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Journal articles on the topic 'Autobiographical films'
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1
Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (June 2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.
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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.
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Meng, Jing. "The Autobiographical Turn in Representing History in Chinese Films." a/b: Auto/Biography Studies 32, no. 2 (April 25, 2017): 259–61. http://dx.doi.org/10.1080/08989575.2017.1288031.
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Calvert, Lesley, John Keady, Beena Khetani, Cathy Riley, and Caroline Swarbrick. "‘… This is my home and my neighbourhood with my very good and not so good memories’: The story of autobiographical place-making and a recent life with dementia." Dementia 19, no. 1 (December 25, 2019): 111–28. http://dx.doi.org/10.1177/1471301219873524.
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As part of the wider Neighbourhoods and Dementia Study, co-researchers from the Open Doors Research Group (based in Salford, UK) produced a series of three films with the title ‘The Changing Face of our Neighbourhood’. These films were subsequently placed on ‘YouTube’ and document co-researchers’ storied experiences of Salford and the industrial, economic and social changes that have occurred over the inquiry group’s lifetime. Drawn directly from this autobiographical and socio-generational work, this article focuses on the experience of lead author Lesley Calvert, who was diagnosed with dementia in 2013 and has been a member of the Open Doors Research Group since 2014. Lesley grew up and worked as a district nurse for almost 40 years, remaining close to her place of birth in Salford all her life. In this article, Lesley draws upon her autobiographical narrative which she shares in the three films to describe the intersections between biography, place-making, belonging and dementia. The article concludes with the importance of democratising the research space and why academic researchers need to create opportunities for personal stories to be told, heard and acted upon.
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Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (March 1, 2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.
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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. Monks’ films Marrow (2015) and Pulse (2017) are adapted and developed from the author’s personal memories and experiences. Identifying as disabled and queer, Monks’ work straddles the fact-fiction divide, enabling the social and personal to dynamically interact, producing drama narratives where the body is the primary site for retelling and sharing with an audience his need to be seen. My study includes original drafts of screenplays, produced films and interviews with Monks on his writing and development processes. Demonstrating how Monks uses and refigures his body within a cinematic landscape, I aim to promote discussion on how individual memories function as dynamic and interconnected sources for the screenwriter/filmmaker.
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Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.
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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.
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Macedo, Isabel, and Rosa Cabecinhas. "DIASPORIC IDENTITY(IES) AND THE MEANING OF HOME IN AUTOBIOGRAPHICAL DOCUMENTARY FILMS." Revista Lusófona de Estudos Culturais 2, no. 1 (June 17, 2014): 54–71. http://dx.doi.org/10.21814/rlec.55.
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Reconstructed in social contexts, the memories of forced migration experiences such as those lived by filmmakers Diana Andringa and António Escudeiro – who had to leave Angola, the country where they had been born and raised – are now being highlighted, shared, and negotiated in the current audiovisual context. The documentaries analyzed in this work, Escudeiro’s Goodbye, Until Tomorrow (2007) and Andringa’s Dundo, Colonial Memory (2009), allow us to reflect on how these memories of migration experiences are portrayed in contemporary Portuguese cinema. In this article, we argue that autobiographical narratives – oral and visual – are privileged sites for investigating cultural identity and its construction. Our thematic analysis of these two documentaries was complemented by an in-depth interview with the authors. This multi-method approach allowed us to investigate the social and cultural contexts in which they lived, as well as the meanings of home and belonging to the two filmmakers.
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Rossky, Peter J. "An Autobiographical History of Peter J. Rossky." Journal of Physical Chemistry B 124, no. 47 (November 25, 2020): 10594–97. http://dx.doi.org/10.1021/acs.jpcb.0c09811.
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Gelonch, Olga, Neus Cano, Marta Vancells, Marc Bolaños, Laia Farràs-Permanyer, and Maite Garolera. "The Effects of Exposure to Recent Autobiographical Events on Declarative Memory in Amnestic Mild Cognitive Impairment: A Preliminary Pilot Study." Current Alzheimer Research 17, no. 2 (April 25, 2020): 158–67. http://dx.doi.org/10.2174/1567205017666200317093341.
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Background: Individuals with amnestic Mild Cognitive Impairment (aMCI) are at heightened risk of developing Alzheimer's dementia. In recent years, much attention has been given to the search for new interventions to slow down the progression of cognitive decline of these patients. Wearable digital camera devices are one form of new technology that captures images of one’s life events, so they constitute a promising method to be used as a means to stimulate recent autobiographical memory. Objective: This preliminary study investigates the ability of a new cognitive intervention based on exposure to recent autobiographical memory captured by wearable cameras to improve episodic memory in patients with aMCI. Method: Seventeen subjects wore a wearable camera while they went about their daily activities. The images captured were converted into eight different 3-minute films containing the most relevant information of each event. The intervention involved eight individualized weekly sessions during which patients were exposed to a different autobiographical event each week. Besides, several specific questions were formulated within each session. Clinical questionnaires assessing cognitive reserve, premorbid intelligence, depression, and anxiety were administered at baseline. Measures of objective episodic memory were applied at baseline and at post-treatment. Results: Significant improvements were observed at post-treatment in memory measures, and significant associations were found between memory change scores and age and cognitive reserve. Anyway, these associations did not reach statistical significance after adjusting for multiple comparisons. Conclusion: The present study provides preliminary evidence that aMCI patients may benefit from a cognitive intervention program based on re-experiencing recent autobiographical events. However, future studies incorporating a control group will be needed to confirm these preliminary findings.
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Horner, Kierran Argent. "The Equality of the Gaze: The Animal Stares Back in Chris Marker's Films." Film-Philosophy 20, no. 2-3 (October 2016): 235–49. http://dx.doi.org/10.3366/film.2016.0013.
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This article considers a selection of Chris Marker's films in the context of noted differences between Emmanuel Levinas's and Jacques Derrida's positions on the animal as Other, the potential for the animal face. Derrida (2008) himself argues that Levinas ‘did not make the animal anything like a focus of interrogation within his work’ (p. 105). Statements such as this about Levinas's ethics seem to make his position clear. In contrast, Derrida's thinking on the matter of the animal, and in particular human responsibility for them as Other, stands as a thorough and influential body of ethical thought, probing the limited and limiting boundary between human and animal. His autobiographical texts, according to Lynn Turner (2015 , p. 135), welcome animal others. Marker's images, I will argue, address an equity between species through what he refers to as the égalité du regard, an equality in the gaze (of the camera). These images speak to a space beyond themselves and it is within this territory, I will argue, that the animal does have a face, that can occur via that of the human.
