Suchergebnisse

ResumenDiversos estudios, con indagaciones más o menos profundas, señalan el pasaje de las narrativas revolucionarias a las humanitarias para enmarcar los discursos políticos entre 1968 y 1989 (Crenzel, 2008; Franco, 2008; Vezzetti, 2009), de la fundamentación de la violencia revolucionaria contra un Estado burgués a la defensa de la Constitución, la Democracia y los Derechos Humanos. Ese pasaje también tuvo su correlato en los flms documentales producidos en el mismo período. De aquellos realizados por los grupos de cine militante como Cine Liberación, Realizadores de Mayo o Cine de la Base a los que defendieron discursivamente a las instituciones de la democracia, atravesando los flmes del exilio en los que se dio un cambio de narrativa de base con diferencia de muy pocos años o, incluso, meses. El objetivo de este trabajo es analizar la presencia de dichos relatos humanitarios en estos documentales producidos a fnes de la dictadura y durante la transición democrática. ¿De qué maneras se articularon las nuevas narrativas humanitarias con los discursos documentales en el contexto de la transición democrática? es la interrogante que vertebra este trabajo.Palabras clave: cine documental, Argentina, derechos humanos, democracia, narrativa humanitaria.AbstractSeveral studies, with varying depth investigations, indicate the passage from the revolutionary narrative to the humanitarian to frame the political discourse between 1968 and 1989 (Crenzel, 2008, Franco, 2008; Vezzetti, 2009), from the foundation of revolutionary violence against the bourgeois state to the defense of Constitution, Democracy and Human Rights. This passage also had its counterpart in the documentary flms produced in the same period. Of those carried out by militant groups like Cine Liberación, Realizadores de Mayo o Cine de la Base to those who defended the institutions of democracy, through the flms of exile in which there was a change of narrative base unlike a few years or even months. The aim of this paper is to analyze the presence of such humanitarian stories in these documentaries produced by the end of the dictatorship and the democratic transition. In what ways the new narratives are articulated with discourses humanitarian documentaries in the context of democratic transition? This question guides this work.Keywords: Documentary Cinema, Argentina, human rights, democracy, humanitarian narrative.

Reading Kafka's novel The Trial and watching Orson Welles adaptation of it, is, in a sense, a similar experience. The reader who has finished the novel and the spectator who has watched the film to the end both feel that there is not much they can say. But they do so for different reasons. This is demonstrated in that the reader may want to read the novel again, rather than engage in an interpretation that he knows will be clumsy and even superfluous, no matter how original or how pertinent, whilst the spectator, especially if he admires the director's work, will probably not want to watch the film a second time, or will be willing to give it another chance only if he believes that he missed something important the first time around and that the film requires repeated viewing to make a more convincing impression. In the latter case, it is unlikely that the spectator tests his judgment immediately after his initial disappointment. Instead he will wait until he finds that he can see the film with fresh eyes, as it were. Welles failure is neither to be sought in the alleged impossibility of turning Kafka's literary texts into a play or a film nor in an excess of faithfulness to the letter. Rather, what triggers the spectator's resistance, his unwillingness to go along with the film, is the element of virtuosity in Welles adaptation, regardless of how much of the director's intention actually materializes in the film itself. Virtuosity makes light of the letter, respects it only to exploit it relentlessly and elevate the artist into a sphere of weightlessness in which nothing remains beyond his reach. As a virtuoso of cinema, Welles fails to do justice to the letter in Kafka because he creates a Kafkaesque film, as if the letter's insistence proved all the more conspicuous where its density dissolves into the spiritual freedom of unimpeded productivity, or as if it revealed a life of its own where the free life of spirit knows only of the difference between dumb enslavement and a skillful display that keeps the text suspended in the air like an acrobat's ball. Adapted from the source document.

