Brave New Welcome

Brave New Welcome is the title of a short film, and a project, which was driven by a diverse group of young people who engaged with arts practices such as playback theatre, visual and media arts, and who worked with a range of professionals to develop their own response to the issue of how young people from refugee backgrounds are welcomed in Brisbane. Film Description on Vimeo: In January 2014, at a time when Australia is full of messages of ‘unwelcome’, a group of 20 young people from diverse backgrounds came together in Brisbane. We asked, ‘What does it take to make friends with people who are really different from ourselves?’ We told stories using music, playback theatre and community café dialogue. Our experience was so awesome we decided to give others a taste. So, three months later, we brought over 80 young people together in a forum to meet each other and tell stories in creative and interesting ways. We shared our ideas, asked big questions, and challenged others in our community. What can you do to create a Brave New Welcome?

La financiación por medio del crowdfunding del audiovisual: el caso del cortometraje "Juan y la nube"

En el artículo se analizan las posibilidades que tiene el crowfunding (CF) para financiar el audiovisual. Se explica el modelo de financiación del CF y se indican las distintas ventajas que reporta para el promotor este modelo de financiación alternativa. Además se exponen ampliamente las principales características del proceso de CF seguido para financiar el cortometraje Juan y la nube (que se alzó con el Goya al Mejor corto de animación en el año 2015). Se comentan también los principales motivos que llevan a los mecenas a financiar los proyectos

Unheard Voices: Stories from the Troubles

Produced in association with WAVE Trauma Centre, this short film records the experiences of six victims and survivors of the Northern Irish Troubles. Filmed and edited collaboratively, UV addresses issues of trauma, loss, justice and recovery. The story-tellers range from a police widow, to the brother of a sectarian victim, to a youth worker who lost is legs in an explosion. This film has been screened, with public discussions, between 2010 and 2012 by the Good Relations Departments of the following Borough and City Councils - Belfast, Derry/Londonderry, Lisburn, Ballymena, Coleraine, Moyle and Newtownabbey. It has also been screened at the Hallwells Contemporary Arts Centre, Buffalo, and at St Bonaventure University, NY (2012)

http://www.wavetraumacentre.org.uk/about-us/wave-projects/unheard-voices

Further Information:

This 30 minute documentary film was produced in collaboration with WAVE Trauma Centre, Belfast. Working closely with six survivors of the Troubles violence in Northern Ireland through all stages of production and exhibition, the film contributes to on-going discussions about dealing with the conflicted past in a contested present. The role of storytelling, identified by two government reports – the Bloomfield Report and the Eames-Bradley Report - as an important method of addressing the violent past, is one of the key research questions involved in the research. Public screenings and discussions have been organised by the Good Relations Departments of seven borough councils (Belfast, Lisburn, Derry, Ballymena, Newtownabbey, Coleraine and Moyle). The film has also been screened in New York State and London. One of the recurring themes brought up in these public discussions in the role and limits of storytelling alongside the legal issues of justice, prosecutions and reparations. An accompanying co-written article with PhD student, Jolene Mairs, 'Unheard Voices' in Mc Keogh, C. and O'Connel, D. (eds) (2012) Documentary in a Changing State,Cork University Press, is part of the portfolio presented for REF.

House Diaries

Short film/video art (mini DV 2’.10’’) featuring urban landscapes and domestic housing previously displayed as part of the 2nd Athens Video Art Festival 2006.7, 8, 9 April 2006 Aggelon Vima.

Caractérisation du substrat neurologique impliqué dans le traitement de stimuli visuels dynamiques émotionnels : étude d'imagerie par résonance magnétique fonctionnelle

