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Journal articles on the topic 'Coming-of-age films'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Windhauser, Brad. "Queer coming of age: Recognizing the genre’s classic cluster." Queer Studies in Media & Popular Culture 8, no. 2 (2023): 195–215. http://dx.doi.org/10.1386/qsmpc_00098_1.

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The queer coming-of-age film genre, although gaining more visibility with a recent slate of films, has not always been recognized or studied as a genre. Providing a unique sense of the struggles queer people experience coming of age in our society, these films serve an important function. By documenting the struggles cis-het society creates for queer adolescents as well as providing hope for the queer audience looking for guidance through this often-difficult period, these films also reveal how queer adolescents lack the same resources and support as their cis-het peers. Since the films in thi
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2

Guo, Nan. "A Study of Female Growth Narrative of Greta Gerwigs Coming-of-age Film." Communications in Humanities Research 21, no. 1 (2023): 60–65. http://dx.doi.org/10.54254/2753-7064/21/20231416.

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This article introduces the development of feminist films, explores the combination of coming-of-age films and feminism, and introduces Greta Gerwigs film history and her film works in the past six years. First, the article introduces the famous women director-Greta Gerwig and her career as an actress and director. Second, it introduces the background of the three films. Through the introduction of three films in the past six years, the paper believes that Greta Gerwig has formed her own unique style of female coming-of-age films. Third, this paper treats of the three ways that Greta Gerwig de
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Menendez-Otero, Carlos. "Cowboys and kings: The coming of age film in 1990s Irish cinema." CINEJ Cinema Journal 5, no. 1 (2016): 5–33. http://dx.doi.org/10.5195/cinej.2015.123.

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The article explores why in the 1990s many Irish filmmakers chose precisely a coming of age narrative to attempt to take the international box office by storm, and assesses some of the films that resulted from the attempt. First, it discusses the cultural roots and generic conventions of the Hollywood teen film, especially the rites of passage it has reified and its idealization of small-town, mid-century America. Second, it studies the economic and cultural reasons behind the (over)production of coming of age films in Ireland over the 1990s. Finally, we tackle how these films alternatively de
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Zacmane, Daniela. "DEPTHS AND SHALLOWNESS OF COMING-OF-AGE STORY “THE PIT”." Culture Crossroads 23 (January 10, 2024): 239–46. http://dx.doi.org/10.55877/cc.vol23.381.

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Over the course of last three decades, Latvian cinema has experienced significant changes. Since country’s renewal of independence and return to Europe many socio-political transformations took place. Film industry also changed a lot. In the 21st century films mostly are made on the basis of digital technology; film directors can freely choose the subjects of the films. We may presume that the characters portrayed on the screen have undergone changes, for example, representation of mother, father and coming-of-age young people. However, have these changes truly occurred? The essay will focus o
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Carter, Jim. "Coming of age in Milano: Ermanno Olmi from sponsored cinema to feature filmmaking." Journal of Italian Cinema & Media Studies 9, no. 3 (2021): 411–28. http://dx.doi.org/10.1386/jicms_00084_1.

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This article argues that a full understanding of Ermanno Olmi’s feature films will require a deep engagement with the sponsored cinema he made as director of the Sezione Cinema Edisonvolta. It begins by spelling out some of the stakes and challenges of a ‘sponsored turn’ in Italian cinema studies, which during the past decade has inaugurated the long archival and critical process of revaluing the corporate roots of auteurs like Michelangelo Antonioni, Bernardo Bertolucci and, to a certain extent, Ermanno Olmi. It then elaborates on the relation between Olmi’s sponsored cinema (1953‐61) and fea
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Dave, Paul. "Choosing Death: Working-Class Coming of Age in Contemporary British Cinema." Journal of British Cinema and Television 10, no. 4 (2013): 746–68. http://dx.doi.org/10.3366/jbctv.2013.0173.

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Starting with Franco Moretti's hypothesis of a relationship between the experience of modernity and the coming of age narrative in the European novel, this article explores representations of the working-class Bildung in contemporary British films that can be seen as responding to social and economic changes generally associated with neoliberalism. Contrasting the emphasis on the individual negotiation of social space in the films of Danny Boyle with work from a range of directors, including Ken Loach, Penny Woolcock, Shane Meadows and Anton Corbijn, along with recent production cycles such as
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Mukherjee, Utsa, Anil Pradhan, and Ravinder Barn. "Coming of Age in the Diaspora: Bollywood and the Representation of Second Generation British Indian Diaspora." CINEJ Cinema Journal 9, no. 2 (2021): 114–46. http://dx.doi.org/10.5195/cinej.2021.366.