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Lebow, Alisa. "Identity Slips: The Autobiographical Register in the Work of Chantal Akerman." Film Quarterly 70, no. 1 (2016): 54–60. http://dx.doi.org/10.1525/fq.2016.70.1.54.
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Chantal Akerman's last film, No Home Movie (2015), deftly distills the filmmaker's key tropes—borders, exile, duration, waiting, transience, Jewishness, home—but none more so than the trope of the mother. Akerman often said that all of her work was autobiographical, even down to where to put the camera and how to frame the scene. This article explores some of her most explicitly autobiographical works (including Letters from Home [1976], Bordering on Fiction: D'Est [1995], Chantal Akerman par Chantal Akerman [1997], Selfportrait / Autobiography: a work in progress [1998], Là-bas [2006], and No Home Movie) to trace the increasingly apparent identity slippages between the filmmaker and her mother. Going well beyond the role of mother as muse, Akerman's films reveal a merger of identification with the mother so profound that her death can be seen to have signaled not only the end of the daughter's filmmaking but potentially of her life as well.
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Díaz García, Luis. "Todo sobre mi madre y yo: género, memoria e identidad en el cine de Chantal Akerman /." Latente Revista de Historia y Estética audiovisual 20 (2022): 9–52. http://dx.doi.org/10.25145/j.latente.2022.20.01.
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In Chantal Akerman’s cinematographic work, the presence of her mother is one of the most prominent elements. The Belgian director used the figure of her mother in several of her works, which span more than four decades in time. This recurring presence is due to the traumatic maternal past, since Natalia Akerman was confined in concentration camps during World War II. But, in addition, to reflecting on mother-child relationships and family memory, the films in which Chantal Akerman talks about her mother are also an interesting object of study on other topics. Specifically, they are examples of how to use autobiographical material to make films or how feminism is capable of rethinking the hegemonic representation of staging.
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McKinnon, Scott. "How to Be a Man: Masculinity in Australian Teen Culture and American Teen Movies." Media International Australia 131, no. 1 (May 2009): 127–35. http://dx.doi.org/10.1177/1329878x0913100114.
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This paper examines the reception of American teen films by Australian audiences in the 1950s, focusing specifically on issues of masculinity and sexuality. Using material gathered from sources such as oral history interviews, autobiographical writing and Australian media reports, an attempt is made to locate the films as one element in a developing local culture based more on age than nationality. The paper argues that, screened within the context of a society which defined masculine behaviour in the light of the ideals of war, a range of popular American films and their stars acted to complicate the idea of what it meant to be male. Audiences were offered new, or at least more ambiguous, notions of gender and sexuality. These changes caused concern among some Australian adults, as they watched the teenage boys of the nation learn how to be men.
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Gendolla, Guido H. E. "The Impact of Mood on Affect Regulation." Swiss Journal of Psychology 71, no. 2 (January 2012): 59–65. http://dx.doi.org/10.1024/1421-0185/a000071.
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Drawing on the mood-behavior model ( Gendolla, 2000 ), I predicted that both negative and positive moods evoke a stronger need for hedonic affect regulation than a so-called neutral mood. To test this hypothesis, participants were induced into a positive, neutral, or negative mood by autobiographical recollection and then selected which of three films they wanted to watch. The films varied in the extent of their potential for hedonic affect regulation. As expected, preferences for a pleasant film were higher in both positive and negative moods than in a neutral mood and the positive and negative mood conditions did not differ. Furthermore, a regression analysis found that the preference for a pleasant film was related to mood intensity. Implications for other models of affect regulation are discussed.
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Rinaldi, Jen, Carla Rice, Andrea LaMarre, Karleen Pendleton Jiménez, Elisabeth Harrison, May Friedman, Deborah McPhail, Margaret Robinson, and Tracy Tidgwell. "Through thick and thin: Storying queer women’s experiences of idealised body images and expected body management practices." Psychology of Sexualities Review 7, no. 2 (2016): 63–77. http://dx.doi.org/10.53841/bpssex.2016.7.2.63.
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In this study we examine how discourses of obesity and eating disorders reinforce cissexist and heteronormative body standards. Sixteen queer women in Canada produced autobiographical micro-documentaries over the course of two workshops. We identified three major themes across these films: bodily control, bodies as sites of metamorphosis, and celebration of bodies. Such films can be memorable, cultivate empathy, disrupt misunderstanding of queer bodies, and inform medical practice. Our analysis suggests that research and policy on ‘disordered’ bodies must better account for how people negotiate discourses around body shape and size, how shaming is internalised, how regulation can function as resistance, and how variant bodies can be embraced, desired, and celebrated. Community-grounded, arts-based research points to new ways of gathering and producing knowledge.
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Ouyang, Yuxin. "Warm and Realistic, Romantic Yet Cruel ——On the Master of Cinema Giuseppe Tornatore." Learning & Education 10, no. 2 (September 16, 2021): 114. http://dx.doi.org/10.18282/l-e.v10i2.2296.
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The famous director Giuseppe Tornatore was born in beautiful Sicily, Italy, and has a high reputation among international film directors as the inheritor of Italian neorealism. His Time Trilogy is the foundation of his position in the film industry, Cinema Paradiso, The Beautiful Legend of Sicily, and The Legend of 1900, all of which have a strong romantic style. With his warm and realistic approach, Tonatore’s romantic yet cruel stories have touched countless audiences. In a sense, every work of a writer or a director has autobiographical overtones in it. Many of his works are strongly biographical, and the documentary style in his films is his way of asserting himself. This article will take his films as an entry point to explore the artistic approach and ideological qualities of Tonatore’s cinema.
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Pietrzak, Maciej. "Wygnanie ocalonych. Doświadczenie emigracji pomarcowej w filmach Mariana Marzyńskiego i Leszka Leo Kantora." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 137–47. http://dx.doi.org/10.14746/i.2017.29.8.