Il lavoro qui proposto nasce dall'esigenza di evidenziare il ruolo dell'informazione nella società contemporanea, in particolare quello delle notizie dalle zone di conflitto, le ripercussioni che hanno su governi locali e su quelli in guerra, fino all'esigenza, tutta americana, di creare una figura "ad hoc", quella di un giornalista sotto contratto con il Pentagono, vincolato nel produrre informazioni al placet dell'esercito americano. L'elaborato si presenta suddiviso in quattro capitoli e due appendici. Il primo capitolo intende tracciare la storia del giornalismo di guerra, raccontando le esperienze dei maggiori reporter ed i riflessi che i loro servizi hanno avuto sui rispettivi governi; questo excursus mira ad evidenziare quanto possa essere distante la figura dell'inviato Billy Russel da un giornalista "moderno", successivamente si descrive il giornalismo durante la grande guerra, la censura del regime fascista italiano fino ad arrivare alla nascita dei nuovi media, il cinema, la fotografia e la radio; il Vietnam è citato come primo esempio dell'utilizzo della tv, infine il capitolo si chiude con il Kosovo, la prima volta che un conflitto viene raccontato, descritto e documentato soprattutto grazie a internet. Il secondo capitolo descrive il fenomeno degli embedded, tracciando prima le linee della figura dell'inviato di guerra non embedded, cercando poi di argomentare il motivo per cui il governo americano ha forgiato questa figura, quali sono le sue caratteristiche, il modus operandi, quali i suoi rapporti con i giornalisti non embedded e quali opinioni hanno questi ultimi dei loro colleghi embedded. La parte giurisprudenziale, in modo particolare la tutela dei giornalisti, è trattata nel terzo capitolo, suddiviso in 4 paragrafi, secondo le fonti del diritto citate, dalla Costituzione Italiana ai Codici, dalla Convenzione di Ginevra alla Corte Penale Internazionale ed alla Dichiarazione Universale dei Diritti dell'Uomo. Il quarto ed ultimo capitolo intende disegnare il quadro del Secondo Conflitto Irakeno, con un breve accenno alla prima Guerra del Golfo, all'attentato dell'11 Settembre 2001, all'immediatamente successiva campagna antiterrorismo di Bush, passando per le tv arabe ed, in particolare Al Jazeera. Il lavoro proposto si conclude con due appendici, l'originale contratto di embedded, ed un'intervista, rilasciata in via esclusiva alla sottoscritta, da un girnalista RAI, Stefano Vidori, membro eletto dell'Esecutivo Nazionale USIGRAI.

This article argues that the orientation of art toward an international market during Cuba's Special Period has resulted in a new post-utopian aesthetics of the everyday and allows for greater possibilities for social critique in Cuban cinema. Although the international market imposes certain constraints on Cuban filmmakers, which they didn't have to contend with when they received state subsidies, their ability to negotiate between two masters, the market and the Cuban state, has afforded them more autonomy than they previously enjoyed. Fernando Pérez's film Suite Habana (2003), which follows a day in the life of ordinary Habaneros, provides a daring and realistic glimpse into the everyday lives of Cubans struggling to survive in the midst of economic crisis. Suite Habana represents a new aesthetic that emerged in the Special Period of post-utopian Cuba, one that focuses on everyday concerns rather than on monumental historical events or narratives that justify the Cuban Revolution. Neither antirevolutionary nor blithely prosocialist, Pérez's post-utopian view helps us to understand how Cubans are dealing with the transition from a socialist Fidelista state to something else. Resumen Este artículo propone que la orientación del arte hacia un mercado internacional durante el período especial ha dado lugar a una nueva estética posutópica de lo cotidiano, la cual permite más posibilidades para una critica social en el cine cubano. Aunque el mercado internacional impone ciertas restricciones en los directores cubanos, que no existían cuando recibían subsidios del estado, su capacidad de negociar entre estos dos patrones, el mercado y el estado cubano, les ha dado a los cineastas una mayor autonomía que la disfrutada antes. La película de Fernando Pérez, Suite Habana (2003), que relata un día típico en la vida de los habaneros, nos da una visión audaz y realista de la lucha cotidiana para sobrevivir en medio de una crisis económica. Suite Habana representa una nueva estética que emerge durante el período especial, una estética que se enfoca en los asuntos cotidianos en vez de en los eventos históricos monumentales o en narrativas que justifican la revolución cubana. Ni antirevolucionario, ni superficialmente socialista, la visión posutópica de Pérez nos ayuda entender cómo los cubanos están manejando la transición de un estado socialista Fidelista a algo diferente y desconocido.