Malgré l’engouement pour les neurosciences cognitives des émotions et les nombreuses publications des dernières décennies tentant d’élucider les bases neurobiologiques des émotions, nos connaissances sur le domaine restent embryonnaires. Plusieurs questions importantes restent toujours sans réponses incluant s’il existe ou non un système unique pour le traitement de stimuli émotionnels et s’il y a ou non des différences entre les hommes et les femmes pour le traitement de stimuli émotionnels. L’objectif de cette thèse est d’apporter certains éléments de réponses à ces questions à travers une caractérisation du substrat neurobiologique impliqué dans le traitement de stimuli émotionnels visuels et dynamiques. Ce travail a été mené via l’imagerie par résonance magnétique fonctionnelle (IRMf) cérébrale. Le premier chapitre, subdivisé en quatre sections, permet de présenter la perspective dans laquelle s’inscrit la thèse. La première section de ce chapitre sert à établir certaines balises définitionnelles liées aux émotions. La seconde section, basée sur une lecture des textes originaux, retrace les faits historiques saillants de la neurobiologie des émotions allant de Charles Darwin à Joseph Ledoux. La troisième section débute où la seconde s’arrête et continue l’histoire de la neurobiologie des émotions à travers un résumé de toutes les principales méta-analyses d’imagerie fonctionnelle cérébrale des émotions. La dernière section du chapitre permet de présenter la problématique de recherche. La recherche, à proprement parler, qui constitue le corps de la thèse est ensuite présentée sous forme de trois articles. Enfin, les résultats de cette recherche et la manière dont ils s’inscrivent dans la continuité de nos connaissances actuelles font l’objet d’une discussion générale. Le premier article (chapitre II) rapporte, chez les hommes et les femmes, les régions du cerveau qui sont plus activées lors du traitement de films érotiques que lors du traitement de films dits ‘neutres’. Un chevauchement manifeste est observé entre les hommes et les femmes. Par contre, une activation significativement plus grande est observée chez les hommes pour l’hypothalamus, une région importante pour le comportement sexuel à travers la phylogénie. De plus, chez les hommes seulement, l’activation hypothalamique est corrélée à l’excitation sexuelle subjective. Comme la recherche présentée dans le premier article se sert de conditions expérimentales relativement longues pour l’IRMf (i.e. extraits de films de 3 minutes) et que ceci peut induire une nette diminution de signal en lien avec certaines contraintes de l’IRMf, le second article (chapitre III) examine les corrélats du traitement de stimuli sexuels en utilisant, cette fois, un paradigme d’IRMf classique où plusieurs extraits de films de 33 secondes sont présentés à la place. Cette étude démontre que, pour le traitement de stimuli sexuels, ce paradigme classique d’IRMf est beaucoup plus sensible que celui du premier article. De plus, comme ce paradigme mène à une reproduction des résultats du premier papier, ce travail soutient la perspective selon laquelle les paradigmes à époques courtes sont une alternative valide aux longues époques comme méthode d’étude du traitement de stimuli émotionnels. Le troisième article (chapitre IV) capitalise sur le protocole du second article et démontre que les patrons d’activation associés au visionnement de courts extraits de films induisant du dégoût, de l’amusement, ou de l’excitation sexuelle, sont très étendus. Une analyse de conjonction formelle démontre un large chevauchent de ces patrons à travers les différents affects étudiés. Enfin, le cinquième chapitre sert de discussion générale. Les questions des différences entre les hommes et les femmes dans le traitement des émotions, de l’existence ou non d’un système général pour le traitement des émotions, ainsi que de la manière dont un tel système pourrait être conçu, sont des points saillants de la discussion. Ces points sont abordés à la lumières des connaissances actuelles et des résultats des trois articles.

The International Student Experience at the University of Southampton

This video highlights aspects of the lives of international students at UG, PGT and PGR levels from all 3 faculties. It shows them responding to a range of authentic scenarios about the experiences and challenges of being an international student at the University of Southampton in the early 21st century from their perspective. The overall objective of this short film therefore is to capture experiences and viewpoints of international students currently at the University. By viewing this video, it is hoped that staff will be able to gain a better understanding and appreciation of what their international students are feeling and facing at various points along their student life cycle.

El rollo de Anakleta, cortometraje animado el arte como medio para la resignificación de las mujeres adolescentes en condición de vulnerabilidad y riesgo

EL ROLLO DE ANAKLETA, CORTOMETRAJE ANIMADO es un proyecto que fija su atención en el arte como espacio de expresión para activar esferas de inclusión y caminos para la transformación social. Se trata de la creación y aplicación de un modelo de Gestión Cultural para atención integral a jóvenes en situación de vulnerabilidad y riesgo.

As mulheres choradeiras: literatura e cinema

Este trabalho tem como objetivo a compreensão e estudo de cultura da Amazônia, visando a produzir conhecimento qualificado sobre Literatura e Cinema na Amazônia e suas relações com estratégias artísticas para interpretá-las. Para atingir este objetivo, utilizo o conto „As Mulheres Choradeiras‟, de Fábio Castro, e o curta homônimo, de Jorane Castro, permitindo assim um estudo focado em material de análise específico voltado para os costumes, as crenças, o mito, a hibridização e as traduções interculturais que se desenham nessa obra. O objetivo dessa pesquisa é estudar o conto e o curtametragem, enfatizando assim a diferença de linguagens por ele apresentadas e mostrar a leitura universal que se pode fazer a partir de cada uma dessas expressões artísticas. Essa pesquisa pretende apresentar leituras universais de um conto paraense com temática voltada para a realidade amazônica e ressaltar o estudo dos mitos e da oralidade que envolve a criação do conto de Fábio Castro e sua propagação. Os mitos e a oralidade possibilitam uma (re)construção e desenvolvimento de conhecimentos que permeiam a atividade da leitura (conhecimentos artístico, cultural, social, filosófico e histórico) além de enriquecer e (re)afirmar a identidade latino-americana. Por isso, esse trabalho tem o intuito de relacionar a história do conto a outras leituras, tais quais sua aproximação e semelhança aos mitos, oralidade e outras literaturas em geral. Entende-se, portanto, que todos estes elementos constituem uma literatura rica e de grande importância para o mundo, e não apenas para a região onde foi produzida.