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Bollywood films are a unique visual repository of India’s public imaginings, and they can, therefore, serve as guides to how India sees its past, present, and aspirational future (Dwyer, 2010). Through close intertextual readings of three key popular films depicting British Indian youth, this article explores the ways in which the UK-born/raised second-generation Indian diaspora has come to be represented within Bollywood. We argue that inter-generational negotiations around long-distance nationalism, social reproduction, and marriage are pivotal to the articulation and regulation of diasporic
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Van der Walt, Nadia. "Types of Visibility: Disruption, Consent & Contemporary Politics." International Multidisciplinary Research Journal 1 (January 15, 2024): 9–17. http://dx.doi.org/10.47722/imrj.2001.21.

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This paper analyses representations of the coming-of-age process in contemporary narrative films that challenge dominant social and political ideologies. Through an intersectional analysis of Tomboy (2011), Girlhood (2014), and Portrait of a Lady on Fire (2019), all of which were directed by Céline Sciamma; Inxeba (2017) by John Trengove, and Moffie (2019) by Oliver Hermanus, I demonstrate how specific scenes and sequences expose and critique gender, race, class, and sexuality norms. Drawing from feminist, queer, and postcolonial theories, I identify three types of visibility across the films:
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Majestya, Nayla. "AN AUTEUR OF DECADENCE: SOFIA COPPOLA AND THE UNBEARABLE HEAVINESS OF COMING OF AGE." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 207–18. http://dx.doi.org/10.33153/capture.v12i2.3621.

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As a filmmaker, Sofia Coppola is often under critiques considering her visual excess frivolous. This article is an auteur study towards the thematic and stylistic tendencies of Sofia Coppola’s films. Through analysis of her mise-en-scene, I contend that Coppola, as a film auteur, tends to glorify the image of the lost generation. This glorification is bolstered by her signature style that echoes the spirit of the Decadent movement in the late-nineteenth-century European art scenes, which was preoccupied with the idea of fin de siècle or society in transition at the end of time. This idea is ex
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Monaghan, Whitney. "Not Just a Phase." Girlhood Studies 12, no. 1 (2019): 98–113. http://dx.doi.org/10.3167/ghs.2019.120109.

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In this article, I seek to interrogate the visibility of queer girls in contemporary cinema. I demonstrate how queerness has long been associated with a passing phase of adolescent development in the teen media sphere. I reflect on the nuanced relationships between queerness and girlhood in four contemporary US independent queer films, arguing that Pariah (2011), Mosquita y Mari (2012), First Girl I Loved (2016), and Princess Cyd (2017) are representative of a new wave of queer girlhood on screen. Rejecting the pervasive tropes of coming out as coming of age and just a phase, these films use q
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Marsh, Pauline. "Picturing a golden age." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 59–73. http://dx.doi.org/10.33178/alpha.5.04.

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In two Australian coming-of-age feature films, Australian Rules and September, the central young characters hold idyllic notions about friendship and equality that prove to be the keys to transformative on-screen behaviours. Intimate intersubjectivity, deployed in the close relationships between the indigenous and nonindigenous protagonists, generates multiple questions about the value of normalised adult interculturalism. I suggest that the most pointed significance of these films lies in the compromises that the young adults make. As they reach the inevitable moral crisis that awaits them on
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Berghahn, Daniela. "From Turkish greengrocer to drag queen: reassessing patriarchy in recent TurkishGerman coming-of-age films." New Cinemas: Journal of Contemporary Film 7, no. 1 (2009): 55–69. http://dx.doi.org/10.1386/ncin.7.1.55_1.

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Ziewacz, Lawrence E. "Holden Caulfield, Alex Portnoy, and Good Will Hunting : Coming of Age in American Films and Novels." Journal of Popular Culture 35, no. 1 (2001): 211–18. http://dx.doi.org/10.1111/j.0022-3840.2001.3501_211.x.

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14

Lysne, Anders. "Manifestations of dread in Thelma." Journal of Scandinavian Cinema 9, no. 2 (2019): 235–39. http://dx.doi.org/10.1386/jsca.9.2.235_1.

