Academic literature on the topic 'French Film posters'

The Russian State Library holds one of the largest collections of Russian posters. Film posters from the time before the cinematography nationalization in 1919 are presented there in more than 250 sheets. Most of them advertise Russian films, more than a third — foreign ones, 25 sheets — documentary cinematography and newsreels of the Russian branch of the French firm “Pathé Brothers”.Recently, there has been a growing researchers’ interest in this period. Active popularization is being carried out by holding exhibitions and publishing catalogs of the largest collections, this phenomenon is discussed in detail at the beginning of the article.As well as cinematography, a film poster is a synthetic work. It represents a piece of graphic art, which is a commercial advertisement for another type of art. This research is aimed at studying film posters as a historical source that can tell us a lot: about characteristic social trends, about filmmaking as a process and about films themselves, about tendencies in the visual arts, about advertising of that period in general and about itself as a new type of advertising in particular.The article shows the history of the film poster formation as a product of commercial advertising and its subsequent development into a separate type of spectacular poster. There is analyzed its potential as a source on the history of cinema. In conclusion, the film posters are presented as a reflection of the era and society, which reacts to fundamental changes in the country.

In this paper we elaborate on the educational use of film posters understood as film paratexts in Gérard Genette’s theory as well as in later media research. The subject of our research is cinéma de banlieue – a French film movement that situates the protagonists not only spatially, but also socially (such as La Haine, dir. M. Kassovitz, 1995, Entre les murs, dir. L. Cantet, 2008, Peur de rien, dir. D. Arbid, 2015, and Dheepan, dir. J. Audiard, 2015). By analyzing film paratexts, we include these materials in the context of cultural representations of the Parisian suburbs. Our research is established in educational and academic practice whose essential part is the in-depth work with the paratexts conducted by students and facilitated by the lecturer.

A literary text becomes complete only when all its linguistic components are seen together to form meaning. French literary theorist Gerard Genette introduced a term called ‘Paratext’ to identify the additional parts of a text like subtitle, prefaces, introductory notes that contribute meaning to the text. A parody is generally understood as a work or performance that imitates another work or performance with ridicule or irony. In the field of literature, a parody comes with the effective imitation of the content of the parodied work in a satirical and ironical way. Paratext also attributes a lot in detailing the imitation of a work which fulfills the nature of parody from cover to cover. The relationship between a paratext and a parody can be better understood from a semiotic perspective. When paratexts are considered as linguistic, cultural, and contextual signs, they make the reader acquainted to the text. Hence, this research paper analyses the semiotic significance of paratexts in selecting parodies with reference to cover design, cover illustrations, subtitles, and film posters of select parodies.

The study concerns the organisation and content of both the visual and verbal elements within the polycode text of French-language memes that pertain to medical discourse. The meme’s connection to medical discourse is established through its subject matter, the incorporation of medical symbols in its visual elements, and the inclusion of medical terminology in its written content. It also involves depicting communication scenarios between doctors, between doctors and patients, and between nursing staff and patients at both the image and text levels. The study’s novelty lies in its dual approach: firstly, it examines French memes as subjects for linguistic analysis, and secondly, it explores them as a genre of polycode text within medical discourse. The research material comprises 100 French memes centred on medical themes, obtained through continuous sampling from the internet. Study results revealed that memes pertaining to medical discourse are dynamic, viral, and eclectic texts that encapsulate the distinctive elements of institutional medical discourse. Thematically, the meme encompasses various medical topics and addresses social issues prevalent in France. Deciphering the author’s intention behind the meme relies on a layer-by-layer examination of how the idea is expressed through the polycode text, as well as an understanding of the sociocultural context that informs the text, which requires presuppositional knowledge on the part of the recipient. Linguo-cultural characteristics observed in the verbal component, as identified through the analysis, include the use of language play at phonetic and lexical levels, inclusion of colloquial and slang vocabulary alongside emotionally charged expressions within doctor-patient communication contexts, and the utilisation of phonetic spelling. The visual component of the polycode text in French medical memes is distinguished by the incorporation of elements from civilisational phenomena, such as political figures from the country, film protagonists, and globally recognised actors. The analysis revealed that the meme serves various functions including comedic, informative, compensatory, and appellative roles. The article constitutes a segment of a broader study examining polycode texts within medical discourse across multiple genres including memes, medical posters, and demotivators in languages such as Russian, French, English, Chinese, and Arabic.