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Autobiographical threads occupy an important place in films of Marian Marzyński and Leszek Leo Kantor. Interesting is the convergence of life experiences common to both authors. We can indicate a lot of parallelisms in biographies of both directors. Certainly, the most important analogy is the fact that both of them survived the Holocaust as children. Common to both artists is also experience of anti-Semitic campaign of March 1968, as a result of which they were forced to emigrate from Poland. The objective of this article is to demonstrate how this personal experience of exile resonates in their work.
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Kozubek, Małgorzata. "Ostatnia strona „Obywatela Kane’a”." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 13–26. http://dx.doi.org/10.19195/0860-6668.22.3.2.
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The last side of Citizen Kane History of cinema does not consist merely of masterpieces, but also of films that are unfinished, as well as scripts that were supposed to serve as the basis for films which ultimately never came into being or were transformed into completely different works completed by another filmmaker. Welles’ case is very interesting in this context as, on the one hand, he was a star of the “author’s policy”, a universally known celebrity, a legend of world cinema, who contributed significantly to its history, but on the other hand he was also an unaccomplished figure. Yet, his unfulfillment was different from what is often described, for instance, in autobiographical interpretations of Citizen Kane: “he had everything and lost everything”. We may rather say that his oeuvre forms a sinusoid that comprises both completed, artistically accomplished works and films that were rejected by viewers and critics, as well as more than a dozen very interesting unfinished projects. In this paper I’m analysing the case of Orson Welles’ last unfinished movie — The Other Side of the Wind 2018.
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Cooke, Paul, Raginie Duara, and Anna Madill. "‘The Big Picture’: Developing community-led approaches to substance use disorder through participatory video." Journal of Applied Arts & Health 00, no. 00 (May 12, 2022): 1–15. http://dx.doi.org/10.1386/jaah_00099_1.
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‘The Big Picture’ was a participatory video (PV) project. The aim was to increase the involvement of young people in India in the active development of practice and policy regarding substance use disorder (SUD). Working with drug rehabilitation centres to innovate their programmes, the team used video production as a tool to help young people advocate for policy change by promoting public awareness of how they see this issue. Unlike many accounts of PV, which tend to focus solely on the processes of community engagement, this article also takes account of the art of the films produced. Drawing on theoretical approaches to subjectivity in autobiographical filmmaking that highlight the complex interactions between the individual and the collective in such work, the article examines, in particular, how the films created emphasize the importance of adopting a relational, community-led, approach to SUD if rehabilitation programmes are to be effective.
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Dondzik, Michał. "Prowincja dała mi wszystko, a ja jej oddanie służyłem." Pleograf. Historyczno-Filmowy Kwartalnik Filmoteki Narodowej 27, no. 2 (June 20, 2022): 1–15. http://dx.doi.org/10.56351/pleograf.2022.2.11.
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Interview with director Andrzej Baranski who, after graduating from a film school in Łódź, began portraying the Polish countryside. He did this already in his debut, television film titled At home (1976), revealing the author’s unique style. In an interview the director talks about this film-arcane, shares his reflections on cinema, province and the conscious resignation from other film themes, declaring: Province gave me everything, and I served it devotedly. He also talks about the role landscape plays in his films, autobiographical themes and the functioning of his work in People’s Poland. The conversation is a kind of balance sheet that Andrzej Barański makes of his film life.
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YoungEun Park. "The Aspects of Diaspora and the Wounds of the Armenian Genocide in Henri Verneuil’s Autobiographical Films." Film Studies ll, no. 66 (December 2015): 71–102. http://dx.doi.org/10.17947/kfa..66.201512.003.
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Sarma, D. D. "Tracing the Journey: Autobiographical Notes of D. D. Sarma." Journal of Physical Chemistry C 125, no. 35 (September 9, 2021): 19053–59. http://dx.doi.org/10.1021/acs.jpcc.1c06735.
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Kamat, Prashant V. "A Scientific Journey – Autobiographical Notes of Prashant V. Kamat." Journal of Physical Chemistry C 122, no. 25 (June 28, 2018): 13207–9. http://dx.doi.org/10.1021/acs.jpcc.8b03346.
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Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 72, no. 1 (2018): 58–63. http://dx.doi.org/10.1525/fq.2018.72.1.58.
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This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series of VS columns that will revisit U.S. films of the 1970s in order to understand their historical, theoretical, and contemporary relevance.
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Luciano, Bernadette, and Susanna Scarparo. "Stories My Mother Never Told Me: The Autobiographical Films of Alina Marazzi, Margot Nash, and Sarah Polley." Quarterly Review of Film and Video 37, no. 1 (June 18, 2019): 1–24. http://dx.doi.org/10.1080/10509208.2019.1593031.
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Lorenz, Dagmar C. G., and Gabriele Weinberger. "Nazi Germany and Its Aftermath in Women Directors' Autobiographical Films of the Late 1970s: In the Murderer's House." German Quarterly 68, no. 1 (1995): 90. http://dx.doi.org/10.2307/408039.
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SINHA, PRIYAM. "“Cultured Women” do not act in films: Tracing Notions of Female Stardom in Bombay Cinema (1930s–1950s)." Journal of Indian and Asian Studies 01, no. 02 (July 2020): 2050012. http://dx.doi.org/10.1142/s2717541320500126.
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Women were absent from the archives and rendered as invisible within the film business that was changing the urban landscape of Bombay city in the 1930s through talkies. Questions were raised about female sexuality and respectability primarily due to a morality discourse closely associated with women acting in films. Tension, moral panic and distress had emerged from the dominant stigma regarding films making industries being a heterosexual and hybrid workspace. Moreover, an economy that capitalizes on voyeuristic pleasures of its male audience by objectifying women’s bodies. So, even though it offered women higher salaries unlike other professions, it was deemed as “dangerous” for women. Therefore, “cultured women”, essentially from the upper class, were discouraged from being a part of the studio film industry situated in the cosmopolitan Bombay city. Taking forward Neepa Majumdar’s (2009) dialogue on the denial of agency to women in Indian cinema, this paper traces the incorporation of feminist agenda into film making. This paper is limited to studying the biographical, autobiographical details and picturization of three eminent actresses: Nargis, Kanan Devi and Durga Khote. Further, I would elaborate on the struggles undertaken by them and the roles they played in films in order to deconstruct the notion of female stardom and an “ideal Indian woman” picturized in Bollywood from the 1930s–1950s. This period holds relevance in film historiography due to the ideological construction of female stardom that had its pros and cons which I would be discussing in depth through the paper.