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The article analyses the aesthetic expression and evocation of the emotion of dread in Joachim Trier’s Thelma. Situating the film within a subcategory of new Nordic horror films dealing with coming of age, the article utilizes close analysis of selected scenes to explore the aesthetic connections between dread and notions of absence, alterity and the sublime, and through a comparison with the director’s two first feature films, Reprise and Oslo: August 31st, it argues that the emotion of dread is ultimately thwarted by a narrative device that represents a novelty in Trier’s cinematic universe:
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15

Benson-Allott, Caetlin. "Greta Gerwig’s Girlhood Trilogy." Film Quarterly 77, no. 2 (2023): 67–72. http://dx.doi.org/10.1525/fq.2023.77.2.67.

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On the occasion of Barbie’s blockbuster summer, FQ columnist Caetlin Benson-Allott situates director Greta Gerwig’s latest success in relation to her previous two films, Little Women (2019) and Lady Bird (2017). All three films are female-centered coming-of-age stories, prompting Benson-Allott to read them as a trilogy. Doing so not only honors Gerwig’s achievement as an auteur, Benson-Allott suggests, but also generates important questions about what these films say about girlhood and middle-class white American women’s quest for autonomy and self-determination. Gerwig’s trilogy reveals an ar
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Puysségur, Marie. "Space, Gender, and Identity in Sciamma's Girlhood and Arnold's Fish Tank." Girlhood Studies 13, no. 1 (2020): 117–32. http://dx.doi.org/10.3167/ghs.2020.130109.

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In this article, I explore the use of space in Andrea Arnold’s Fish Tank and Céline Sciamma’s Bande de Filles, two films that depict the experiences of 15-year-old girls in a British housing estate and a Parisian banlieue respectively. The spatial motifs related to identity that circulate throughout the films establish a regime of flux, ambiguity, and reversibility that contributes to a depiction of female adolescence as unfixed and unsettled. I argue that both films, in their focus on the lived experience of their protagonists, investigate the landscape of economically and socially peripheral
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Rodriguez, Randall. "Otto the Barbarian: Patriarchy, Feminism, and Romanian New Wave Cinema." Film Matters 12, no. 3 (2021): 153–63. http://dx.doi.org/10.1386/fm_00183_7.

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The film Otto the Barbarian, on the surface, tells the coming-of-age story of a teenager living in Romania coping with the suicide of a friend. This film, however, also uses character perspective to subversively redress gender relations in post Communist Romania. Themes of self-harm, silence, display, and age are woven into the film to subtly challenge traditional gender roles. Director Ruxandra Ghiescu uses a cinematic style similar to many Romanian New Wave films to focus on a handful of characters. These characters tell a story of youth and communication but also an underlying story of stat
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18

Pei, Jinghan. "Deciphering the Commercial Miracle: The Research on the Marketing and Distribution Process of Chinese Youth Films after 2010s." SHS Web of Conferences 179 (2023): 03013. http://dx.doi.org/10.1051/shsconf/202317903013.

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Youth Films (qingchunpian), which are characterized by nostalgia and coming-to-age narratives, expanded its influence after 2010s in Chinese film market. The considerable profits of youth films derived from low budget and substantial box office returns. Compared to main melody films (zhuxuanlv) and traditional comedies which are supported by the government and own large amounts of budget, the commercial success of youth films is unique in Chinese film industry. Although there is existing research on the entire trend of Chinese film market and content analysis of youth films, the internal logic
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19

Dupont, Joan. "Pascale Ferran." Film Quarterly 75, no. 3 (2022): 57–65. http://dx.doi.org/10.1525/fq.2022.75.3.57.

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FQ contributing editor Joan Dupont continues her series on French women directors with a rare interview with Pascale Ferran, whose debut feature film, Petits arrangements avec la mort (Coming to Terms with the Dead, 1994), won the Caméra d’Or at Cannes. Dupont surveys the ups and downs of Ferran’s subsequent career, which includes the celebrated Lady Chatterley (2006) along with lesser-known films such as L’âge des possibles (The Age of Potential, 1996) and the more recent Bird People (2014).
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Strausz, László. "Instrumentalization of the Border Zone. Environment and Ideology in the Educational Films Made between 1955 and 1989 by the Hungarian Ministry of Interior’s Film Studio." Acta Universitatis Sapientiae, Film and Media Studies 20, no. 1 (2021): 151–64. http://dx.doi.org/10.2478/ausfm-2021-0019.

