scholarly journals Ta szkoła symbolicznie rozstrzelała się sama… Filmy Słoń, Carrie, Nad krawędzią w dyskusji o problemach współczesnej szkoły i młodzieży podczas zajęć z pedagogiki na specjalnościach nauczycielskich

2016 ◽  
Vol 10 (2) ◽  
pp. 315-327
Author(s):  
Sylwia Jaskulska

In the paper, apart from interpreting the message of films: Carrie (directed by Brian De Palma), Over the Edge (directed by Jonathan Kaplan) and Elephant (directed by Gus Van Sant), I also describe how classes can be arranged around them. Thus, I join the debate on the space for such productions in education, especially in the methodology for training teachers-to-be. I indicate possible applications of feature films and a wide spectrum of benefits that follow from this approach. In fact, movies are still an undervalued but very effective didactic tool that engages pupils in authentic intellectual tasks that deal with important content and issues.

Author(s):  
Gönül Dönmez-Colin

ISTANBUL 2012 April was the cruellest month of the year for Istanbul this spring, with incessant rains and cold weather, which increased the attendance figures at the cinemas. The festival (31 March-15 April, 2012) celebrated its 31st anniversary with an eclectic program of features and documentaries, relying heavily on European products as customary, except for a martial arts package, the Chinese wuxia films. Due to its belated date in the festival calendar, Istanbul suffers from paucity of new films, but it is a feast for the local cinephiles with its wide spectrum of selections including feature films of the year, classics, masterpieces from masters, festival favorites, National Golden Tulip, International Golden Tulip and FACE Human Rights Competitions, documentaries, and children’s movies. This year’s additions were Cinema and Music, Filming Revolution, What’s Happening in Greece?, Within the Family and a 15-hour special view of Mark Cousins’s The Story of Film: An...


2015 ◽  
Vol 21 ◽  
pp. 178
Author(s):  
Shwetha Mallesara Sudhakar ◽  
Shahla Nadereftekhari

2015 ◽  
Vol 26 (4) ◽  
pp. 207-221
Author(s):  
Wolfgang Mastnak

Abstract. Five overlapping eras or stages can be distinguished in the evolution of music therapy. The first one refers to the historical roots and ethnological sources that have influenced modern meta-theoretical perspectives and practices. The next stage marks the heterogeneous origins of modern music therapy in the 20th century that mirror psychological positions and novel clinical ideas about the healing power of music. The subsequent heyday of music therapeutic models and schools of thought yielded an enormous variety of concepts and methods such as Nordoff–Robbins music therapy, Orff music therapy, analytic music therapy, regulatory music therapy, guided imagery and music, sound work, etc. As music therapy gained in international importance, clinical applications required research on its therapeutic efficacy. According to standards of evidence-based medicine and with regard to clearly defined diagnoses, research on music therapeutic practice was the core of the fourth stage of evolution. The current stage is characterized by the emerging epistemological dissatisfaction with the paradigmatic reductionism of evidence-based medicine and by the strong will to discover the true healing nature of music. This trend has given birth to a wide spectrum of interdisciplinary hermeneutics for novel foundations of music therapy. Epigenetics, neuroplasticity, regulatory and chronobiological sciences, quantum physical philosophies, universal harmonies, spiritual and religious views, and the cultural anthropological phenomenon of esthetics and creativity have become guiding principles. This article should not be regarded as a historical treatise but rather as an attempt to identify theoretical landmarks in the evolution of modern music therapy and to elucidate the evolution of its spirit.


2018 ◽  
Vol 1 (2) ◽  
pp. 75-79
Author(s):  
Abdulghani Alsamarai

Introduction   The International Journal of Medical Sciences [IJMS], ISSN 2522-7386, is a peer-reviewed, 3 issues published annually. Authors are invited to submit for publication articles with a wide spectrum of coverage reporting original work, in the fields of medicine, nursery, dentistry, and pharmacy sciences. Review articles are usually by invitation only. However, Review articles of current interest and high standard will be considered. Prospective work should not be back dated. There are also sections for Case Reports, Brief Communication, correspondence and medical news items. Authors should read the editorial policy and publication ethics before submitting their manuscripts. Authors should also use the appropriate reporting guidelines in preparing their manuscripts


2020 ◽  
pp. 23-33
Author(s):  
Elena A. Zaeva-Burdonskaya ◽  
Yuri V. Nazarov

This article addresses one of the most actively developing types of design activities – light design. The article comprises quotes of the leading Russian and foreign light design specialists published over the previous five years, as well as the authors’ own conclusions. The thoughts quoted in the article are sometimes opposite to each other and reflect the wide spectrum of professional practice. They reflect the initial opinions of analysts and experts which are often diverging. All of the specialists point at the interdisciplinary nature of the new profession, which imposes additional load on a designer overloaded enough already by the scope and speed of the problems being solved nowadays. The discussion of the new profession of light designer initiated on the pages of professional publications is especially important in view of the development of professional standards and standards of design and architectural education, as well as creation of new educational programmes based on various approaches to the subject in technical and humanitarian institutions. The goal of this article is to introduce light design into the field of fully legitimate sections of design culture, to define the authentic scientific basis of the new creative profession, to initiate a foundation for self-determination of the new synthetic area, which materially affects the state of the profession as a whole and the life standards of a wide variety of consumers. In order to reach the set goal, a comparative and analytical method of study was selected, which allows studying the problem to a large extent and from all angles and finding the ways of overcoming the challenges emerging in the area of the new activity.


Author(s):  
Alistair Fox

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.


Author(s):  
Anna Estera Mrozewicz

This book addresses representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, investigating their hitherto-overlooked transnational dimension. Departing from the dark stereotypes that characterise the hegemonic narrative defined as ‘Eastern noir’, the author presents Norden’s eastern neighbours as depicted with a rich, though previously neglected in scholarship, cinematic diversity. The book does not deny the existence of Eastern noir or its accuracy. Instead, in a number of in-depth case studies of both popular and niche feature films, documentaries and television dramas, it interrogates and attempts to add nuance to the Nordic audiovisual imagination of Russia and Eastern Europe. Tracing approaches of and beyond the Eastern noir paradigm across cinematic genres, and in relation to changing historical contexts, the author considers how increasingly transnational affinities have led to a reimagining of Norden’s eastern neighbours in contemporary Nordic films. Making the notions of border/boundary and neighbourliness central to the argument, the author explores how the shared geopolitical border is (re)imagined in Nordic films and how these (re)imaginations reflect back on the Nordic subjects.


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