Footwear plays a significant role in the fairy tale Cinderella and in different versions of the tale the eponymous character’s slipper has taken many different forms. Meanwhile, pantomime producers have for centuries been turning to the Cinderella tale for their stage adaptations, during which time the pantomimic slipper has regularly been described as a glass slipper, drawing on Charles Perrault’s 1697 French version of the tale. The glass slipper has also become the most popular form in literature, film and other media, particularly under the influence of Disney. This said, the description does not accurately reflect the physical form of Cinderella’s footwear in modern pantomime performances, which tends to be silver, sparkling, high-heeled shoes. Yet despite this general uniformity in the colour, style, size and material of Cinderella’s slipper presented in pantomimes, each theatre and production company shade their depiction with different nuances. This distinction is achieved through the handling of the slipper in the performance proper, through scripting and mise-en-scène, and through the framing of the slipper in paratextual material, such as programmes, flyers, posters, promotional videos, publicity shots, reviews and exhibitions. Research into this material through document analysis and live spectatorship suggests that the depiction of the slipper is intertwined with identity, specifically the socio-economic identity of each theatre and production. Based on a sample of six Cinderella pantomime productions from the 2017–18 season, it appears that Cinderella’s slipper works to prime and satisfy audiences attending different types of pantomimes. In this way, footwear bolsters each theatre’s self-identification and distinction from others whether they be small or large, recently founded or long-established, locally oriented or inflected by mass-media popular culture, in-house or commercially produced. Financial limitations or extravagance are encoded in the shoes, even when they appear almost identical upon cursory glance.

The aim of the study is to analyze the structural, functional and semiotic components of the film poster, which influence the potential viewer and contribute to the successful adoption of the film in the French-speaking socio-cultural space. The article analyzes the film poster as a functional and pragmatic element of the film text directly affecting the recipient (a representative of the film target audience) and their choice of a specific film production for viewing. The semiotic and structural components of the poster, as well as its main tasks, functions and characteristics are highlighted and considered. The scientific novelty of the study lies in the fact that for the first time, the key characteristics of the film poster and its pragmatic potential have been identified and analyzed using the material of the French cinema discourse. As a result of the study, it was found that the interaction between the graphic and iconic components of the semiotic space of the film poster has a complex effect on a potential viewer (a representative of the film target audience) and helps to attract as many viewers as possible to watching the film. At the same time, the film poster is an independent functional and pragmatic element of the film text functioning at the preview stage and participating in the advertising of the film, as well as having its own characteristics, performing certain functions and implementing certain tasks.

The objective of this work is to determine how censorship can influence the design of film posters. To do this, a comparative analysis has been made between Spain and France in the period from 1939 to 1975, a time in which the Franco dictatorship and the censorship that this entailed developed, and at the same time the French had a democracy with freedom of expression. The posters analyzed are those of the films that won Oscars in those years. The methodology is based on quantitative analysis using a sheet that observes the use of color, typography, composition, technique and illustration in addition to the social values ​​present. It is evident that censorship acted by limiting freedom of expression, but in the case at hand and from the results obtained, it can be concluded that at the cinematographic level the Spanish poster is not so far from that produced in France, a regime whose freedom was more present due to democracy.