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Abstract Analysing the output of the Hungarian Ministry of Interior’s own film studio, which produced educational films between 1955 and 1989, this essay investigates the modes in which the border zone was represented during the decades of state socialism. Considering the vicinity of the border as an area, where ideological confrontations are battled out, the article argues that there is a significant difference between the films produced in the 1950-60s, and those from the mid-1960s onwards. The earlier pieces depict an emotionally charged border zone the defence of which is a social-politica
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Gottschall, Kristina. "‘Jesus! A Geriatric — That's All I Need!’: Learning to Come of Age with/in Popular Australian Film." Global Studies of Childhood 1, no. 4 (2011): 332–42. http://dx.doi.org/10.2304/gsch.2011.1.4.332.

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Popular film texts are powerful means by which Western societies construct, maintain, protect and challenge concepts of childhood and youth-hood. As a context where audiences learn about the self, their culture, and their place within it, popular film is understood here as pedagogic, that is, as a space where key lessons about the formation of subjecthood might take place, and at what costs. This article takes into account scholarship on popular culture as pedagogy, challenging narrow notions of popular film as a simple transmission of knowledge. Focused on how pedagogies might be at work, thi
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22

D'Iorio, M. "Molecular materials for micro-electronics." Canadian Journal of Physics 78, no. 3 (2000): 231–41. http://dx.doi.org/10.1139/p00-033.

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Molecular organic materials have had an illustrious past but the ability to deposit these as homogeneous thin films has rejuvenated the field and led to organic light-emitting diodes (OLEDs) and the development of an increasing number of high-performance polymers for nonlinear and electronic applications. Whereas the use of organic materials in micro-electronics was restricted to photoresists for patterning purposes, polymeric materials are coming of age as metallic interconnects, flexible substrates, insulators, and semiconductors in all-plastic electronics. The focus of this topical review w
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Nas, L. "De wondere wereld van Alex van Warmerdam: absurdisme in de eigentijdse Nederlandse film." Literator 20, no. 1 (1999): 31–50. http://dx.doi.org/10.4102/lit.v20i1.445.

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The wondrous world of Alex van Warmerdam: Absurdism in contemporary Dutcti cinemaThe main focus of this article is an introduction to the oeuvre of Dutch filmmaker Alex van Warmerdam, by concentrating on his first two feature films: Abel (1986) and De noorderlingen (1992). These films, setting a new absurdist trend, signalled the coming-of-age of Dutch cinema. In an article that appeared in 1986 in the then trend-setting cultural magazine De Haagse Post, Van Warmerdam's first film was hailed as “grotesque fool's wisdom,” elevated “to the level of supreme law” whereby “pathetic jerkiness was st
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Handyside, Fiona. "Girlhood, postfeminism and contemporary female art-house authorship." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 31–48. http://dx.doi.org/10.33178/alpha.10.02.

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Both Sofia Coppola and Mia Hansen-Løve’s first three films can be understood as trilogies of female coming of age. These are thematic or conceptual trilogies, declared as such after the fact by their directors, and thus a self-conscious declaration of authorial agency, but the trilogy itself is not given a definitive name. This article explores the complex position these trilogies thus occupy. On the one hand, they testify to the impact of feminist activism and theorising on filmmaking, as they demonstrate the creative power and autonomy of the postfeminist auteur. On the other, they concentra
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Boshoff, Danel, and Annemi Conradie. "“It’s easy to just be normal”: Performative masculinities in Die stropers." Tydskrif vir Letterkunde 60, no. 1 (2023): 42–56. http://dx.doi.org/10.17159/tl.v60i1.14099.

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In post-apartheid South Africa, the representation of queer identities in Afrikaans-language films have become increasingly prominent. However, many such films focus on past contexts or serve as comedic depictions, failing to confront the complex issues faced by individuals in contemporary Afrikaner communities. Etienne Kallos’s 2018 coming-of-age film Die stropers (The Harvesters) candidly depicts the challenges faced by adoptive brothers Janno and Pieter, who must negotiate desire and gender in a conservative, Afrikaans farming community. Drawing on Judith Butler’s notion of gender performat
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Masaki, Mori. "THE TELEVISUALLY COMPROMISED SPACES IN RINGU AND “TV PEOPLE”." Philology at MGIMO 19, no. 3 (2019): 125–30. http://dx.doi.org/10.24833/2410-2423-2019-3-19-125-130.