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Lonati, Franco. ""You're only as healthy as you fell". Scrittura e interstestualitŕ in Taxi driver di Martin Scorsese." IKON, no. 53 (February 2009): 295–321. http://dx.doi.org/10.3280/ikr2006-053011.
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- The goal of this paper is to analyse the famous Martin Scorsese's film Taxi Driver (1975) with an interdisciplinary approach and from a double perspective: on the one hand, it examines the narrator's forms of expression chiefly focusing on the written documents, the journal entries and the autobiographical references in the movie. I also consider the way the director uses these documents in order to trace the twisted psychology of the antihero Travis Bickle, the main character in the movie, played by Robert De Niro; on the other hand, this study investigates the film from an intertextual perspective, centering on how the filmic ‘text' uses the many other ‘texts' to which it constantly alludes: literary texts (among the others, Fyodor Dostoevsky's Notes from Underground and Thomas Wolfe's God's Lonely Man), cinematic texts (for instance, Orson Welles's Citizen Kane and John Ford's The Searchers), musical texts (songs by Kris Kristofferson and Jackson Browne), or, in some cases, even facts from real life (for example, the attempted assassinations of prominent politicians), not to mention the many autobiographical clues disseminated in the film by screenwriter Paul Schrader, director Martin Scorsese and even by Robert De Niro himself, through his peculiar performance. The result is a compound structured film which makes use of sophisticated narrative and expressive modes. A film not only inspired by its sources but also able, in its turn, to influence the work of other filmmakers and, paradoxically enough, even to affect real life: it's the case of John Hinckley jr who, obsessioned by Taxi Driver, attempted to assassinate U.S. President Ronald Reagan in an effort to impress actress Jodie Foster, who had played the role of an underage prostitute in the film. All these aspects, together with its unquestionable technical qualities, make Taxi Driver one of the most significant films of a golden age for American filmmaking.
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Turner, Lynn. "Unhoming Pigeons: The Postal Principle in Lynn Hershman Leeson and Hussein Chalayan." Derrida Today 5, no. 1 (May 2012): 92–110. http://dx.doi.org/10.3366/drt.2012.0030.
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In this article I bring together Jacques Derrida and Luce Irigaray's engagements with Sigmund Freud's vexed attempt to step beyond the pleasure principle. Derrida's speculations on the name, the house and the practice of Freud find him inadvertently rewriting the conditions of the autobiographical as that which erases as much as inscribes, while Irigaray requires a sexually different modelling of what we call language if the experience of the girl is to be addressed. Yet Irigaray uncannily repeats the teleological gesture of laying claim to a legacy, diagnosed in Freud by Derrida, even as this legacy is newly imagined as that of the feminine to which Freud remained blind. I then interweave these revised stakes of the fort-da game as they are expressed in two experimental films; Lynn Hershman Leeson's feature Conceiving Ada (USA, 1997) and Hussein Chalayan's short Absent Presence (UK/Turkey, 2005). One self-consciously concerns the recovery of ‘lost’ women from history (da!), the other investigates the treatment of the foreigner staged with an all-female cast (in which the instability of foreign objects can secure no fortification for the scientific subject). The films differently engage fantasies concerning genetics, and differently engage the projection of a legacy as teleological ambition. Privileging Derrida's transformation of the pleasure into the postal principle as that which invokes ‘Tele–without telos’, I ask after the transmissibility of this ambition.
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Schartau, Patricia E. S., Tim Dalgleish, and Barnaby D. Dunn. "Seeing the bigger picture: Training in perspective broadening reduces self-reported affect and psychophysiological response to distressing films and autobiographical memories." Journal of Abnormal Psychology 118, no. 1 (2009): 15–27. http://dx.doi.org/10.1037/a0012906.
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Israeli-Nevo, Atalia. "Taking (My) Time: Temporality in Transition, Queer Delays and Being (in the) Present." Somatechnics 7, no. 1 (March 2017): 34–49. http://dx.doi.org/10.3366/soma.2017.0204.
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Trans temporalities are usually embedded within a linear progressive force that is directed from the past to the future. Whether embracing a narrative of an ‘extreme’ transformation from one gender to another, or by reimagining the past and claiming that the aspired gender was ‘always there,’ these temporalities ‘jump’ over the present without addressing it. This article aims to illustrate alternative trans temporalities through the notion of ‘taking time.’ Starting with my own autobiographical narrative as a trans woman taking her time with her transition, the article discusses the affective, social, and political meanings of doing a ‘delayed’ transition. Following that, the perspective is broadened to more generalized meanings of ‘taking time,’ analyzed through sociological readings of several trans cultural pieces: Imogen Binnie's novel Nevada, John Greyson's web-series Murder in Passing, and the films Jupiter Ascending (Lana and Lily Wachowski) and Tangerine (Sean S. Baker). These analyses will demonstrate the ways in which ‘taking time’ is embedded within the present, a process that incorporates both dangers and hopes for trans lives.
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Pélage, Agnès. "Our “Baby” on YouTube: The Gendered Life Stories of the Unborn." European Journal of Life Writing 8 (July 30, 2019): 69–90. http://dx.doi.org/10.21827/ejlw.8.35666.
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This study concerns the usage of foetal ultrasounds, more specifically those produced during the 5th month of pregnancy within the routine checks of any pregnancy in France. Interestingly, more and more parents are posting short films on YouTube of their baby-to-be using the medical images produced during such antenatal examinations. This study therefore analyses a set of 108 YouTube posts among the thousands available to understand the social implications of such posts on the unborn. Uncannily, it appears that these videos constitute not only the first pages of the biographies of a girl or a boy but also the autobiographical tales of a mother or father waiting for the birth of a daughter or son. The close reading of 31 archetypical videos reveals how those who post such videos see 5th-month ultrasound imagery as a means for them to prepare, not just for the birth of a child, but for the birth of a girl or a boy and simultaneously to prepare to become, not just parents, but the father or mother of a son or a daughter.