Film in Australia, as with many other nations, is often seen as an important cultural medium where national stories about belonging and identity can be (re)produced in pleasurable and, at times, complicated ways. One such film is Ray Lawrence's Lantana. Although striking a chord in Australia as a good film about ' basically good people', people that rang 'brilliantly' true (Lantana DVD 2002), this paper argues that, at the same time as it produces a fantasy of a 'good' Australia, the film also conducts a regulation of what constitutes Australianness. In many ways the imaginary of Australia offered in this film, to its contemporary, urban, professional and intellectual elite audience, still draws on and (re)produces a vision of an Australian community that uses the same narrative frameworks of protection and control as the cruder discourses of 'white Australia' offered to an earlier generation of cinema-goers. This film's central motif of the lantana bush, the out of control weed, that is known as both foreign and local is here emblematic of tensions about belonging, place and otherness. Yet while, within the film's knowingly reflexive purview any remaining potential for racism is understood and itself under control – we know how to be good mutliculturalists –it is the trope of sexuality in Lantana that provides the real sense of edginess and anxiety about belonging. It is in this arena that the film sets up an idea of danger and –less self-consciously, and in the end more aggressively – marks out who is and who is not part of the community. In this context the motif of lantana signals an ambivalence about difference and the exotic. Lantana is both desirable because of the difference in its attractive Latin looks and repulsive or feared because of other qualities inherent within its difference: a refusal to behave and a propensity to get out-of control, spread and potentially take over. The film here explores desire for a taste of the other (a gay man, a newly separated woman, a Latin dance teacher). However, these fantasies are in the end emphatically shut down as the film ends by producing a vision of subtly normalised hetero, mono, familial (though not necessarily happy) forms of desiring, loving and reproducing in contemporary Australia.

Las secuelas de la sangrienta Guerra de Corea (1950-1953), los refugiados y prisioneros políticos norcoreanos en el Sur, la separación de familias, entre tantas otras huellas dolorosas de la división de Corea en 1945, han ocupado un lugar central en el cine ficcional surcoreano. Sin embargo, durante décadas las representaciones cinemáticas sobre el conflicto ideológico no tomaban en cuenta cómo la violencia y el horror impactaron en los coreanos de la diáspora. La presencia de estas memorias diaspóricas en Nuestra escuela (2006) y La flor de mi abuela (2008), provocaron un nuevo desafío a los modos de ver y narrar la memoria histórica en imágenes audiovisuales. Este artículo se centra en revelar los valores del pasado en términos de espacio de memorias a partir de una lectura hecha desde otros universos simbólicos que plantean formas disímiles de entender la violencia, la opresión y la discriminación. Comparar dos obras del Nuevo Cine Documental Independiente surcoreano, nos permite repensar los límites y controversias que los procesos de reapropiación del pasado plantean en términos de temporalidad, verdad y múltiples locaciones de las memorias históricas. ; The aftermath of the Korean War (1950-1953), the North Korean refugees and political prisoners in the South, the separation of families, and others painful traces of the division of Korea (1945), have occupied a central place in South Korean cinema. However, for decades, the cinematic representations of the ideological conflict did not take into account the way in which violence and horror struck the Korean diaspora. The presence of these memories in Our School (2006) and Grandmother's Flower (2008) has produced a new challenge to the ways of seeing and narrating the historical memories in visual images. In this article, I will focus on revealing the values of the past in terms of memory space. I suggest a reading from a peculiar understanding of violence, oppression and discrimination. By comparing these two acclaimed films, I have attempted to rethink the boundaries and dispute processes of appropriating historical traumas and its relation to the multiple locations of historical memories. ; Fil: Alvarez, Maria del Pilar. Universidad Nacional de Tres de Febrero; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina