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The short story “TV People” by Murakami Haruki and a pair of horror movies “Ringu” by Nakata Hideo came out in the last decade of the twentieth century and addresses the nineties’ situation of televisual permeation in the form of non-human figures coming out of the TV screen. Nakata’s films typify an updated version of a conventional ghost story, while Murakami’s text assumes unreality of another sort in the midst of ordinary life. As paranormal phenomena in J. Hillis Miller’s definition, the intruders of the space adjacent to the TV set in both cases affect not only TV watchers in the fiction
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Beadling, Laura L. "Cherokee film as Cherokee storytelling: Randy Redroad’s The Doe Boy (2001) as filmic Deer Woman story." New Cinemas: Journal of Contemporary Film 18, no. 1 (2020): 3–18. http://dx.doi.org/10.1386/ncin_00018_1.

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Rather than the stereotypical nineteenth-century leathers-and-feathers warriors familiar from countless Hollywood Westerns, many Native filmmakers focus their films on contemporary Native communities. In contrast, Native filmmakers create very different representations of Native life and especially Native masculinity. Along with the foundational Smoke Signals (Eyre 1998), Randy Redroad’s The Doe Boy (2001) was one of the first Native-created films that helped initiate a cluster of Native American films that centre on masculinity and male‐male relationships. Indigenous masculinity is often a si
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Onikoyi, Babatunde. "The developing new wave of Nollywood : a conversation with Niyi Akinmolayan." Issue 1 1, no. 1 (2018): 23–39. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a2.

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The new wave of Nollywood is largely defined by the operations and vibrant undertakings of young and serious minded filmmakers in Nigeria. This crop of filmmakers are determined to take over the industry by producing film and movies that possess the much desired lasting substance. These filmmakers are those who Jonathan Haynes has referred to as the “New Nollywood” filmmakers (Haynes, 2014) that gradually emerged with the coming of age of Kunle Afolayan’s The Figurine (2010). Niyi Akinmolayan, a film director and producer is a typical example of this group of filmmakers, whose filmic oeuvre is
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Tsona, A. H. "The depiction of the 1990s in Ukrainian cinema of the 2010s–2020s as a way of national self­identification." Culture of Ukraine, no. 83 (March 21, 2024): 99–106. http://dx.doi.org/10.31516/2410-5325.083.11.

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The relevance of the study. Understanding of this period — encompassing the collapse of the USSR, the beginning of Ukraine’s independence, and the experiences of contemporary filmmakers during their childhood and youth — remains pertinent and essential.
 The purpose of the study is to examine the stylistic and substantive features of the depiction of the 1990s by Ukrainian filmmakers in films of the 2010s and 2020s, and to prove that this is a way of national self-identification.
 The methodology. The following scientific methods were used: analysis (to process theoretical works, wor
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Howard, Lynne M., and Martin J. Watson. "A Degree in Occupational Therapy: How Do Traditional and Non-Traditional Entry Routes Compare?" British Journal of Occupational Therapy 61, no. 6 (1998): 244–48. http://dx.doi.org/10.1177/030802269806100601.

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There are different entry qualification routes to an honours degree course in occupational therapy. These differences, coupled with the considerable age-range of applicants, mean that students commence their courses from widely different starting points, which may have a bearing on their academic career. This study examined some chosen starting points briefly and, by retrospective analysis of 47 student progress files, looked at how students fared over their university careers. In particular, it examined whether certain pre-entry factors were associated with good degree results. A secondary fo
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Thapa, Kalpana Kumari, and Urmila Parajuli. "Trend of Caesarean Section in Bheri Zonal Hospital." Journal of Nepalgunj Medical College 16, no. 1 (2018): 41–44. http://dx.doi.org/10.3126/jngmc.v16i1.24227.

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Introduction: Caesarean Section (CS) rates are a major public health concern and cause worldwide debates according to latest data from 150 countries. Currently 18.6% of all births occur by CS, ranging from 6 to 27.2% in the least and most developed regions. This study was done to find out incidence and outcome of CS and geographical variation of women coming for the service in this Zonal Hospital.
 Methods: A retrospective review of case files of 771 women who had CS from 16th April 2017 to15th April 2018 were analyzed for demographic profile like age, parity, geographical location. Simil
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Peng, Guangqian, Jacques Trienekens, S. W. F. (Onno) Omta, and Wensheng Wang. "Configuration of inter-organizational information exchange and the differences between buyers and sellers." British Food Journal 116, no. 2 (2014): 292–316. http://dx.doi.org/10.1108/bfj-01-2012-0001.