ABSTRACTJosep Renau, studied at the Academy of Fine Arts of San Carlos of Valencia, from his youth actively involved in various social movements, he was a founder of the Union of Writers and Workers Artists of Spain relating to the Association of Revolutionary Writers and Artists of France, for their militancy was in jail in 1932 and 1934 in 1937, during the Civil War, he was director General of Fine Arts, promoted fascism and he was commissioned to organize the Guernica painting from Pablo Picasso, Renau also saved personally the Artistic Treasure from The Prado Museum. Renau's political life was marked by his work as a graphic designer in which he experimented with stylistic influences like photomontage of the Russian Constructivists and the European revolutionary currents. He developed his thinking about responsibility, the designer commitment and the social impact of his work. In 1938, Renau along with thousands of Spaniards began the exodus to the French border to Barcelona taken by fascist troops. Josep was interned in the camp Argeles-sur-Mer until getting a visa to Mexico in May 1939. In Mexico he joined the cultural life in various lines of artistic expression, founding with his brother Juanino Renau an office of graphic design where they were devoted to commercial graphic design. In Mexico he was one of the first creators of advertising adapted to film, in this field he designed posters with a streamline style, dynamic, strong, clear and defined. He printed trichromatic traits with figurative illustrations in metonymic lines, resorting to submit a part as the whole, representing synthetically the content of the film. One of his most important legacies are the covers of Lux, The Journal of Workers whose design transcends time and any of its images, critics say, could be a contemporary design.RESUMENJosep Renau, estudió en la Academia de las Bellas Artes de San Carlos de Valencia, desde muy joven participó activamente en diversos movimientos sociales, fue fundador de la Unión de Escritores y Artistas Proletarios de España relacionada con la Asociación de Escritores y Artistas Revolucionarios de Francia, por su militancia estuvo en la cárcel en 1932 y 1934. En 1937, durante la Guerra Civil, siendo Director General de Bellas Artes, promovió el antifascismo y encargó a Pablo Picasso la realización del cuadro Guernica, también salvó personalmente el Tesoro Artístico del Museo del Prado. La vida política de Renau estuvo marcada por su trabajo como diseñador gráfico en el que experimentó el fotomontaje con influencias estilísticas de los constructivistas rusos y de las corrientes revolucionarias europeas. A la par desarrolla su pensamiento acerca de la responsabilidad y el compromiso del diseñador por el impacto social de su trabajo. En 1938, Renau junto con miles de españoles emprendió el éxodo hacia la frontera francesa al ser tomada Barcelona por las tropas fascistas. Josep es internado en el campo de refugiados Argelés-sur-Mer consiguiendo un visado para México en mayo de 1939.

Reviews are an integral aspect of creating economic capital through avenues of establishing and increasing the other forms of capital outlined by Pierre Bourdieu across his extensive body of work. The economic importance of reviews can be identified on the majority of film trailers, posters and DVD covers, where quotations attempt to convince potential audiences of the film’s credentials. Although economic capital is the obvious aim for both the film publicists and the reviewers, this article outlines the creation of symbolic capital through the assertion of cultural and social capital. Examples from recent film reviews demonstrate how lexical choices establish educational and linguistic capital, whilst the creation of cultural capital is illustrated in disparaging attitudes towards Titanic (US, 1997, Cameron). The language and treatment of a text combine to produce a hegemonic relationship between reviewer and consumer. The term ‘reviewer’ is being used here in accordance with the ‘macro-institution’ of film criticism which David Bordwell labels as journalism (19-20). Although Bordwell categorises the British magazine Sight and Sound into the separate macro-institution of essayist criticism, it is primarily the journalistic reviews that feature towards the rear of the magazine with which this article is concerned. The performance, or demonstration, of linguistic competence might disguise the magazine’s fundamentally journalistic intent. Through the utilisation of a prestigious register, and rhetorical devices, Sight and Sound strives to create symbolic capital in the same way as lower brow publications. Andrew Caine comments that: the operation of cultural tastes is inseparable from the material conditions of the critical commentator. To understand the particular angle adopted by a specific critic, it becomes necessary not only to understand the socio-cultural context in which that reviewer worked, but also this task demands information about the preferences of particular publications and their readership. (Caine 16) Published by the British Film Institute, Sight and Sound is constructed as a highbrow magazine, with connotations of sophistication and, vitally, a greater appreciation for film. Consuming, or advertising the consumption of the magazine articulates a