формирования исторической памяти, в центре которой кочевое прошлое. Казахский кинематограф, располагающий государственной поддержкой, играет в этом проекте национального государства важнейшую роль. В статье анализируется несколько недавних казахских фильмов, авторы которых отозвались на призыв президента Нурсултана Назарбаева создать национальный казахский нарратив. Они обращаются к кочевникам и кочевому прошлому как к источнику казахской национальности и памяти. Норрис анализирует образный язык и идеологическое послание этих фильмов и их восприятие аудиторией. Автор реконструирует диапазон оценок от восторженно-патриотических до умеренно критических и откровенно индифферентных и делает вывод о функционировании концепции "кочевой национальности" в современном казахстанском обществе.

The role of the film is not to entertain but to serve the viewers. Entertainment and fun should only be quantitative representative of the thematic construction and not qualitative force of the same. However, when at some point the film lost its potential to hold the viewers startled, opinion was formed that film was bound to entertain… Eisenstein We see the situation with education is similar with the above said of the film. The role of education is not to entertain but to serve the pupils and students i.e. the people of our future. Entertainment and fun should only be quantitative representative of the thematic construction and not qualitative force of the same. But, like film, at some point i.e. along with the development of technology, education has lost its potential to hold the pupils and students' attention and consequently it has been concluded that education is bound to be entertaining. What do we see today when we look at the world we live in? Depression in living, aggressiveness in career-building, increasing number of frustrated children, unlimited freedom of information, misunderstood and misinterpreted democracy, whirling technology. What do we see today when we look at education? An industrialized process of making literate people, graduates, masters, and doctors. The situation with pupils and freedom of information looks like letting a 2-year-old child all alone out on a road busy with heavy traffic. Democracy has led to offering children all sorts of information even most disgusting, revolting, and appalling ones. Technology slowly pushes away humanity and undoubtedly takes over the honorary and once highly respected autocratic role of the teacher as a source of information. Unfortunately, new kinds of teachers have appeared today: the Internet, the "market" teacher, and the virtual teacher. These three kinds of teachers bear characteristics which undoubtedly lead to a process of dying out of the once leading character of Mankind and its evolution: Is this a process we should rejoice over or one we should mourn over? The Internet supplies most destructive information to children by means of successful montage of colours, sounds, and effects and we must not forget that Man is a habit-forming.

In öffentlichen und medialen Debatten spielt die Verknüpfung von Religion und Gender eine prominente und problematische Rolle. Religiöse Erfahrungen und Praktiken sind ohne Beachtung der Diversität der betroffenen und agierenden Subjekte nicht adäquat zu verstehen. Dennoch ist eine gendersensible Religionswissenschaft immer noch nicht selbstverständlich. Aktuelle und historische Fallstudien zum Zusammenhang zwischen Religion und Diversität nehmen verschiedene Religionen wie den Islam sowie westliches und orthodoxes Christentum in den Blick und behandeln zudem eine Vielfalt an Medien, wie Erzählungen, Filme, Serien oder Reality-TV.

USIA Film "John F. Kennedy-Years of Lightning, Day of Drums," August 25, 1965.-Ordered to be print:d, Mr. . Fulbright, from the Committee on Foreign RelatIOns, submItted the following Report [To accompany SJ. Res. 106].[ Washington, D.C.] : August 25, 1965. ; Scanned from original text or image using a Canon Expression 10000XL scanner. Optimized in Adobe Acrobat 9 Pro and saved in .pdf format.