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Purpose – The aim of this paper is to extend the understanding of the configuration of inter-organizational information exchange (IOIE) and the role of each aspect of IOIE in realizing potential communication benefits. Design/methodology/approach – A conceptual framework on the configuration of IOIE was developed by examining the relationships between companies in the poultry supply chain in China. A sample of 165 buying companies and a sample of 96 sellers were analyzed by partial least square modeling. Findings – Communication willingness plays a critical role in improving communication qual
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van Kooten, Kasper. "‘Ein dürftiger Stoff’: Hermann and the Failure of German Liberation Opera (1815–1848)." Nineteenth-Century Music Review 16, no. 02 (2018): 249–72. http://dx.doi.org/10.1017/s1479409817000817.

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This article traces the development of national opera on political-historical themes in Germany between 1815 and 1848 and attempts to explain why this genre ultimately did not succeed. The focus will lie on the warrior hero Arminius/Hermann, one of the most potent national symbols of the nineteenth century, who was indeed brought to the German opera stage, but could never conquer it. The period between 1815 and 1848 not only forms a crucial phase in the coming of age of German opera against the background of a burgeoning national conscience, but also presents a lacuna in the current literature
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NISA, QAMAR-UR, HABIB ULLAH, TANWEER AHMED SHAIKH, Miss Hemlata, Fatima Memon, and Zehra Memon. "HYSTERECTOMIES." Professional Medical Journal 18, no. 01 (2011): 46–50. http://dx.doi.org/10.29309/tpmj/2011.18.01.1857.

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Objective: To audit indications and histopathological diagnosis of hysterectomies performed at Muhammad Medical College hospital, Mirpurkhas. Study Design: Retrospective study. Place and Duration of Study: Department of Obstetrics and Gynaecology and Department of Pathology, Muhammad Medical College Hospital, Mirpurkhas Sindh from January to December 2008. Methodology: Data regarding symptoms and indications of hysterectomies performed during this year were collected from files and patient records. Histopathological reports of those patients were collected from department of pathology. The res
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Editorial team of Babylonia. "Editorial." Babylonia Journal of Language Education 2 (October 2, 2022): 6–7. http://dx.doi.org/10.55393/babylonia.v2i.259.

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At the end of July 2022, Swisscom announced an important change (on a trial basis) in its apprentice recruitment policy: instead of submitting a file containing their school report cards, potential apprentices will answer questions via video before being invited to a selection day. The idea: to avoid losing possible talent and being biased by files prepared with the help of family members. Grades, therefore, no longer count: too dependent on the linguistic region, the canton, or even the teacher, they "can be misleading "1.
 Is this a daring gamble, a distrust of the school system, or a w
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Shrestha, R., SK Shrestha, SR Kayastha, N. Parajuli, D. Dhoju, and D. Shrestha. "A Comparative Study on Epidemiology, Spectrum and Outcome Analysis of Physical Trauma cases Presenting to Emergency Department of Dhulikhel Hospital, Kathmandu University Hospital and its Outreach Centers in Rural Area." Kathmandu University Medical Journal 11, no. 3 (2015): 241–46. http://dx.doi.org/10.3126/kumj.v11i3.12513.

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Background Physical trauma is one of the major cause of mortality and morbidity among young and active age group and its increasing trend is of main concern. There are only few studies concerning the spectrum of physical trauma in Nepal. Objective This study aims to evaluate the epidemiological spectrum, the extent, severity of the physical trauma and the outcome evaluation of patients with physical trauma over a period of one year in the emergency department of the Kathmandu University Hospital and compare the same parameters with those patients presenting to the various outreach centers of t
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Alrhim, Raneem Abd, Shahenaz Najjar, and Sami Smerat. "Obstetric Safety and Quality at Istishari Arab Hospital: Where Are We Now and How Can We Improve." European Journal of Medical and Health Sciences 4, no. 1 (2022): 33–40. http://dx.doi.org/10.24018/ejmed.2022.4.1.1081.

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Background: Indicators for tracking progress in maternal and newborn health have been recommended by a number of global monitoring initiatives. Quality of care is increasingly recognized as an important aspect of maternal and newborn health, particularly in the labor and delivery and immediate postnatal period. Objectives: The purpose of this study is to estimate the frequency of obstetric complications. Furthermore, in 2018, Istishari Arab Hospital assessed the safety and quality of obstetrical procedures. Identifying risk factors that contributed to adverse events in the obstetric department
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Sheppard, Samantha N. "I Love Cinema: Black Film and Speculative Practice in the Era of Online Crowdfunding." Film Quarterly 71, no. 2 (2017): 25–31. http://dx.doi.org/10.1525/fq.2017.71.2.25.

