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Ethnography and cinema as meditation tools in gang research
In this article, Carles Feixa and José Sánchez-García share two main results of the Special Features of the TRANSGANG project: White Paper and Documentary films which looks at mediation tools in gang research. During the last five years, the TRANSGANG Project has investigated transnational gangs as agents of mediation in twelve cities of three regions: Southern Europe (Barcelona, Madrid, Marseille, Milano), Northern Africa (Rabat-Salé, Algiers, Djendel, Tunis), and the Americas (Medellin, San Salvador, Santiago de Cuba and Chicago). Among the main outcomes of the project, two special features have used ethnography and cinema as mediation tools in gang research.

Cover -- Copyright information -- Our Wars: A Foreword -- Contents -- Introduction -- I. WWI and Balkan Cinema -- 1. A Common Grounds among the Trenches? European Melodramas around WW1 and Their Impact on Balkan Film Style -- Concluding Remarks: A Common Ground "Among the Trenches"? -- References -- 2. Transmedia Storytelling of the Great War -- References -- 3. Verbal Information vs. Iconic Information in Duty and Sacrifice -- 4. WWI in Romanian Literary Screen Adaptations -- 5. "The Sweepings of Bucharest, Wretches Picked Up Off the Streets and Caf é s": Framing of Wartime Experience in Through the Ashes of the Empire (Andrei Blaier, 1976) -- Introduction -- The Social Imaginary of War -- The Individualization of the Cinematic Representation of War -- Reflexive Evaluation of War -- The Myth of Unity: Sentimental and Rational Displays -- War and the Experience of Otherness -- Conclusion -- References -- 6. Cinematographic Activity on the Romanian Territory of Dobrudja during the Presence of Bulgarian Troops at the Time of WWI (1916-1918) -- The Tutrakan Epic on Film (1916) -- Cinema in Babadag (1917-1918) -- Travelling Frontline Cinematographers -- 1918: The Heroes Are Tired… -- 7. Ecaterina Teodoroiu's Mythologization in Romanian Films -- Introduction: Mythologizing Background -- Mythologizing Patterns -- Filmic Representations of the Heroine from Jiu -- Emasculated heroine -- Frail femininity -- Androgynous warrior -- Conclusive Remarks -- References -- II. WWII and Balkan Cinema -- 8. Romania on the 1941-1944 Eastern Battlefield -- 9. Specialized Wartime Publications for Cinema in Bulgaria (1941-1944) -- Film (1942-1944) -- White and Black (1943) -- 10. Metaphors of War in Romanian Animation Films -- References -- 11. The Nostradamus of Cinema: Benjamin Fondane and the Poetics of Films -- Context -- Benjamin Fondane's Life.

This article examines the cinema of Dutch feminist filmmaker Marleen Gorris in the light of Julia Kristeva's concept of 'Women's Time' and of more recent attempts to conceptualise a temporality that is lived 'in the feminine' but is not, as Kristeva's is, either outside historical time – as cyclic and/or monumental – or aligned to the repetitive drudgery of domestic labour. Drawing on Lisa Baraitser's concept of 'unbecoming time', a time that 'will not unfold' but is lived as endurance, as 'staying beside others', and as care, it argues that Gorris's films seek to depict such a temporality. The article first explores the shifting engagements of feminist theory with concepts of time and the relationship of these to ideas of subjectivity and narrative, in particular cinematic narrative. It then examines the cinema of Marleen Gorris in the light of these concepts, focusing on three of her films that span a twenty-five-year period: her second film, Broken Mirrors (1984) ; Antonia's Line (1995) , her fourth film and winner of the 1996 Oscar for Best Foreign Language Film; and her most recent and possibly last film, Within the Whirlwind (2009). It gives most attention to Within the Whirlwind. In many ways, Gorris's most ambitious film, it is also her least discussed, and of her films, the one that focuses most directly on historical time.

This text focuses on the psychological repercussions of the Covid-19 pandemic on mental health. Repercussions that tend to endure in the post-pandemic world. The background of this article is the Brazilian law, and it develops in two parts. The first centered on the legislation hierarchically inferior to the Constitution to protect mental health, and the second focused on reaching the silent pandemic, that is, the mental illness resulting from traumas generated by the new coronavirus pandemic.

This text focuses on the psychological repercussions of the Covid-19 pandemic on mental health. Repercussions that tend to endure in the post-pandemic world. The background of this article is the Brazilian law, and it develops in two parts. The first centered on the legislation hierarchically inferior to the Constitution to protect mental health, and the second focused on reaching the silent pandemic, that is, the mental illness resulting from traumas generated by the new coronavirus pandemic.