Purpose – The Italian government addressed the first wave of its COVID-19 outbreak with a series of social restrictions and calculative practices, all branded with the slogan #istayathome. The hashtag quickly went viral, becoming both a mandate and a mantra and, as the crisis played out, we witnessed the rise of the Italian social movement #istayathome. This study examines how the government's calculative practices led to #istayathome and the constituents that shaped this social movement. Design/methodology/approach – The authors embrace social movement theory and the collective identity perspective to examine #istayathome as a collective action and social movement. Using passive netnography, text mining and interpretative text analysis enhanced by machine learning, the authors analysed just over 350,000 tweets made during the period March to May 2020, each brandishing the hashtag #istayathome. Findings – The #istayathome movement gained traction as a response to the Italian government's call for collective action. Thus, people became an active part of mobilising collective responsibility, enhancing the government's plans. A collective identity on the part of the Italian people sustained the mass mobilisation, driven by cohesion, solidarity and a deep cultural trauma from COVID-19's dramatic effects. Popular culture and Italy's long traditions also helped to form the collective identity of #istayathome. This study found that calculative practices acted as a persuasive technology in forming this collective identity and mobilising people's collective action. Numbers stimulated the cognitive, moral and emotional connections of the social ties shaping collective identity and responsibility. Thus, through collective identity, calculative practices indirectly influenced mass social behaviors and the social movement. Originality/value – This study offers a novel theoretical perspective and empirical knowledge to explain how government power affects people's culture and everyday life. It unveils the sociological drivers that mobilise collective behaviors and enriches the accounting literature on the effects of calculative practices in managing emergencies. The study contributes to theory by providing an understanding of how calculative practices can influence collective behaviors and can be used to construct informal networks that go beyond the government's traditional formalities.

The article "Social health of students of higher medical education" is sanctified to the questions of social health of medical students. In today's context of transformation of the basic spheres of human life, it is very important to consider the problem of promoting the health of student youth in the context of political, economic, social, cultural and other factors.The question of social health is interdisciplinary. Social health is considered from the standpoint of the student's health culture as a qualitative formation of personality, which manifested in the student's attitude to lifestyle, to his health and which leads to his conscious desire to independently, creatively improve the physical, mental, spiritual spheres of his own activity based on self-knowledge and adequate self-assessment of health status.The decision of questions of health requires consideration of a variety of factors, including legal, family, educational, medical, legal, cultural, environmental.Social health depends on the "social resource" of the personality. Also consider next components of the social resource: social origin, conditions of primary socialization, age, education, qualification, level of material well-being, ethno-cultural and religious affiliation, living conditions, nutrition, availability of sanitary-hygienic information, basic skills in the sphere of health and other.We conducted the questionnaire of first-year students at the Faculty of Dental Medicine on social health awareness. In the minds of some part of first-year students, social health issues are clearly understood, but at the level of perfect awareness, it is not always goes into real action.The conducted analysis of social health and its conclusions drawn from these findings can serve as a basis and additional material for further scientific research. In particular, the study of the formation of a culture of health in the student environment, the interconnection of social health and values orientations of student youth, etc. ; Стаття присвячена питанням соціального здоров'я студентів-медиків. Соціальне здоров'я розглянуто з позиції культури здоров'я студентів, з міждисциплінарного характеру тощо. Розв'язання питань здоров'я вимагає врахування цілого ряду чинників, до яких належать правові, сімейні, освітньо-виховні,, медичні, юридичні, культурологічні, екологічні.