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On November 8, 2013, filmmaker Leslie Harris announced a new feature-length project on Kickstarter, the popular online crowdfunding platform for creative projects. Lauded a decade earlier for her provocative coming-of-age film Just Another Girl on the I.R.T. (1992), which took the Special Jury Prize at Sundance in 1993, this “Sundance-Miramax era” independent filmmaker had resurfaced in the “Kickstarter-YouTube era.” At the end of the fundraising period, Harris's I Love Cinema campaign had raised only $4,074 from fifty-eight potential backers, falling quite short of her $35,000 target. The fai
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Rachakatla, Shiva Kumar, Kishan Porandla, Sai Krishna Puli, et al. "Pattern And Prevalence Of Psychiatry Morbidity Among Subjects Attended Psychiatric Outpatient Department In A Tertiary Care Hospital In Northern Telangana." Perspectives in Medical Research 10, no. 1 (2022): 50–53. http://dx.doi.org/10.47799/pimr.1001.09.

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Abstract Background: Mental health problem is a major public health issue all over the world including India. In India, mental disorders are the leading contributors to significant morbidity and disability amongst those affected. With changing health patterns among Indians, mental behavior and substance use disorders are coming to the forefront in health care delivery systems. Objective: This study was aimed to assess the diagnostic pattern of psychiatric morbidity among the patients attending psychiatric outpatient department in a private medical college. Methodology: This cross-sectional stu
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Miki, Watanabe. "“The Border of Japan” for Chinese Arrivals in Nagasaki, Satsuma, and Ryukyu." Itinerario 37, no. 3 (2013): 30–38. http://dx.doi.org/10.1017/s0165115313000788.

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When entering a foreign country, one usually fills out an immigration form asking for a set of personal details such as one's name, nationality, date of departure, destination, and the purpose of one's visit. In addition, one needs to answer several questions, for example, whether he has any banned substances or objects like drugs or weapons, whether he have a criminal record, and so on. Furthermore, one has to waive any rights to appeal an immigration officer's decision and finally declare and sign that all answers are true and correct.While many assume that this familiar system is specific t
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LODATKO, Yevgeny. "SOPHISTIC INTERPRETATIONS OF THINKING CAPABILITIES OF PRIMARY SCHOOL LEARNERS IN CONTEMPORARY SCHOLARLY DISCOURSE." Cherkasy University Bulletin: Pedagogical Sciences, no. 1 (2022): 11–21. http://dx.doi.org/10.31651/2524-2660-2022-1-11-21.

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Introduction. In any field of knowledge, thinking and its stylistic manifestations play an essential role. This enables the participants of an educational pro-cess to apperceive the psychological and pedagogical prerequisites, mental entities of a cognitive activity, and real opportunities of enhancing the subject knowledge and skills that serve as a basis for conscious acquiring concepts and methods of action.Mastering subject knowledge and mental skills re-quires an understanding of the subject matter, which is considered to be a complex and methodologically signifi-cant task not only in sec
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Jacek Krawczyk. "Losy życiowe młodych mężczyzn, którzy w nieletniości popełnili co najmniej jedno przestępstwo pod wpływem alkoholu." Archives of Criminology, no. XIX (August 8, 1993): 17–26. http://dx.doi.org/10.7420/ak1993b.

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A study of two 100-person groups of juvenile delinquents born in 1959 was conducted in the years 1981‒1985 at the Department of Criminology, Institute of Legal Studies, Polish Academy of Sciences. The first (experimental) group consisted of boys randomly selected from the total of 225 juveniles born in 1959 who had committed at least on offence while intoxicated. The other (control) group were 100 randomly juveniles selected from the entire population of 8196 juvenile delinquents born in 1959. None of the juveniles selected for the experimental group happened to find themselves in the control
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Kelly, Kate. "Lack of Training and a Self-Service Environment Leaves Staff and Users Uncertain About Health Information in a Public Library Setting." Evidence Based Library and Information Practice 7, no. 1 (2012): 122. http://dx.doi.org/10.18438/b8z89m.

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Abstract
 
 Objective – To explore the role and expectations of patrons and staff about the role of a public library in enabling citizens’ “health information work.” This involves helping citizens take responsibility for their own health care by finding and using health information.
 