mastery over film that others supposedly do not possess. This is a clear manifestation of Bourdieu’s core thesis, which he empirically demonstrates in Distinction. Before discussing Bourdieu’s thesis about the classification of taste in relation to Titanic, the linguistic creation of symbolic capital needs to be addressed. Another British film magazine, Empire (marketed as the “The UK’s No.1 Movie Magazine”), is aimed at a different audience. Although the design of Sight and Sound may appear more formal than the glossy, sexualised imagery within Empire, there are many stylistic similarities. Both publications use French phrases (succès de scandale in S&S, and tête-a-têtes within Empire) within their reviews of The Last Mitterrand (Fr, 2005, R. Guédiguian). (Empire spells ‘Mitterrand’ with one ‘r’ – S&S uses two.) Both magazines are creating symbolic capital based upon the cultural capital of the phrase, capitalising upon the linguistic and symbolic capital of multilingualism (Talbot et al. 257). In Language and Symbolic Power, Bourdieu explains how linguistic exchanges establish “a particular relation of power between a producer, endowed with a certain linguistic capital, and a consumer (a market), and which is capable of procuring a certain material or symbolic profit” (66). A symbolic relationship is established between producer and receiver, hegemonic in that the latter is encouraged to remain in this healthy relationship of intellectual superiority through continued purchase or, minimally, consumption of the magazine. Attitudes towards linguistic competence are closely related to other areas of cultural appropriation and appreciation (67), areas which are more overtly expressed within film reviews. In Distinction, Bourdieu asserts that the “consumption or non-consumption of popular cultural artefacts is a means by which individuals in a society define for themselves and others their social position, their status” (Lubin 7). This thesis can be applied to our current discussion in numerous capacities. The film reviewer articulates the status of the consumer: the films chosen for inclusion, the appreciation or denunciation of its aesthetics contribute to the creation of symbolic capital. The inclusion of a technical register, consisting of expressions such as mise-en-scene and genre, assert distinctions through their connections to educational capital owing to their appearance in media and film studies (primarily sub-undergraduate) syllabuses. Establishing knowledge as part of the educational system, as Bourdieu explains, legitimises it and greatly increases its symbolic capital. This register expresses cultural capital in price formation in the same way as the earlier example concerning French phrases. The symbolic relationship is reinforced through the exhibition of other forms of cultural capital. Reviewers in the two magazines being discussed here regularly refer back to previous films and directors, demonstrating a proficiency of knowledge of the subject about which they are commenting. The consumer is subjected to either a subordinate position in which their cultural capital is inferior, or where they are interpolated into the symbolic relationship; a hegemonic relationship in which the process of consuming is gratifying. In the Sight and Sound review of The Last Mitterrand, mentioned above, Ginette Vincendeau (a Warwick academic) integrates the director and an earlier work into his opening paragraph. This correlates to Bourdieu’s empirical research in Distinctions, in which he observed that knowledge about film directors is consecrated into legitimate culture (27), and its relation to educational capital. References to actors are restricted to within parenthesis following the character’s names, reflecting the lower cultural capital of actors. The next section comments upon how the representation of actors in other media has a detrimental effect upon the symbolic capital of the film text, and a positive effect upon the symbolic capital of the reviewer and their publication. The Sinking of Titanic A hegemonic relationship through the establishment of symbolic capital within film reviews is not new. Andrew Caine, whilst discussing the attitudes of critics against the British pop film of the 1950s and 60s, expands upon the core debates expressed within this brief article. Crucially, he remarks that: Through their writings, film and music critics/journalists not only reflected their own position and status in society, but also the place of their publications within the cultural sphere… [the] writer’s tastes coincided with their reader’s values, or at least had to adapt to achieve some form of mutual co-existence. (Caine 16) This co-existence was demonstrated in the coverage of James Cameron’s Titanic, which began its commercial life packaged as a reverential historical epic: a genre with a respected genesis closely associated with a biblical narrative. However, the film lost much of this reverence as it became phenomenally popular and its two main stars became associated with teenage magazines and the tabloid press after an emphasis was placed upon the romance plot rather than historical issues. (Leonardo DiCaprio and Kate Winslet received saturated, inevitably sexualised, attention in the tabloid media.) Interestingly, Empire, which classifies film