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McGannon, Kerry R., Lara Pomerleau-Fontaine, and Jenny McMahon. "Extreme Sport, Identity, and Well-Being: A Case Study and Narrative Approach to Elite Skyrunning." Case Studies in Sport and Exercise Psychology 4, S1 (January 1, 2020): S1–8—S1–16. http://dx.doi.org/10.1123/cssep.2019-0031.
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Although extreme-sport athletes’ experiences have been explored in sport psychology, more research is needed to understand the nuanced identity meanings for these athletes in the context of health and well-being. A case-study approach grounded in narrative inquiry was used to explore identity meanings of 1 elite extreme-sport athlete (i.e., skyrunner Kilian Jornet) in relation to well-being. Data gleaned from 4 documentary films and 10 autobiographical book chapters describing the Summits of My Life project were subjected to a thematic narrative analysis. Two intersecting narratives—discovery and relational—threaded the summits project and were used by Jornet to construct an “ecocentric” identity intertwined with nature in fluid ways, depending on 3 relationships related to well-being: the death of climbing partner Stéphane Brosse, team members’ shared values, and her relationship with partner Emelie Forsberg. An expansion of identity, health, and well-being research on extreme-sport athletes beyond simplistic portrayals of them as pathological risk takers and/or motivated by personality traits was gained from these findings.
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Monteiro, Marlène. "The Body as Interstitial Space between Media in Leçons de Ténèbres by Vincent Dieutre and Histoire d’un Secret by Mariana Otero." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 111–26. http://dx.doi.org/10.2478/ausfm-2014-0018.
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Abstract This essay examines the ways in which the representation of the body in painting is the starting point of a broader reflection on the plasticity of the medium in two French autobiographical films. In Histoire d’un secret (Story of a Secret, 2003) by Mariana Otero and Leçons de ténèbres (Tenebrae Lessons, 2000) by Vincent Dieutre, the body is indeed at the centre, albeit in very different ways. The first is a documentary about the director’s mother who died of the consequences of an illegal abortion in the late sixties. She was an artist and her paintings, many of which depict lascivious female nudes, pervade the film. The second is a self-fictional essay that weaves together narrated episodes of the film-maker’s story as a homosexual and drug addict with close-ups of Caravaggist paintings which tend to focus on bodies in pain. Whether prefiguring death and embodying the absent body through the latent evocation of maternity in the first case, or looking back into figural art in the second, both films point to the plasticity of the medium through the representation of matter, that is, paint and, ultimately, the body. The way in which both film-makers resort to light, the close-up, and, as far as Dieutre is concerned, the diversity of film formats, embodies what Deleuze defines as the haptic gaze to explore cinema’s own materiality. In addition, the presence of the paintings introduces the issue of intermediality which modestly points to a mise en abyme of the broader question of cinema’s shifting ontology.
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Stamm, Laura. "Delphinium’s portrait of queer history." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 38–52. http://dx.doi.org/10.33178/alpha.16.03.
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Delphinium: A Childhood Portrait of Derek Jarman (2009) portrays filmmaker Matthew Mishory’s interpretation of the childhood of Derek Jarman described in interviews and autobiographical writing such as At Your Own Risk. The portrait of Jarman honours his memory with a Super 8 inscription that repeats the queer sensibility of Jarman’s cinematic and painterly work. Mishory’s film positions Jarman as his filmmaking predecessor; even more so, it positions Jarman as a sort of queer ancestor. Delphinium’s sense of ancestry demands a reappraisal of Jarman’s work that foregrounds its creation of queer lineage. This article does just that, looking at Jarman’s Caravaggio (1986) and Edward II (1991) as both searches for queer origins and formations of queer futures. Through their explorations of queer continuity, Jarman’s films inscribe the process by which one learns to become queer and navigate a world that is so often hostile to queer existence. Their preservation of individual figures of the past provides a queer family history and a tool for education, a means for queers to understand their origins, as well as how to make sense of their own place in the world
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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.
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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.
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Novikova, Marina V. "THE PROBLEM OF NATIONAL TRAUMA IN THE COLLECTIVE MEMORY OF GERMANS IN THE UNITED GERMANY." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2021): 117–26. http://dx.doi.org/10.28995/2073-6339-2021-2-117-126.
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The article attempts to characterize the state of historical con- sciousness of the Germans at the end of the 20th – beginning of the 21 st century. The article examines what factors influenced the formation of the “sacrificial narrative” in the collective memory of the Germans of the united Germany. The research is based on the publications in the German, Polish and Russian press, autobiographical works, interviews, diaries and memoirs of Gunther Grass, Gerhard Schroeder, etc., analyzes the works of art and filmography released at that time. Memories of the suffering of the German civilian population during the Second World War usually belonged to the individual memory or remained part of the German family history. True, the traumatic past was often used for political purposes, especially in the FRG in the matters related to the theme of exile. In the first decade of the new millennium, thanks to the changes in the cultural agenda – the release of a number of books and feature films, the plot of which was based on the suffering of the Germans, the traumatic past is at the center of public debate. However, the rethinking of the theme of the suffering of the German civilian population was met with a rather wary response in the global context, primarily from Poland and the victor countries.
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Alter, Nora M. "Two or Three Things I Know about Harun Farocki." October 151 (January 2015): 151–58. http://dx.doi.org/10.1162/octo_a_00206.
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I last saw my friend Harun Farocki a few days before the opening of his exhibition at the Hamburger Bahnhof in late January 2014. Astonishingly, this was his first major one-person show in Berlin, a city that he called home and that had shaped his intellectual and artistic sensibility for over half a century. “I should have been born in Berlin,” he muses in his autobiographical “Written Trailers” (2009). Farocki was initially drawn to West Berlin in the early 1960s because the island city had been spared the Wirtschaftswunder (economic miracle) of the 1950s that had reshaped the rest of West Germany. It retained a forlorn rawness, a sense of bohemia, and a countercultural public sphere that attracted hippies, draft dodgers, political outcasts, and artists of all kinds. Farocki was a member of the first Deutsche Film und Fernsehakademie (Berlin Film Academy) class, along with Helke Sander, Holger Meins, and Wolfgang Petersen. He lived in a commune, wrote criticism, and produced relatively obscure agitprop films such as Herstellung eines Molotow-Cocktails (How to Make a Molotov Cocktail) (1968), Anleitung, Polizisten den Helm abzurissen (How to Remove a Police Helmet) (1969), and the better-known Nicht löschbares Feuer (Inextinguishable Fire) (1969). As Berlin changed over the years, however, so, too, did Farocki and his filmmaking practice.
