Suchergebnisse

To access collectively funded institutional care the government has put the bar very high. For this reason residents of care institutions have a great need for support in caring, Because of their multiple disorders every day institutional practice shows that the residents often only be seen as people with disabilities and not as people with abilities, ambitions and important social networks. This is a persistent evil in institutional care in a lot of European countries. A short moving film, called 'See me', will be shown to demonstrate what this means for the frail older people who live in a care facility. In order to ensure that frail elderly people are seen as individuals with qualities and ambitions, or as 'ordinary people', who are seen, it must change in care facilities. Emphasis should be placed on a dignified and meaningful life for frail older people in care facilities. To realize that seven pillars for competence care are developed, namely:

Tribal Canoe Journeys is an Indigenous cultural gathering along the Northwest Pacific Coast. This thesis explored the impacts of the journeys on the Heiltsuk Nation through community-based participatory research methodologies, and participatory video and qualitative interview methods. The research demonstrated the journeys helped the Heiltsuk reconnect to the natural environment; supported individual healing and growth; helped establish relationships and networks; enabled the Nation's cultural resurgence; and may lead participants to engage in other political activities. These themes are explored in a collaborative film developed as part of the project called 'Glwa: Resurgence of the Ocean-Going Canoe.' This thesis also included an evaluation of participatory video processes. It found that researchers working on video-based projects should establish strong relationships and collaborate with community members; educate themselves about the community's history and culture; discuss ownership and rights of research; be cognizant of power imbalances; and provide additional benefits to the community. ; February 2018

En este artículo se analiza la influencia que tuvieron las políticas sobre identidad que adoptó el Estado mexicano con la intrusión de la festividad de Halloween, poniendo en valor la tradición de Día de Muertos durante la década de los ochenta en el medio cinematográfico. Se disertará sobre este tema a través del análisis de tres películas: Bajo el Volcán, Calacán y Día de Difuntos y de un cortometraje: Por eso en Mixquic hay tantos perros. ; This article analize the influence of identity politics that the State of Mexico adopted with the intrusion of Halloween, valuing the tradition of the Day of the Death in the decade of the 80's in the world of cinema. The discussion of this topic will be done through the analysis of three movies: Under the Volcano, Calacán y Día de Difuntos and a short film: Por eso en Mixquic hay tantos perros.

International audience ; The nature of French audiovisual sector is determined by a layering of policies, created at various periods of time. A public policy system has been continuously developed and adapted since the 1950s, mostly focusing on the support to and defence of the artistic and moral quality of film and television programmes. This institutional system has relied on 'qualified personalities' emanating from diverse sectors such as cinema, television, arts, culture, education, administration and the political world. The chapter presents a sociological analysis of the French model matrix. It focuses on the revolving-door system and the policy-making personnel that have enforced a stable regulatory frame for audiovisual industries. The rise of digital operators and executives – more internationalised and engineering-solution oriented – is currently destabilising this ecosystem. There is an important generational, cultural, ideological and linguistic gap between the French 'Media government' and the management teams of the new players.

Békés (white Creoles) are the descendants of the original plantation owners in the Antilles. They remain economically dominant in the islands, forming a privileged and self-segregating minority. They are, perhaps surprisingly, invoked by Raphaël Confiant as fundamental to both Éloge de la créolité's conception and failure. This essay analyzes a number of texts (novels, films, manifestos) produced by, or about, békés since 1989, to investigate how the principles valorized in the Éloge have resonated (or have failed to resonate) with békés: Marie-Reine de Jaham's La grande béké and its TV adaptation; Roger de Jaham's Tous Créoles! movement; and Romain Bolzinger's documentary Les derniers maîtres de la Martinique. Through the prism of the manifesto, the essay sketches a number of tropes, images, and discursive positions that, whether directly influenced by créolité or articulated in opposition (or in parallel) to it, illuminate the (lack of) development in béké identity politics over the last quarter century.