releases using a reductive five-star rating system, reduced Titanic’s rating from the maximum five stars and an enthusiastic review (February 1998, 30) to four stars (November 1998, 132), with a less positive review in the later edition, adjusted to accommodate its readers’ tastes. The first review was written (and, to a large extent, published) before the film and its stars had become indelibly associated with popular culture. The phenomenon of Titanic contributes a useful demonstration of Bourdieu’s theory of distinction and the arbitrariness of cultural values. The cultural capital of the text was appropriated differently in response to the dynamics of its audiences. The reported activities of the film’s fans (such as multiple viewings) is far removed from the symbolic capital of multilingualism and educational capital. David M. Lubin reports in his BFI monograph about the film that few of the people he knows “had seen it – or at least were willing to admit they had” (1999: 7). Addressing Bourdieu’s theory of distinction, Lubin summarises that “refusing to see Titanic, or, if seeing it, refusing to be taken in by it… became a way of asserting one’s independence from all the journalistic gush” (7-8). In US reviewer Kenneth Turan’s unforgiving criticisms, Lubin identifies a similar trend concerning forces of material production to what Caine discusses about pop and rock movies. Where attitudes against the pop film are a partial reaction to “juvenile delinquency, the Teddy Boys and perceived immorality” (43), Lubin identifies that “the enemy here [concerning the onslaught against Titanic] appears to be contemporary popular taste, mass culture, the McDonaldization of sensibility… [and] market-driven film making” (9). All items on that list have elitist oppositions, which the reviewer is constructing for the consumer. Reviewers and magazines operate within the same forces of material production as the mass culture products being ostracised. Ironically, dismissing Titanic’s screenplay as clichéd has become a cliché. Criticisms of anachronisms and other factual inaccuracies (such as Murdoch’s suicide) have become as repetitive and obvious as the tabloid coverage about its two main stars. They do, however, have the symbolic capital, the gratification, of being able to correct an Oscar-winning Hollywood director, in the same way that a horror audience assumes superiority through guessing when a ‘jump moment‘ will occur. This provides film fans (or students) with the sense that they have equal or superior competence in the field to a professional director. Conclusion This article provides an overview of how the construction of symbolic capital establishes and condones the hegemonic relationship between reviewer and consumer. Crucially, the consumer experiences substantial gratification when awarded the symbolic capital by the reviewer. Symbolic capital is created and retained by the reviewer, who awards consumers with superiority over other consumers of the form – and, vitally, over non-consumers of that magazine. The article is not suggesting that these reductive binary oppositions manifest themselves in society: rather, the institutional conditions of publications mean that symbolic violence is exercised to generate economic capital. Lexical choices (mise-en-scene, etc.) establish group membership, sociability and a sense of prestige. Legitimate culture is constructed through the connections of discourse to educational capital. This status is further supported by other areas of high linguistic capital, such as multi-syllabic words, and phrases in foreign languages. In order to retain the symbolic capital upon which the products (magazines and the consumer’s face) rely, it is essential to attack the symbolic capital of others. This explains the phenomenon against Titanic, and, previously, against the body of work Caine discusses. Such criticism perpetuates the distinctions between high and low culture, and, thus, relevant positions and status in society. Ironically, although highbrow criticisms against mass culture are concerned with commercialism, it is the “material conditions of the critical commentator” (Caine 16) that proliferate such criticisms. References Bordwell, D. Making Meaning. Cambridge: Harvard UP, 1989. Bourdieu, P. Distinction: A Social Critique of the Judgement of Taste. Trans. R. Nice. London: Routledge, 1984. ———. Language and Symbolic Power. Cambridge: Polity, 1991. Caine, A. Interpreting Rock Movies: The Pop Film and its Critics in Britain. Manchester: Manchester UP. 2004. Crook, S. “Review: The Last Mitterand.” Empire Online. 29 Jul. 2005 http://www.empireonline.co.uk/site/incinemas/ReviewInFull.asp?FID=11262> Lubin, D. M. Titanic. London: British Film Institute, 1999. Talbot, M., K. Atkinson and D. Atkinson. Language and Power in the Modern World. Edinburgh: Edinburgh UP, 2003. Vincendeau, G. “The Last President: Lead Review: The Last Mitterrand.” Sight and Sound. 29 Jul. 2005 http://www.bfi.org.uk/sightandsound/review/2475>. Citation reference for this article MLA Style Stephenson, John-Paul. "Reviewing Symbolic Capital." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/06-stephenson.php>. APA Style Stephenson, J. (Oct. 2005) "Reviewing Symbolic Capital," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/06-stephenson.php>.