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Moss-Wellington, Wyatt. "Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out." Film-Philosophy 25, no. 2 (June 2021): 187–206. http://dx.doi.org/10.3366/film.2021.0168.
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Inside Out (Pete Docter & Ronnie Del Carmen, 2015) develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation.
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Werb, Bret Charles, and Maria V. Lebedeva. "The Aleksander Kulisiewicz Collection at the United States Holocaust Memorial Museum: An Introduction." Observatory of Culture 17, no. 5 (November 12, 2020): 478–95. http://dx.doi.org/10.25281/2072-3156-2020-17-5-478-495.
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Envisioned by its founders as a storehouse of historical evidence — material artifacts, written and oral testimonies, photographs and films — the U.S. Holocaust Memorial Museum in Washington DC is the repository of a significant archive of music salvaged from the Nazi ghettos and camps. This paper focuses on the Museum’s single largest music collection, that of the Polish camp survivor Aleksander Kulisiewicz (1918—1982). A native of Kraków, Poland, who spent over five years as a political prisoner in Sachsenhausen, Kulisiewicz in later life grew obsessed with documenting the repertoire that his fellow Poles and an international cadre of musicians, authors, and artistes created and performed while captives of the Germans. The collection he amassed during his final decades consists of hundreds of songs, choral works and instrumental pieces gathered from survivor memoirs, manuscripts, and multiple recorded interviews with former inmates. Approximately 70,000 pages of documentation encompass music-related artworks, biographical details of camp poets and composers, and copious additional corroborating material. Apart from providing an overview of the collection, the paper will discuss Kulisiewicz’s cultural and intellectual background in interwar Poland, and postwar career as a performer, activist and author. Music illustrations will be drawn from Kulisiewicz’s archive of sound recordings, including selections from his own series of autobiographical songs written in Sachsenhausen. A final set of musical examples demonstrates the collection’s utility as a resource for musicians and programmers seeking overlooked, yet revivable repertoire, and for composers inspired to create new works based on “rescued” music preserved in the Museum’s archive.
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Adji, Alberta Natasia. "REVEALING THE RE-TRANSFORMATION OF 9 SUMMERS 10 AUTUMNS." Paradigma, Jurnal Kajian Budaya 8, no. 1 (July 31, 2018): 99. http://dx.doi.org/10.17510/paradigma.v8i1.185.
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<p><span style="font-size: medium;"><em>9 Summers 10 Autumns</em> (2011) is an inspirational autobiographical novel about a young man from a small city of Batu who later succeeded in pursuing his dream by working in the United States. The novel was written according to Iwan Setyawan’s life story and it has been made into a movie by the same name in 2013. Two years later, the movie was adapted into an augmented motion picture hinted illustrative book which is said to be the first kind to appear in Indonesia that combines novel, comic, app and film together. Somehow this phenomenon has also contributed to the rising trend of films adapted into books in Indonesia, such as <em>Assalamualaikum Beijing</em> (2015), <em>What’s Up with Love?</em> (2016), and others. This study caters for Iwan Setyawan’s strategy in achieving legitimacy in the arena of Indonesian Literature and his American Dream Ideals that are depicted within the book. The discussion is carried out within the perspectives of Pierre Bourdieu’s field of cultural production theory as well as sociology of literature approach in highlighting the phenomenon of transformation from novel into film and eventually into augmented motion picture hinted illustrative book. Later, the study discovers that it has changed the image of Indonesian art and literary world in which such prestigious legitimacy can now be achieved through commercial strategies, making it seem dynamic but at the same time questionable in its most authentic sense. </span></p>
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Walsh, Maria. "Robin Curtis (2006) Conscientious Viscerality: The Autobiographical Stance in German Film and Video." Film-Philosophy 11, no. 3 (October 2007): 191–97. http://dx.doi.org/10.3366/film.2007.0033.
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Токоева, Жумабубу. "ЖАНРОВОЕ СВОЕОБРАЗИЕ СОВРЕМЕННОГО КЫРГЫЗСКОГО КИНО." Vestnik Bishkek Humanities University, no. 51 (March 19, 2020): 20–24. http://dx.doi.org/10.35254/bhu.2020.51.15.
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Аннотация: Предметом исследования статьи является рассмотрение жанрового разнообразия современного кыргызского кино. Основное внимание автор акцентирует на культурологическом анализе всех «авторских» фильмов кыргызских режиссеров в постсоветский и современный периоды. Главной целью исследования является выявление жанрового своеобразия современного отечественного кино. Новизна статьи заключается в том, что автор впервые в отечественной кинотеории рассматривает особенности и своеобразие киножанров в современном кыргызском кино на примере таких известных всему миру фильмов, как кинотрилогия А. Абдыкалыкова «Селкинчек», «Бешкемпир», «Маймыл»; «Бурная река, безмятежное море» М. Сарулу, «Айыл окмоту» Э. Абдыжапарова, «Неизвестный маршрут» Т. Бирназарова, «Курманжан-датка» С. Шер-Нияза, «Саякбай» Э. Абдыжапарова и других. Результаты исследования могут быть использованы в дальнейшей разработке культурологических проблем кыргызского киноискусства, а также в практической деятельности работников кыргызских кинематографистов. Ключевые слова и фразы: «авторское кино», «девяностники», тема катастрофизма, тема любви, тема самоидентификации, нонконформизм, перфекционизм, кинометафора, автобиографический триптих, трагикомедия, социальная сатира, фильм-притча, фильм-раздумье, историческая драма, мюзикл. Аннотация: Илимий макалада кыргыз киносунун азыркы жанрынын ар түрдүүлүгү изилденет. Негизги көңүл СССРден кийнки жана азыркы мезгилдердеги "автордук" кыргыз режиссерлордун тасмаларын анализдеп культурологиялык талдоо жургузуу болуп эсептелинет. Изилдөөнүн негизги максаты азыркы кыргыз киносунун жанрдык озгочолукторун аныктоо болуп саналат. Мисал катары томонку тасмалар анализденген: А. Абдыкалыковдун автобиографиялык училтеги: “Селкинчек”, “Бешкемпир”, “Маймыл”; "Бороондуу дарыя, чалкыган деңиз" M. Сарулу, Э.