This essay examines common representations of religious minorities in Hindi popular cinema within the context of dominant post-Independence Indian religious and political ideologies—from a religiously pluralist secular socialist framework to a Hindu nationalist late capitalist orientation. We begin by examining the more recent turn to film as a legitimate conveyor of middle-class Indian values worthy of interpretation, and the coeval shift among Indians from embarrassment to pride in film as the industry followed the liberalizing nation-state onto the global stage. Equipped with this interpretive strategy, we turn to the dhārmik, or religious elements within the Hindi sāmājik, or social film, demonstrating concretely how particular notions of Hindu dharma (variously if imperfectly translated as "duty," "law," "cosmic order," "religion") have long undergirded Hindi popular cinema structurally and topically. Finally, and most significantly, we examine representations of religious minorities, particularly Muslms, Christians, and Sikhs, in Hindi popular cinema against the backdrop of evolving religious and cultural ideologies up to the electoral victory of Prime Minister Modi of the Hindu nationalist Bharatiya Janata Party, or BJP. It is argued that minority representation, like other aspects of Indian public life, can be interpreted as an index of majority concerns about the religious Other. While such representations have never been static, more current depictions present the viewer with a troubling, even ominous picture of the place (or lack thereof) of religious minorities in contemporary Indian society, revealing majoritarian chauvinism and sectarian tensions that call into question the identity of the Indian Republic as a pluralistic secular nation, as well as the easy elisions between Hindu and secular Indian nationalisms. When we now look at past films cognizant of the Hindu nationalist dispensation to come, discontinuity is not the only striking feature. Ideological inconsistencies, tensions, and ...

The formation of image of a teacher in society, and consequently, his status, is largely influenced by the media, cinema, fiction. Depending on how the image of the teacher is reflected in the media and books, the prestige of the teaching profession can grow or decline. It should be emphasized that the reputation of a teacher in society and an individual teacher in a certain team largely depends on the coincidence of the expectations of others and the quality of the performance of everyday teacher functions.

The beginning of the so-called Nova República was inauspicious for both Brazil and Brazilian cinema. The events surrounding the illness and death of President-elect Tancredo Neves and the subsequent inauguration of former government-party leader José Sarney are well-known. Perhaps less known is the fact that one of the first pieces of legislation Sarney signed into law while Acting President during Neves's illness sent shock waves through the national film industry, which was already suffering one of the worst economic crises of its recent history.

How does one celebrate the centenary of 'a way of life'?For a medium, you remember its greatest meaning makers. For a movement, you highlight the turning points in its journey. For an individual, the heights of success and impact. But what about an art form that started as an 'alien' wonder to end up not only as a way of life, but also a prodigious offspring, unimaginably mutated away from its now 'foreign' parent DNA, in a span of just 100 years. Today, it would not be an overstatement to celebrate Bollywood or popular Indian cinema in the national language, Hindi, as India's most recognisable offering on the international culture platform. Its film industry is arguably one of 'Shining India's' truly uncontested achievements in the new millennium. As a film critic I have frequently come across star, journalist and fan anecdotes of fond introductions and interactions over shared Bollywood memories in foreign lands. These stories have always evoked a sceptic's enthusiasm, until recently, when a Russian man approached me on a bus in Edinburgh, hesitant yet excited, upon seeing a song sequence featuring Raj Kapoor playing on my laptop. Two decades ago, as a teen he had queued up with his grandmother for an umpteenth showcase of Brodigaya (the Russian name for Awara, which was dubbed and released in 1954) on a snowy winter's afternoon in Moscow in the 1990s. Nearly three decades after his death and six decades since the release of Awara (1951), Raj Kapoor had once again connected two strangers from two different nations, in a third foreign land. Raj Kapoor and Awara remain Indian cinema's first major triumph with audiences beyond the Indian sub-continent. Cont'd.

The image on the screen is the reinterpretation of it with technological tools. Turkey is the second biggest exporter of the content produced for the cinema-television in the world. Turkish TV series and movies are watched in more than 140 countries. TV producers and filmmakers are obliged to follow the technological developments constantly. They have to invest continuously in either renewing or updating their technology, to stay competitive with their contemporaries. The outspread of Turkish content throughout the world, makes a great contribution to the Turkish goods, the Turkish lifestyle and the recognition of Turkey. With the developing investments, devices with similar characteristics in the defense industry have started to be produced locally. It is crucial to create domestic brands that can challenge global brands with government-supported private sector investments. For an industry that is the second in the world with the content it produces and whose export target is more than 1 billion dollars, to produce its own equipment should be a prime target. The development and recognition of these brands to be created will be realized rapidly, thanks to the magnitude of the market size.