Abstract This chapter expounds on the dominance of the cinéma du look after the popularity of Jean-Jacques Beineix’s Diva. Serge Daney campaigned against this splashy advertising (poster) style since it veers away from the cinema of discovery and depth that he, like Bazin, espoused. As French cinema tried to regain its lost prestige, it foregrounded visual style and continues to do so in its excellent animation sector. The chapter also considers alternatives to this florid mannerist style in stripped down, abstemious even, masochistic films. Thérèse (1986) and later Tous les matins du monde (1991) each reached the hearts of over a million French citizens, then played well outside the nation, despite being toned down, meditative biopics.

Abstract Discovered by Spade, Joel Cairo’s three passports—Greek, French, and British—suggest the character’s connections to nineteenth-century fiction, when the burgeoning European metropolises of London and Paris had begun to render every identity suspect (see Balzac and Dickens). Cairo, of course, is a crook, and his proliferating passports merely fill in that portrait. Determining his origins, imagine the hermetically sealed space of The Maltese Falcon as one large theatrical set, the Swing Your Lady poster seems like a door in the stage’s rear wall, suddenly flung open to reveal the actual world. The very lack of attention accorded the poster achieves another effect. As Barthes points out, when real historical characters (or objects) get introduced into a fiction obliquely, in passing, “their modesty, like a lock between two levels of water, equalizes novel and history.” After The Maltese Falcon’s success, Warners would exploit such “locks,” casting Bogart in a series of World War II adventures (Across the Pacific, Casablanca, Action in the North Atlantic, Sahara, Passage to Marseilles, To Have and Have Not), the first of which, 1942’s Across the Pacific, concerns the Panama Canal.

O presente artigo discute as políticas educacionais que envolvem o binômio educação e inclusão escolar, por meio de reflexões acerca de diretrizes e ações para inclusão de alunos com necessidades especiais. Considera importante desenvolver as análises iniciais sobre a política de educação especial no país e compreender minimamente sua complexidade e a emergência da educação inclusiva como um direito humano, relacionando com a formação docente necessária. Problematiza alguns aspectos históricos e conceituais sobre educação inclusiva e sua relação com a educação especial através das transformações fundamentais para a prática da Educação Inclusiva; existência da relação entre Educação Inclusiva e formação docente; função da escola perante a Educação Inclusiva e o papel do professor frente ao desafio de incluir, para que se possa melhor compreender o contexto no qual estão inseridas. Os caminhos investigativos adotados neste estudo têm seus fundamentos consolidados na natureza qualitativa. o trabalho compreendeu estudos documentais e bibliográficos, numa proposta exploratória através de leituras fundamentadas em diferentes livros, artigos e documentos oficiais que abordam sobre a inclusão escolar. Para a construção metodológica utiliza, fontes primárias e fontes secundárias, sendo realizados em três etapas: levantamento documental e bibliográfico; sistematização, tratamento e análise dos dados e apresentação dos dados. Quanto à documentação, foram selecionados documentos político-normativos que tratam da Educação Especial e Inclusiva no cenário brasileiro. O estudo destaca como resultado que a Educação Inclusiva demanda adaptações no ambiente educacional, desde uma postura acolhedora da escola em relação aos alunos com necessidades especiais até aperfeiçoamentos metodológicos na prática pedagógica. Por fim, entende o direito humano à educação inclusiva como manifestação de uma luta permanente para que alunos com necessidades especiais possam interagir e participar das atividades desenvolvidas em sala de aula e demais espaços escolares, assim como aprender, a partir de suas potencialidades e limitações, os conhecimentos historicamente produzidos.