Абдыжапаровдун "Айыл өкмөтү", Т. Бирназаровдун "Белгисиз маршрут", "Курманжан Датка" Садык Шер-Нияз, "Саякбай" Э. Абдыжапаров. Макаланын натыйжаларын кыргыз киносунун маданий маселелерин андан ары иштеп чыгууда пайдаланса болот, ошондой эле кыргыз кинематография жаатындагы практикалык кызматкерлер да колдонсо болот. Түйүндүү сөздөр жана сөз айкаштары: "автордук кино", катастрофизм темасы, сүйүү темасы, идентификация темасы, нонконформизм, перфекционизм,кинометафора, трагикомедия, социалдык сатира, фильм-ой жугуртуу, тарыхый драма, мюзикл. Resume: The subject of this article is the consideration of the genre diversity of contemporary Kyrgyz cinema. The author focuses on the culturological analysis of all the "copyright" films of Kyrgyz directors in the post-Soviet and modern periods. The main goal of the study is to identify the genre identity of modern Russian cinema. The main research method is a comprehensive, systematic approach to the study of this problem, which is based on a comparative historical analysis method. The novelty of the article lies in the fact that the author for the first time in the national cinema theory examines the features and originality of cinema genres in contemporary Kyrgyz cinema by the example of such world-famous films as A. Abdykalykov’s film trilogy “Selkinchek”, “Beshkampir”, “Maymyl”; “Rough River, Tranquil Sea” M. Sarulu, “Aiyl okmotu” E. Abdyzhaparova, “Unknown Route” T. Birnazarova, “Kurmanzhan-Datka” S. Sher-Niyaza, “Sayakbai” E. Abdyzhaparov and others. The results of the study can be used in the further development of the cultural problems of Kyrgyz cinema, as well as in the practical activities of Kyrgyz filmmakers. In the conditions of the modern development of cinematography, the combination of multi-genre films from comedy to historical-geographical attracts the attention of a wide audience against the backdrop of competition in this area. Keywords and phrases: “author’s Kyrgyz cinema”, “nineties”, catastrophic theme, love theme, self-identification theme, nonconformism, perfectionism, film metaphor, movie genres: autobiographical triptych, tragicomedy, social satire, parable film, meditation film, historical film drama, musical.
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Goodall, Gemma, Ileana Ciobanu, Kristin Taraldsen, Jon Sørgaard, Andreea Marin, Rozeta Draghici, Mihai-Viorel Zamfir, Mihai Berteanu, Walter Maetzler, and J. Artur Serrano. "The Use of Virtual and Immersive Technology in Creating Personalized Multisensory Spaces for People Living With Dementia (SENSE-GARDEN): Protocol for a Multisite Before-After Trial." JMIR Research Protocols 8, no. 9 (August 19, 2019): e14096. http://dx.doi.org/10.2196/14096.
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Background The number of people living with dementia is rapidly increasing. With dementia’s impact on memory, communication, and self-identity, it is important to identify ways of meeting individual needs of diagnosed individuals and their caregivers. This study will test a new intervention, SENSE-GARDEN, that integrates autobiographical music, films, pictures, and scents with innovative technology to create an immersive environment tailored specifically for the individual. Objective The SENSE-GARDEN study is an Active Assisted Living Program–funded multicenter project. The primary objective of the study is to assess whether a personalized, innovative technology-based intervention can improve the well-being of older adults living with moderate to severe dementia. The study will also assess whether the intervention can improve coping and reduce burden in caregivers. Methods A controlled before-after study design will be used. There will be 3 sites in 3 trial countries: Belgium, Norway, and Portugal. A total of 55 people with dementia (PWDs) will be recruited. All eligible participants for the study will be randomized into the intervention or control group. For the first three months of the study, all participants will receive the SENSE-GARDEN intervention. For the final month of the study, the intervention group will continue visits to the SENSE-GARDEN, and the control group will discontinue visits. A mixed-methods approach will be used, including the use of standardized outcome measures, quantitative physiological data, and qualitative interview data. Results The trials commenced recruitment in August 2019, and all data are expected to be collected by the end of May 2020. A user-centered design process is underway, with results from the first phase of user interviews indicating that people with mild cognitive impairment, family caregivers, and professional caregivers consider the SENSE-GARDEN to be a potentially valuable tool in providing numerous benefits to dementia care. Feasibility testing of the SENSE-GARDEN has been completed and results are expected to be published in October 2019. Conclusions Findings from the SENSE-GARDEN trials will provide insights into the use of technology for personalizing interventions to the PWD. This will have potential implications on not only dementia research, but it may also have influences on care practice. International Registered Report Identifier (IRRID) DERR1-10.2196/14096
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Tassoni, Luigi. "La catastrofe del testo." Caietele Echinox 39 (December 1, 2020): 210–19. http://dx.doi.org/10.24193/cechinox.2020.39.15.
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"For Jacques Derrida, the autobiographical writing of the Confessions of J. J. Rousseau fills a void, comparing to an act of onanism, not directly according to nature. The text is catastrophe because it deceives and destroys nature, if the writing, the supplement, or the text introduces unnaturalness into life, in a narrative, autobiographical key. The writing does not close the circle of seduction, producing a text that is sufficient unto itself, because the text needs the other, the other one who is outside the text and who gives the text the status of a social, shared, existing object. I will try to demonstrate that all the things which are out of the text communicate with all the elements which stay inside the text. The catastrophe of the text becomes a strategic definition for describing the experimental processes of language, the same processes which circumvent the subjective censorship of autobiography and the objective censorship of history."
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Priya, Tanu, and Dhishna Panniko. "Production of Gender: A Study on Performativity in Female-To-Male Transsexuals." Masculinities & Social Change 7, no. 3 (October 21, 2018): 255. http://dx.doi.org/10.17583/mcs.2018.3607.