В 1985-1986 гг. во время археологического изучения могильников Молалы-I и Шубарат-I в Семиречье был получен ряд предметов вооружения и воинского снаряжения сакского времени - железные клевец и кинжал, костяные наконечники стрел, бронзовые поясные обоймы и колчанный крюк. Все предметы относятся к развитому (позднему) сакскому времени (2-я половина VI - 1-я половина II в. до н.э.). Они находят аналогии как в синхронных кочевнических культурах Средней Азии и Казахстана, так и в культурах скифского типа Алтае-Саянского региона. Это показывает, что комплекс вооружения древнего населения Притяньшанья в I тыс. до н.э. развивался в условиях тесных культурных контактов с Алтаем, Тувой и Западной Монголией. При этом большая часть предметов вооружения и воинского снаряжения была найдена в кургане №21 могильника Молалы-I - кинжал, четыре костяных наконечника стрел и колчанный крюк. Эти находки маркируют полный стандартный набор вооружения местного сакского воина, в одинаковой мере удобный для ведения как дистанционного, так и ближнего боя. ; In 1985-1986, during the archaeological investigation of the Molaly I and Shubarat burials in Semirechie, a number of items of armaments and military equipment of the Saka period were received: an iron combat hatchet and a dagger, bone arrowheads, bronze belt buckles and a quiver hook. All these items belong to the late Saka time (the second half of the VIth – the first half of the IInd centuries BC). They have analogies in synchronous nomadic cultures of Central Asia and also in cultures of the Scythian type of the Sayano-Altai region. This shows that the armament complex of ancient population in the Tien Shan region in the 1st millennium BC developed under the close cultural contacts with the territories of Altai, Tuva and Western Mongolia. It is interesting, that general part of the weapons and military equipment was found in mound No.21 of the Molaly burial site. These are a dagger, four bone arrowheads and a quiver hook. This marks the full standard set of weapons of local Saka warriors, equally convenient for conducting both remote and close-in fighting.

This article proposes the systematization of different theoretical and methodological criteria that underlie the author's research on the relationship between the Tucumán sugar workers and the guerrillas of the PRT-ERP between 1966 and 1975. This study is inscribed within the broader consideration of the relationship between the working class and the organized Marxist Left in Argentina during the 1960s and 1970s. Though this subject has been studied before, it also reveals crucial areas that have not been considered. Particularly that which centers on the analysis of working class subjective processes. The article centers on three broad strokes: the first one centered on developing an operative definition of social class. Second, it discusses the use of Gramscian concepts in the terms experience, conscience, and culture as proposed by E.P. Thompson and Raymond Williams. And last, it deals with the potentialilty of Oral History as a window to access political practices, experiences, and forms of conscience and culture in the Tucumán sugar workers. ; El artículo propone la sistematización de algunos lineamientos teórico-metodológicos que orientan la investigación en curso sobre la relación entre la clase obrera azucarera tucumana y el PRT-ERP entre 1966 y 1975. Este estudio se inscribe en la problemática más amplia de la relación entre las organizaciones de izquierda marxista y la clase obrera en Argentina durante las décadas de 1960 y 1970, un problema que si bien ha sido ampliamente estudiado presenta áreas poco exploradas, en particular en lo que respecta al análisis de los procesos subjetivos de la clase obrera. El artículo aborda tres grandes ejes: el primero vinculado a la construcción de una definición operativa del concepto de clase social. El segundo, a la sistematización de algunos aportes de Antonio Gramsci en diálogo con los conceptos de experiencia, conciencia y cultura propuestos por E.P. Thompson y Raymond Williams. Finalmente se aborda la potencialidad de la historia oral como vía de acceso a las prácticas políticas, experiencias, formas de conciencia y cultura de la clase obrera azucarera en el pasado.

El artículo propone la sistematización de algunos lineamientos teórico-metodológicos que orientan la investigación en curso sobre la relación entre la clase obrera azucarera tucumana y el PRT-ERP entre 1966 y 1975. Este estudio se inscribe en la problemática más amplia de la relación entre las organizaciones de izquierda marxista y la clase obrera en Argentina durante las décadas de 1960 y 1970, un problema que si bien ha sido ampliamente estudiado presenta áreas poco exploradas, en particular en lo que respecta al análisis de los procesos subjetivos de la clase obrera. El artículo aborda tres grandes ejes: el primero vinculado a la construcción de una definición operativa del concepto de clase social. El segundo, a la sistematización de algunos aportes de Antonio Gramsci en diálogo con los conceptos de experiencia, conciencia y cultura propuestos por E.P. Thompson y Raymond Williams. Finalmente se aborda la potencialidad de la historia oral como vía de acceso a las prácticas políticas, experiencias, formas de conciencia y cultura de la clase obrera azucarera en el pasado. ; This article proposes the systematization of different theoretical and methodological criteria that underlie the author's research on the relationship between the Tucumán sugar workers and the guerrillas of the PRT-ERP between 1966 and 1975. This study is inscribed within the broader consideration of the relationship between the working class and the organized Marxist Left in Argentina during the 1960s and 1970s. Though this subject has been studied before, it also reveals crucial areas that have not been considered. Particularly that which centers on the analysis of working class subjective processes. The article centers on three broad strokes: the first one centered on developing an operative definition of social class. Second, it discusses the use of Gramscian concepts in the terms experience, conscience, and culture as proposed by E.P. Thompson and Raymond Williams. And last, it deals with the potentialilty of Oral History as a window to access political practices, experiences, and forms of conscience and culture in the Tucumán sugar workers.