 Design – Case study.
 
 Setting – A single, UK public library with a self-service delivery model based in a city centre in the spring of 2006. Self-service also applies to reference services and is designed to “empower users to locate and use information on their own.”
 
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ten Brink, Fia, Anita W. Rijneveld, Marie-José J. A. G. Claessen, et al. "Value-Based Health Care (VBHC) in Sickle Cell Disease: A Dutch Initiative." Blood 126, no. 23 (2015): 5572. http://dx.doi.org/10.1182/blood.v126.23.5572.5572.

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Abstract Background: Value-based health care (VBHC) according to Porter et al. is a novel approach that aims to improve health care by identifying and systematically measuring both medical and patient-centered health care outcome. Thus, including the well-being of the patient as related to physical and mental status, social functioning, and occupational consequences. By applying generic and disease specific outcome measures, health care providers are able to benchmark their center with others in order to compare care strategies and outcome, and to make informed choices with regard to optimizat
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Højlund, Flemming. "I Paradisets Have." Kuml 50, no. 50 (2001): 205–20. http://dx.doi.org/10.7146/kuml.v50i50.103162.

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In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahra
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Concha, Christopher Bryan. "Ang pagsapit ng kamuwangan sa pelikula: Isang panimulang pagsipat sa naratibo ng piling coming-of-age films ng Cinemalaya Philippine Independent Film Festival." Plaridel, 2022. http://dx.doi.org/10.52518/2022-14cncha.

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This preliminary study aims to make a modest contribution to the literature on coming-of-age cinema in the Philippines. Using coming-of-age cinema concepts from Alistair Fox (2017) woven into the Three Dimensions of Film Narrative of David Bordwell (2007), this paper is a preliminary narrative analysis of selected contemporary coming-of-age films from the Cinemalaya Philippine Independent Film Festival. This study aims to offer insights about the characteristics of a Filipino coming-of-age film.
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Sandra Meiri. "Cinememory: Sexualized Trauma and Coming of Age in Holocaust-Related Israeli Films." Journal of Literature and Art Studies 4, no. 4 (2014). http://dx.doi.org/10.17265/2159-5836/2014.04.005.

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Weidauer, Friedemann J. "'You are too square, I need to straighten you out': The Tamed Rebels of 1950s Coming-of-Age Films in Cross-Cultural Perspective." Cultural Studies Review 21, no. 1 (2015). http://dx.doi.org/10.5130/csr.v21i1.3689.

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Coming-of-Age films have in common that they must address the social contradictions an adolescent experiences as he or she joins the world of adults. At the same time they have to come to a resolution of these contradictions that is acceptable to the audiences as well as the direct or indirect mechanisms of censorship of the movie industry. In the aftermath of World War II, a number of social paradigms had been upset (as for example gender roles, intergenerational relations, representations of state and paternal authority).The 1950s were thus a time when the contradictions experienced by all g
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Lim, Edna. "Film and the "Other" Singaporean." Kinema: A Journal for Film and Audiovisual Media, November 20, 2007. http://dx.doi.org/10.15353/kinema.vi.1153.

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COMING UP FOR AIR: FILM AND THE "OTHER" SINGAPOREAN The history of Singapore's film industry is marked by two distinct periods. The first period, which lasted from the 1950s to the 1960s, is considered the golden age of Singapore films due to the prolific outpouring of primarily Malay films produced by the local Cathay and Shaw studios. The second period, which began in the 1990s, constitutes a revival of sorts for Singapore film, and is marked by the recent spate of local productions that began with Medium Rare in 1991 and continues to the present. What is interesting about this current "resu
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Loh, Shih Chiu, and Hai Leong Toh. "Hong Kong (short films)." Kinema: A Journal for Film and Audiovisual Media, January 11, 2000. http://dx.doi.org/10.15353/kinema.vi.920.

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COMING-OF-AGE OF HONG KONG'S INDEPENDENT SHORT FILMS An interesting phenomenon as a result of Hong Kong's handover to China in 1997 was a profusion of innovative short films by young directors who worked mostly in video. Their "shoot-on-the-run" films, made on shoestring budgets, documented the anxieties and opinions of the ordinary Hong Konger about the colony's return to the mainland. Ten of these shorts, ranging from 5 to 30 minutes, were shown at the 22nd Hong Kong International Film Festival (HKIFF) in 1998 under the title 'Digital Biography of Hong Kong, Progams I & II'. The 'digital
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