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Gender identity is critical to every individual; it is self-defined and yet affected by culture and society at large. Gender identities are formed through public and private spaces. Of the two traditions of thinking (essentialist and constructionist) about sex and gender, constructionist formulations are based on performance theory. It believes that sex and gender are viewed as not residing in the individual but are found in “those interactions that are socially constructed as gendered as opposed to essentialist tradition. Within performative theory, gender is a process rather than something naturally possessed. This study explores the process of formation of gender or social role in female-to-male (FTM) transsexual. It will do so by exploring the factors that add to the formation of a gender role as seen through sartorial style, mannerisms, body language, and other aspects that influence one’s presentation of self. It includes the process of construction of FTM transsexual’s corporeality through performative attributes in order to approximate masculinity and come in accord with the social role of a man. The themes that are discussed in the analysis emerged after a careful reading of FTM autobiographical narratives. The instances are extracted from FTM autobiographical narratives; Becoming a Visible Man, The Testosterone Files, Both Sides now and the publication of these narratives range from 2005-2006.
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Garstenauer, Therese. "»Beamtengefühl«: Soziale Funktionen von Emotionen im österreichischen Staatsdienst der Zwischenkriegszeit." Administory 3, no. 1 (December 31, 2018): 61–79. http://dx.doi.org/10.2478/adhi-2018-0039.
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Abstract Research on emotions in the 20th century has shown that in the period after WWI there has been a general tendency to control and suppress the display (if not the experience) of emotions. Based on various sources such as conduct books, autobiographical prose, and disciplinary files this article highlights the role emotions played in civil service in interwar Austria. Emotions could be a disturbance of administrative procedure and everyday office life, but they clearly served to regulate power and gender relations between colleagues, and to define personal boundaries. Specific focus is placed on the interrelation of emotions and political affiliations of government employees, on the particularities of greeting in the office, and on „Beamtengefühl“ – a special feature of this socio-professional group.
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Munge, B. V. "CONTRIBUTION OF S.T. TANOV IN THE DEVELOPMENT OF THE CULTURAL SECTOR OF THE TUVA PEOPLE'S REPUBLIC." Northern Archives and Expeditions 6, no. 2 (June 30, 2022): 37–45. http://dx.doi.org/10.31806/2542-1158-2022-6-2-37-45.
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Personal funds have cultural, historical and scientific value, significant importance for society and the state. The article presents a source-research analysis of the personal fund documents. Sedip-ool Tokpak-oolovich Tanov (1901–1985) — a prominent statesman, politician, diplomat who greatly contributed to the formation and development of the Tuva National Republic. The Archives' personal collections, preserved at the National Archives of the Tuva Republic (folio 881 l, inventory 1) presented 62 items for storage (photo-materials, newspaper articles, personal files, autobiographical memoirs, award certificates, invitations, etc.) and contain facts and events dating, referred to 1929–2014. The most complete and consistent presentation of the role in the development of Tuvinian culture and the fate of S. Tanov allows the study of documents on his scientific and organizational, socio-political, cultural and educational activities. The relevance of the research lies in the fact that the author for the first time introduces to scientific circulation of unknown facts and events from S.T. Tanov's biography. The new scientific data on his activities allow us to determine the information potential and historical significance of his personal collection, trace the impact of historical processes on the culture of the region. The information obtained can be used in the field researches of archival science, archeography, culturology, and history of the Tuva Republic. The manuscripts of Sedip-ool Tanov's personal collection, in addition to his autobiographical recollections and memoirs about people and events, contain references to the places of document storage and can be used as an archival directory.
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Georgis, Dina. "A Muffled Scream: Queer Affects in Abdellah Taïa’s Salvation Army." Kohl: A Journal for Body and Gender Research 2, no. 1 (December 2015): 56–65. http://dx.doi.org/10.36583/kohl/1-2-7.
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This paper reads Abdellah Taïa’s Salvation Army, a semi-autobiographical film that chronicles the coming of age of a Moroccan boy through its queer affects. Set in both Morocco and Switzerland, Taïa’s protagonist is neither a victim nor oppressed by the socio-economic and patriarchal conditions of his existence. His sexuality is naive and perverse, exploited and exploitative. Queer knowledge in this film breaks down at many levels. The effect of this confusion is the film’s insistence on reading the narrative outside of easy sexual epistemologies. This paper defines “queer” not simply in terms of sexual orientation but as an affective relationship to loss. Borne from the traces of sexual being, queer affects resist the domestication of the sexual for social recognition. They are the parts of us that refuse to be colonized into affable, upright subjects. In Salvation Army, the protagonist grows up to be gay, as we have come to understand this word, but his subjectivity remains ambivalent and in mourning.
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McMahon, Laura. "Beyond the human body: Claire Denis's ecologies." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 94–111. http://dx.doi.org/10.33178/alpha.7.06.
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This article explores the work of Claire Denis beyond the focus on the human body through which it is commonly read. Addressing Beau Travail (1999) and The Intruder (2004), I examine an ecological impulse that manifests itself through a nonanthropocentric detailing of the coexistence of body and landscape, and a nonhierarchical attentiveness to the distributed agencies of humans, animals and things. I draw here in particular on Gilles Deleuze’s notion of the crystal-image and on Jean-Luc Nancy’s thinking of ecotechnics, as elaborated in his essay on The Intruder (a film inspired by Nancy’s autobiographical essay, L’Intrus). In Beau Travail, Deleuzian crystals of time draw attention to the nonhuman histories of the landscape. In The Intruder, this crystalline structure persists, reactivating traces of nonhuman pasts, while a focus on canine gestures and responses signals nonhuman perceptual worlds in the present. Deleuze’s “Desert Islands”, another text that shapes The Intruder, offers a further way of reading the film’s attentiveness to the nonhuman—an attentiveness that extends, as Nancy suggests, to a consideration of environmental crisis.
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Tianjin, Wang. "Educational Reform in Contemporary China: An Autobiographic Ethnographic Study of a Local University in Gansu Province." Advances in Social Sciences Research Journal 9, no. 10 (October 28, 2022): 368–97. http://dx.doi.org/10.14738/assrj.910.13316.
Full textAbstract:
This paper reviews the educational reform process in contemporary China based on an autobiographic ethnographic case study of Tianshui Normal University (TNU) in Gansu province. It examines the relationship between Chinese culture and education, probes the modern education model in China, and offers some operational suggestions for further education reforms in China. The author adopted qualitative research methods to study the critical issues related to educational reform in contemporary China and demonstrated the accomplishments of educational reform in China.