scholarly journals W cieniu mistrza. O etiudzie Stanisława Latałły Święta rodzina

2017 ◽  
Vol 20 (29) ◽  
pp. 264-278
Author(s):  
Marek Hendrykowski
Keyword(s):  
Historical Context ◽  
Short Film ◽  
Parabolic Structure

The text contains an analysis of Stanisław Latałło’s short film The Holy Family, shot at the ŁódźFilm School in the autumn of 1969. The author reconstructs the parabolic structure of this work and reveals the historical context of its realization, tied to the events of March 1968.

scholarly journals Copla, flamenco y cine

2021 ◽  
pp. 141-149
Author(s):  
Benito Martínez del Baño
Keyword(s):  
20Th Century ◽  
Historical Context ◽  
Short Film ◽  
History Of ◽  
Siglo Xx ◽  
Sobre Todo

Few are the artists who really triumph in the song, during the first years of life of the cinema, and of the radio, at the beginning of the 20th century. Within the historical context that we will proceed to establish, reference will be made to music, focusing on the copla and flamenco, in the period in which the cinematographic image lacks sound integrated into the film band, being synchronized for years film and album in trade passes. In the early twenties, the most famous singer was none other than Raquel Meller, especially in the field of cuplé, without forgetting Pastora Imperio, who excelled in flamenco. But a new voice would arrive, that of Conchita Piquer. The three artists, versatile where they exist, each one from their place, change the history of cinema by participating in the shootings to which they are summoned. History and even biographers continue to mix dates, titles and formats today. The time has come to put the first years of cinema in order again, now with Conchita Piquer, who is the first Spanish artist to shoot a sound short film outside of Spain. Pocos son los artistas que realmente triunfan en la canción, durante los primeros años de vida del cine, y de la radio, a principios del siglo XX. Dentro del contexto histórico que procederemos a establecer, se realizará referencia a la música, centrándonos en la copla y el flamenco, en el periodo en que la imagen cinematográfica carece de sonido integrado en la banda de película, siendo sincronizado durante años película y disco en los pases comerciales. En los primeros años veinte, la más famosa cantante no es otra que Raquel Meller, sobre todo en el campo del cuplé, sin olvidar a Pastora Imperio, quien destacaba en el flamenco. Pero, llegaría una nueva voz, la de Conchita Piquer. Las tres artistas, polivalentes donde las haya, cada una desde su sitio, cambian la historia del cine al participar en los rodajes a los que son convocadas. La historia e incluso los biógrafos, continúan actualmente entremezclando fechas, títulos y formatos. Ha llegado el momento de poner en orden, nuevamente, los primeros años del cine, ahora con Conchita Piquer, quien es la primera artista española en rodar fuera de España un cortometraje sonoro.

Psychology as a Profession and a Science

2011 ◽  
Vol 16 (2) ◽  
pp. 111-117 ◽  
Author(s):  
Ype H. Poortinga ◽  
Ingrid Lunt
Keyword(s):  
European Association ◽  
Historical Context ◽  
Professional Psychologists

The European Association of Psychologists’ Associations (EFPA) was created in 1981 as the European Association of Professional Psychologists’ Associations (EFPPA). We show that Shakespeare’s dictum “What’s in a name?” does not apply here and that the loss of the “first P” (the adjectival “professional”) was resisted for almost two decades and experienced by many as a serious loss. We recount some of the deliberations preceding the change and place these in a broader historical context by drawing parallels with similar developments elsewhere. Much of the argument will refer to an underlying controversy between psychology as a science and the practice of psychology, a controversy that is stronger than in most other sciences, but nevertheless needs to be resolved.

Cognitive Processing of Film Cuts Among 4- to 8-Year-Old Children

2012 ◽  
Vol 17 (4) ◽  
pp. 257-265 ◽  
Author(s):  
Carmen Munk ◽  
Günter Daniel Rey ◽  
Anna Katharina Diergarten ◽  
Gerhild Nieding ◽  
Wolfgang Schneider ◽  
...  
Keyword(s):  
Eye Movements ◽  
Cognitive Processing ◽  
Media Literacy ◽  
Age Groups ◽  
Reaction Times ◽  
Time Span ◽  
Short Film ◽  
Calculation Formula ◽  
Eye Tracker ◽  
Chronological Sequence

An eye tracker experiment investigated 4-, 6-, and 8-year old children’s cognitive processing of film cuts. Nine short film sequences with or without editing errors were presented to 79 children. Eye movements up to 400 ms after the targeted film cuts were measured and analyzed using a new calculation formula based on Manhattan Metrics. No age effects were found for jump cuts (i.e., small movement discontinuities in a film). However, disturbances resulting from reversed-angle shots (i.e., a switch of the left-right position of actors in successive shots) led to increased reaction times between 6- and 8-year old children, whereas children of all age groups had difficulties coping with narrative discontinuity (i.e., the canonical chronological sequence of film actions is disrupted). Furthermore, 4-year old children showed a greater number of overall eye movements than 6- and 8-year old children. This indicates that some viewing skills are developed between 4 and 6 years of age. The results of the study provide evidence of a crucial time span of knowledge acquisition for television-based media literacy between 4 and 8 years.

Historical Context for Psychology, Moral Context for Historians

1997 ◽  
Vol 42 (11) ◽  
pp. 990-991
Author(s):  
Isaac Prilleltensky
Keyword(s):  
Historical Context ◽  
Moral Context

Die Ökonomie des Zwischenlandes.

2016 ◽  
Vol 46 (183) ◽  
pp. 289-305
Author(s):  
Angela Schweizer
Keyword(s):  
Financial Support ◽  
Historical Context ◽  
Border Control ◽  
Economic Activities ◽  
Job Market ◽  
Economic Sectors ◽  
Security Control ◽  
Sub Saharan ◽  
Migration Politics ◽  
European Migration

The following article is based on my fieldwork in Morocco and represents anthropological data collected amongst undocumented sub-Saharan migrants in Morocco. They want to enter Europe in search for a better life for themselves and to provide financial support for their families. Due to heavy border security control and repression, they find themselves trapped at the gates of Europe, where they are trying to survive by engaging in various economic activities in the informal sector. The article begins with an overview of the European migration politics in Africa and the geopolitical and historical context of Morocco, in light of the externalization of European border control. I will then analyze the various economic sectors, in which sub-Saharan migrations are active, as well as smuggling networks, informal camps and remittances, on which they largely depend due to the exclusion from the national job market.

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