Utilizando como marco teórico as autoras Martha Nussbaum e Marilena Chauí, o artigo visa discutir sobre a utilidade do cinema na educação jurídica. Assume-se que o cinema auxilia o Direito – o qual, por ser amplo compreende inúmeros assuntos dentro dele –, uma vez que há o aproveitamento de temas complexos de forma a serem mais acessíveis, e sempre abrangendo o senso crítico e o emocional do discente. Desse modo, o trabalho começará com uma investigação acerca da educação e das correntes educacionais, focando-se no construtivismo. Após, pesquisar-se-á sobre a história da arte como um todo e de sua relação com a sociedade da época, até chegar ao ponto em que o cinema foi criado, em 1895. Por fim, discutirá como que o cinema, como arte, influencia o aluno de direito em seu aprendizado, observando o senso crítico e emocional vinculado ao cinema, e se tal vínculo seria proveitoso para uma educação jurídica.Educação Jurídica. Cinema. Direito. Martha Nussbaum.ABSTRACTUsing the authors Martha Nussbaum and Marilena Chauí as a theoretical framework, the article aims to discuss the usefulness of cinema in legal education. It is assumed that the cinema assists the Law - which, because it is broad, comprehends innumerable subjects within it -, since there is the use of complex themes in order to be more accessible, and always covering the critical and emotional sense of the student. In this way, the work will begin with an investigation about education and educational trends, focusing on constructivism. Afterwards, we will investigate the history of art as a whole and its relationship with society at the time, until reaching the point where cinema was created in 1895. Finally, it will discuss how cinema, as art, influences the law student in his learning, observing the critical and emotional sense linked to cinema, and whether such a link would be beneficial for a legal education.Legal Education. Movie theater. Law. Martha Nussbaum.RESUMENEl tema central del texto son los cursos ofrecidos por la Fundación João Pinheiro, de Minas Gerais (FJP) a través del Departamento de Capacitación y Entrenamiento de la Escuela de Gobierno (GCT/EG). Estos cursos tienen como finalidad la mejora y actualización de los funcionarios públicos y ciudadanos interesados en las materias de administración y gestión pública. Con el fin de desarrollar la producción y difusión de conocimientos que reafirmen la misión, visión y valores institucionales de la FJP, el trabajo es un estudio teórico relacionado con la estrategia de metodología activa, estudios de caso y su aplicación en un curso piloto desarrollado por la GCT de la FJP junto a la Municipalidad de Contagem/MG en 2020.Estudios de caso. Curso de capacitación. Proyecto piloto.

This dissertation explores the connections between Chinese body cultures and transnational screen cultures by tracing the Chinese body through representation in contemporary cinema and media in the post-Mao era. Images of Chinese bodies participate in the audio-visual manufacture of desire and pleasure, and ideas of "Chinese-ness" endure through repetitive, mediated performance. This dissertation examines how representations of sex, health, and beauty are mediated by social, cultural, and political belief systems, and how cine/televisual depictions of the body also, in turn, mediate gender, cultural, racial and ethnic identifications within and across national boundaries. The bodily practices and behaviors in the quotidian arenas of sex, health, and beauty reflect the internalization of culture and the politics of identity construction. This dissertation is interested in how the pleasures of cinema relate to the politics of the body and how the pleasures of the body relate to the politics of cinema. "Trans/national Chinese Bodies Performing Sex, Health, and Beauty in Cinema and Media" focuses in particular on images of the Chinese female body that participate in worldly constructions of "Chinese-ness." Each chapter is a situational exploration of a facet of Chinese embodiment in contemporary cinema and media: the erotics and affects of cinematic war bodies, the hygienic body in compassionate melodrama, the touching politics of China's first HIV/AIDS film, the politics of beauty in regards to post-Mao Chinese female film stars, and the exotic/erotic-ization of Chinese American actresses. By framing the performer as the central author in film and television, this project suggests an alternate hermeneutics to understanding the accented Chinese body as cine/televisual phenomenon. Anchored by discussions of affective, sensorial, and phenomenological spectatorship, this project explores the Chinese body as a fictive text that powerfully elicits feelings of cultural belonging. This study mobilizes the concept of carnal spectatorship in an attempt to answer the question: How do Chinese audiences make sense and senses of their own histories and identities through their imaginative, bodily contact with onscreen Chinese bodies? As this dissertation illustrates, China and Chinese-ness are themselves performances inextricable from bodily systems of desire, pleasure, and well-being. As a construction of film and media, the Chinese body enables access to a diversity of erotics and pleasures that elucidate Chinese-ness as an affective condition of being-in-the-world.