Le concept de « Système agroalimentaire localisé » (Syal) connaît depuis une dizaine d'années une large diffusion au niveau international. La référence au territoire et aux cultures alimentaires locales constitue un élément central de cette approche fondée sur l'étude des relations homme/produit/territoire. C'est l'analyse des spécificités territoriales qui permettra de caractériser les Syal, de comprendre leur diversité et leur dynamique. C'est donc autour de ces spécificités que nous avons structuré cet article : i) spécificité des hommes et de leurs institutions ; ii) spécificité des produits et des processus de qualification associés ; iii) spécificité des consommateurs et de leurs cultures alimentaires. Nous concluons au plan scientifique que le concept de Syal, en tant qu'objet de recherche et cadre théorique, peut contribuer à la construction d'une approche agroalimentaire à base territoriale pour comprendre l'organisation et le fonctionnement d'un ensemble d'activités productives, sociales, culturelles, qui « font système ». Sur le plan opérationnel, en tant que cadre d'action, le concept de Syal ouvre une nouvelle perspective de réflexion pour les politiques publiques et les projets de développement territorial et régional. ; For about the last ten years, the Localized Agrifood Systems (LAS) concept has spread considerably worldwide. Territory and local food crops are central elements of this approach based on the study of relationships between man, products and territory. It is through the analysis of territorial specificities that LAS can be characterized and their diversity and dynamics understood. These specificities are at the core of the present paper and are analyzed as follows: i) specificities of the people and their institutions; ii) specificities of products and associated qualification processes; and iii) specificities of consumers and food crops. At a scientific level, we conclude that LAS as a research object and a theoretical framework can help develop a territorial agrifood approach aiming at understanding the organization and functioning of various activities "forming a system," whether they are productive, social or cultural. At a practical level, as a framework for action, the LAS concept opens new perspectives for public policies as well as for territorial and regional development projects.

"Contemporary Colonialities in Mexico and Beyond explores the changing dynamic of coloniality by focusing on how modern cultural products connect to the foundational structures of colonialism. The book examines how these structures have perpetuated discourses of racial, ethnic, gender, and social exclusion rooted in Mexico's history. Given the intimate relationship between coloniality and modernity, the volume addresses three central questions: How does the Mexican colonial history influence the definition of Mexico from within and outside its borders? What issues rooted in coloniality recur over time and space? And finally, how do cultural products provide a concrete and tangible way of studying coloniality, its history, and its evolution? The book analyses how literary works, movies, television series, and social media posts reconfigure colonial difference and spatialization. Supported by careful historical and cultural contextualization, these analyses will allow readers to appreciate contemporary Mexico vis-à-vis culture and borderland issues in the United States and debates on imperial memory in Spain. Ultimately, Contemporary Colonialities in Mexico and Beyond presents a handbook for readers looking to learn more about coloniality as a pervasive part of global interactions today."--

This book argues for an important shift in cultural heritage conservation, away from a focus on maintaining the physical fabric of material culture toward the impact that conservation work has on people's lives. In doing so, it challenges the commodification of sacred objects and places by western conservation thought and attempts to decolonize conservation practice. To do so, the authors examine conservation activities at Maori marae-meeting houses-located in the US, Germany, and England and contrasts them with changes in marae conservation in New Zealand. A key case study is the Hinemih