Introdução: A pandemia vivenciada da COVID -19, tem um grande destaque no papel histórico. Pois despertou uma situação de crise e emergência, com inúmeros reflexos sociais, econômicos e na saúde física e mental das populações, especialmente as mais vulneráveis. O curso e a gravidade da pandemia fizeram com que muitos governos tomassem como postura intervenções de grande intensidade, como estratégias para isolamento social, como o lockdown, a fim de conter a infecção de novos indivíduos e reduzir a sobrecarga social da doença e seu índice de letalidade. A crise sanitária atinge o Brasil em um cenário de crise política, desemprego, empobrecimento e outros fatores de risco que estão relacionados a maior transmissibilidade das doenças. Objetivo: estudar e demonstrar como as desigualdades sociais vividas no Brasil frente ao isolamento social produziram graves consequências a população mais vulnerável. Material e métodos: Revisão bibliográfica, de obras literárias, que foi realizada entre os meses de janeiro e fevereiro do presente ano de 2021, com artigos que trouxessem uma abordagem ao tema gerador desse mesmo estudo, “O isolamento social como medida sanitária a pandemia da covid 19 e suas consequências diante das desigualdades sociais vivenciadas no Brasil”. Os artigos foram buscados nas bases de dados, Biblioteca Virtual em Saúde (BVS), Literatura Internacional em Ciências da Saúde (Pubmed, Medline), Scientific Eletronic Library (SCIELO) e Google Acadêmico a partir dos termos utilizados relacionados ao assunto principal e ao foco requerido no estudo: “COVID-19”, pandemia, saúde pública, direitos humanos. Resultados: Após a realização das buscas, com auxílio das funções do Excel, foram escolhidos 25 artigos que abordassem o tema da pesquisa, bem como pudessem atender à busca de atendimento ao objetivo geral e objetivos específicos do estudo, obedecendo a busca de respostas para as problemáticas divulgadas. Conclusão: A desigualdade social encontrada no Brasil tornou-se um terreno fértil para a disseminação da COVID-19, dificultando o isolamento social como medida inicial sanitária ao enfrentamento da pandemia. É fundamental retomar a compreensão sobre as determinações sociais do processo saúde-doença para o entendimento de como as questões sociais influem no processo de adoecimento das populações e nas ações do estado governamental necessárias neste momento.