Abstract
FASHION VICTIMS: THE DANGERS OF DRESS PAST AND PRESENT, ALISON MATTHEWS DAVID (2015) London: Bloomsbury Visual Arts, 225 pp., ISBN: 9781845204495, h/bk, £25, $40
BRAND/STORY: CASES AND EXPLORATIONS IN FASHION BRANDING, JOSEPH H. HANCOCK, II (2016) 2nd ed., New York and London: Fairchild Books, 240 pp., ISBN: 9781501300028, p.bk, £60.00
DIGITAL TEXTILE PRINTING, SUSAN CARDEN (2016) London, UK: Bloomsbury, 144 pp., ISBN: 9781472535672, p/bk, $34.95
THE LOST ART OF DRESS: THE WOMEN WHO ONCE MADE AMERICA STYLISH, LINDA PRZYBYSZEWSKI (2014) New York: Basic Books, 347 pp., ISBN: 9780456036714, h/bk, $28.99
DRESS HISTORY: NEW DIRECTIONS IN THEORY AND PRACTICE, CHARLOTTE NICKLAS AND ANNEBELLA POLLEN (2015) 1st ed., London: Bloomsbury Academic, 215 pp., ISBN: 9780857856401, h/bk, $110; ISBN: 9780857855411, p/bk, $29.95
FASHION'S DOUBLE: REPRESENTATIONS OF FASHION IN PAINTING, PHOTOGRAPHY AND FILM, ADAM GECZY AND VICKI KARAMINAS (2015) 1st ed., London: Bloomsbury Academic, 176 pp., ISBN: 9780857857118, p/bk, $29.95

Using the framework of Pragmatics and Grice's (2012) cooperative principle and conversational maxims, this paper dissects the gay language's contextual meanings, and effects on narrative and characterization as used in Vice Ganda's selected hit films. This paper also scrutinizes the socio-cultural-political implications of the use of gay language as manifested in the role and image of the gay-language-speaking characters and how these might actually reflect empowerment and/or oppression of gays in a heteronormative society. Analyses indicate that while the use of gay language may not be indicative of gays' social class or status, it reflects the experience, culture and discipline in which the gay takes part. Further, while Vice Ganda's brand of humor and personality are still apparent and that gay language was used to induce laughter, it cannot be denied that, amidst society's minoritization of gays, there are deeper underlying meanings and significance for such use of gay language.

Fanfiction is the creative appropriation and transformation of existing popular media texts by fans who take stories, worlds and/or characters as starting points and create their own stories based on them. As a cultural field of practice, fanfiction questions prevalent concepts of individual authorship and proprietary of cultural goods. At the same time, fanfiction itself is challenged. Through processes of mediatization, fanfiction grew and became increasingly visible. Third parties, ranging from the media industry (e.g., film studios) and copyright holders to journalism and academia, are interested in fanfiction and are following its development. We regard fanfiction communities and fan acting as fields for experimentation and as discursive arenas which can help understand what appropriating, writing and publishing in a digital culture and the future of writing might look like. In this paper, we outline important debates on the legitimacy and nature of fanfiction and present preliminary results of current research within Germany.

In the mid-nineteenth and early twentieth centuries, hundreds of women allegedly died from laughing too hard. Any activity in modern life—going to the circus, playing bridge, or salting pork in the kitchen—could become a gateway to the convulsions of hysterical laughter for women. In this article, I look at death from laughter as a limit case that blows open the long-standing separation between laughter and hysteria in scholarship on these topics. I argue that women's hysterical laughter failed to register as either laughter or hysteria. Whereas laughter allegedly killed regular women, female hysterics could endure multiday laughing, barking fits without so much as a trace on their bodies. Finally, I think about the striking oppositions between the female laughing hysteric and the hysterically laughing woman through the archives of early cinema. Film spectatorship not only offered women a space to laugh safely but also represented a potential visual cure to nervous hysteria.

Purpose
– The purpose of this paper is to explore whether distinctive modes (observation vs control) of presenting diverse content differentially influence users. To achieve this goal, The authors first conceptualize empathy as social cognition and discuss the possible psychological mechanisms for divergent associations between observation-based media (i.e. video media) and control-based media (i.e. game media).