Title: Internet resources for special educational needs and inclusion Vrasmas, Traian, Ovidius University Constanta, Faculty of Psychology and Educational Sciences, Bd. Mamaia Street No.124 Email: traianvrasmas@yahoo.com Vrasmas, Ecaterina, Bucharest University, Faculty of Psychology and Educational Sciences, Sos. Panduri nr.90, Email: ecaterinavr@yahoo.com ABSTRACT Introduction The importance of educational and social inclusion for all children and adolescents is clear in the modern world and particularly in Europe, with an emphasis on marginalized and vulnerable groups. Children with special educational needs (SEN) are one important group in this social and educational area. Main objectives: 1. Explore the internet resources in connection with the SEN and inclusion (criteria based), in order to identify the amplitude and the main meanings of the two concepts 2. Built lists of publications available on internet from major resources and making short reviews for some of these Methodology and process Based on the two key words (special educational needs and inclusion) hundreds of websites and blogs were explored, during the first phase. In the second phase some of them were selected – on a short list - according to the consistence to the key words: special educational needs and inclusion. This short list – including resources in English, French and Romanian language - was explored more in depths, following the indicators of: a) Terminology and meanings – for the two main terms b) Coverage (components) for special educational needs c) Linkage between the two terms In the third phase internet resources from UNESCO and European Agency for Development in Special Needs Education (EADSNE) was reviewed, in order to build - for each one - a short list of publica-tions and studies. Findings The main results are presented in synthesis. Objective 1 There is huge amount of web sites and blogs connected with SEN and inclusion. Of course this is more obvious from the internet sources in English. Due to the dynamics and complexity of internet communi-cation (direct and linked sources) is very difficult to make a quantitative estimation, but there are certainly thousands of links in the international arena. From a qualitative approach some major findings were: a) In the English sources from Europe SEN and SNE (Special Needs Education) are by far the most frequently used words. In the USA and Canada SEN is used interchangeably with ‘special needs’ and/or ‘spe-cial education’. In Europe SEN and SNE have a wide usage, particularly in the UK, Spain, Portugal but also at the level of the EADSNE (2 countries from EU as members). In the French sources there is less usage of SEN and SNE terms, but the term “besoignes educatif particuliere’ (particular educational needs) has emerged recently (EADSNE, 2009). In the Romanian sources there is a mixture of using SEN (a little bit of SNE) and also traditional terms as handicap, impairment, learning and language disorders etc. b) There is some variety in Europe, when scrutinizing the coverage (components) for SEN, but the tendency is to take the OECD definition from 2000 (IE: Hungary). Some countries have made recent changes in legislation in connection with SEN meaning and coverage (Scotland and Spain). There are similarities between the content of SEN in Europe and that of ‘special needs; or special education beneficiaries’ in USA. An interesting term in USA is “exceptional children’ (The Council of Exceptional Children), which refers both to children with disabilities and to gifted children. In Romania a pilot project was undertaken by RENINCO in 2007 – in cooperation with the Education Ministry - using the OECD definition of SEN. This definition is also present in a draft strategy for special needs education in the context of inclusion, posted on the Ministry website since April 2010. c) In all languages and geographical entities explored there is a clear and strong connection between SEN (or SNE) and inclusion. UNESCO and the European Agency for Development in Special Needs Education are two important leading organisations in this field, also emphasising a strong connection between SEN and inclusion. Objective 2 After reviewing various resources two of them where selected for a thorough inventory of relevant publications and other resources. UNESCO (www.unesco.org.) is offering, in particular, a lot of information on inclusive education, like for instance the following publications and eReports: - Open file on inclusive education, 2001 - Case studies on inclusive education, 2001 (comprising Romania too) - Guidelines for inclusion. Ensuring education for all, 2005 - Positive discipline in the inclusive, learning-friendly classroom: a guide for teachers and teacher educators, 2006 - Policy guidelines on inclusion in education, 2009 EADSNE (www.european-agency.org) offers resources both on SEN and inclusion, like for exam-ple: - Development of a set of indicators – for inclusive education in Europe, 2009 - Inclusive Education and Classroom Practices, 2003 - Multicultural diversity and special needs education. Summary Report, 2009 - Special Needs Country Data, 2008 - Thematic Key words for Inclusive and Special Needs Education, 2009 The paper presents a short summary for each of these publications. Conclusions The internet resources for SEN and inclusion are very rich and diverse. The idea of Inclusive Education for pupils with Special Educational Needs is widely spread and emphasised on the internet. In spite of the diversity, there are some important common features and clear tendencies in terminology and in the definition of the two terms. The UNESCO work posted on internet – particularly on inclusion – and EADSNE – both on SEN (SNE) and inclusion – are very important and could be wider accessed and better valued in this context.