Design/methodology/approach
– In total, 300 adults (150 females) participated in this study through an online survey.


Findings
– Time spent with video media (television and film) was positively associated with empathy, which in turn was associated with enhanced social connectedness. However, time spent on game media (video games, computer games, and smartphone games) was negatively associated with empathy, which in turn was associated with inferior social connectedness.


Originality/value
– While previous studies on the effects of media have focussed mainly on content, the present study focusses on the effects of mode. The mode-focussed approach presents evidence contradictory to the content-focussed approach.

The fields of urban history and visual culture both thrive on expansive horizons. Streets and rivers, neighbourhoods and stadia, festivals and parks populate the work of urban historians, who examine these and other subjects from local, metropolitan, regional, national and transnational perspectives. Viewing these urban themes with and through visual culture increases the potential areas of analysis exponentially. Not only do photography, film, television and advertising produce countless images of urban spaces, visual culture encourages scholars to take seriously the ways of seeing and practices of looking that shape how people understand and engage with the metropolis. Visual technologies, both old and new, make places meaningful in ways that have broad cultural, political and economic consequences. As digital tools continue to make more urban spaces visible to more people, scholars have a crucial role to play in researching, organizing, contextualizing and analysing these myriad urban sights.

Vishnu Sharma (1921–1992) came to Southall, West London, in 1957 as a seasoned political organiser in the peasant and trade union movements of the Punjab, who had already, under the Raj, been imprisoned for his political activities. A member of the Communist Party for most of his life, a vice-chair of the 1960s' Campaign Against Racial Discrimination (CARD) and a founder of the Joint Council for the Welfare of Immigrants, where he also worked for many years, he was involved in a number of national organisations including the National Council for Commonwealth Immigrants (from which he resigned in protest in 1968), the National Council for Civil Liberties, the Institute of Race Relations (IRR) and the Anti-Nazi League. He talked, in 1982, during the filming of A Town Under Siege – one of a series of films made by IRR's sister company in the early 1980s for Channel 4 – about his early life in Southall.

Product placement is an example of a popular form of advertising characteristic for thePolish TV shows. Film and TV writers in Poland are keen on using this method also in TV shows.As product placement has got a strong influence on the audience, the viewers perceive the filmreality as the reflection of real life. TV series fiction in turn influences the consumerist preferencesof the adresses. The strategy of product placement in the Polish TV series, however, still leavesmuch to be desired as directors find it difficult to apply the method to suitable scenes in a subtleway. It happens that the product being placed remains onscreen for too long, the number of theproducts per single episode is too high and the dialogues aimed at highlighting the advantages ofgiven products seem too artificial. All those actions have a negative result on the final decision ofthe viewers on whether to buy the advertised goods or not.

El carácter innovador y feminista del mediometraje Margarita y el lobo (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en Margarita y el lobo. A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus es­tudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el medio­metraje. Para ello, examinamos el repertorio de canciones presente en Margarita y el lobo para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.

Compreendendo a cultura midiática como um dos principais espaços contemporâneos de (re)produção de sentidos acerca dos mais variados âmbitos da vida social, a partir dos quais são estruturados procedimentos de controle e exclusão de corpos, ideias e comportamentos, o presente trabalho objetiva desvelar e analisar criticamente a sutil estratégia discursiva empregada em filmes de animação dos Estúdios Disney, estratégia essa que cumpre em reiterar a "normalidade" das formas de identificação por gênero hegemônicas a partir da abjeção de identidades desviantes. Para tanto, empreendemos uma análise sociocultural da vilã Úrsula, de A Pequena Sereia (1989), valendo-nos de aspectos metodológicos próprios à semiótica e à Análise Crítica do Discurso. Mediante uma leitura informada pelos Estudos Culturais e pela Teoria Queer, observamos que o padrão de representação mobilizado na animação veicula uma implícita avaliação negativa das formas de ser e agir que frustram o binarismo heteronormativo, associando-as inequivocamente com crueldade e ganância.