Tolerância

The screenplay for the short film Tolerance is a project whose goal is to generate discussion about intolerance, which falls on the minority cultures in contemporary society. Even preserving their Brazilianness, through the art direction, it can cross borders as it does not have dialogues, and addresses current realities that underlie different cultures, even the most liberal and democratic. This project can achieve the interests of various groups, making it an excellent tool for generating discussion and debate in all social and educational levels

Bendito: a narrativa em fluxos transmídia

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Imagens, sensações e afetos: as personagens gays nos curtas-metragens brasileiros exibidos no Festival Mix Brasil de Cultura da Diversidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Mother-Child Spiritual Discourse: A Mixed Methods Study

Parents and children, starting at very young ages, discuss religious and spiritual issues¿where we come from, what happens to us after we die, is there a God, and so on. Unfortunately, few studies have analyzed the content and structure of parent-child conversation about religion and spirituality (Boyatzis & Janicki, 2003; Dollahite & Thatcher, 2009), and most studies have relied on self-report with no direct observation. The current study examined mother-child (M-C) spiritual discourse to learn about its content, structure, and frequency through a survey inventory in combination with direct video observation using a novel structured task. We also analyzed how mothers¿ religiosity along several major dimensions related to their communication behaviors within both methods. Mothers (N = 39, M age = 40) of children aged 3-12 completed a survey packet on M-C spiritual discourse and standard measures of mothers¿ religious fundamentalism, intrinsic religiosity, sanctification of parenting (how much the mother saw herself as doing God¿s work as a parent), and a new measure of parental openness to children¿s spirituality. Then, in a structured task in our lab, mothers (N = 33) and children (M age = 7.33) watched a short film or read a short book that explored death in an age-appropriate manner and then engaged in a videotaped conversation about the movie or book and their religious or spiritual beliefs. Frequency of M-C spiritual discourse was positively related to mothers¿ religious fundamentalism (r = .71, p = .00), intrinsic religiosity (r = .77, p = .00), and sanctification of parenting (r = .79, p = .00), but, surprisingly, was inversely related to mothers¿ v openness to child¿s spirituality (r = -.52, p = .00). Survey data showed that the two most common topics discussed were God (once a week) and religion as it relates to moral issues (once a week). According to mothers their children¿s most common method of initiating spiritual discourse was to repeat what he or she has heard parents or family say about religious issues (M = 2.97; once a week); mothers¿ most common method was to describe their own religious/spiritual beliefs (M = 2.92). Spiritual discourse most commonly occurred either at bedtime or mealtime as reported by 26% of mothers, with the most common triggers reported as daily routine/random thoughts (once a week) and observations of nature (once a week). Mothers¿ most important goals for spiritual discourse were to let their children know that they love them (M = 3.72; very important) and to help them become a good and moral person (M = 3.67; very important). A regression model showed that significant variance in frequency of mother-child spiritual discourse (R2 = .84, p = .00) was predicted by the mothers¿ importance of goals during discourse (ß = 0.46, p = .00), frequency that the mother¿s spirituality was deepened through spiritual discourse (ß = 0.39, p = .00), and the mother¿s fundamentalism (ß = 0.20, p = .05). In a separate regression, the mother¿s comfort in the structured task (ß = 0.70, p = .00), and the number of open-ended questions she asked (ß = -0.26, p = .03) predicted the reciprocity between mother and child (R2 = .62, p = .00). In addition, the mother¿s age (ß = 0.22, p = .059) and comfort during the task (ß = 0.73, p = .00) predicted the child¿s engagement within the structured task. Other findings and theoretical and methodological implications will be discussed.

Unsafe abortion: A neglected crisis in women's health

Women around the world risk their lives to end unwanted pregnancies. Created in 2003 and recently converted to a digital format, this short film highlights the toll that unsafe abortion takes on women and the comprehensive approach that Ipas takes to saving women's lives by improving access to safe abortion and contraception. Since this film was made, deaths from unsafe abortion have thankfully decreased to approximately 47,000 each year. However, the estimated number of unsafe abortions has risen to more than 21 million annually, largely due to the increase in population. We have a long way to go before the scourge of unsafe abortion is eliminated.

Introducción a Blender

El mundo de la animación 3D está en plena actualidad en este momento. Salas de cine, programas de televisión y la publicidad nos muestran constantemente personajes y objetos animados creados por ordenador. Son muchos los programas que pueden usarse para la realización de animación en 3D. En este proyecto vamos a centrarnos en Blender. Blender es un programa de animación y modelado que se puede obtener de manera gratuita por internet. Se trata de un programa de software libre, por lo que constantemente está siendo modificado gracias a la aportación de usuarios anónimos por internet. El objetivo de este proyecto es la creación de un corto de animación de un minuto de duración con Blender, para lo cual serán necesarias una serie de pautas iniciales sobre cómo funciona Blender y sus posibilidades. La primera parte de este proyecto es una guía básica sobre Blender y sus características. Capítulo a capítulo se irán describiendo la interfaz del programa y la creación de objetos (modelado, asignación de materiales y texturas) para luego aprender a animarlos y a visualizarlos como imágenes o video. La segunda parte se centra en el corto MOL. Creado a partir de los conocimientos adquiridos en la guía anterior, añadiendo en algunos casos, nuevas propiedades necesarias para su elaboración. Se describirán cada uno de los elementos y su creación. Esta guía pretende ser un referente para aquel que quiera introducirse en el mundo de la animación 3D con Blender. The world of 3D animation is a trending topic nowadays. Cinema, television and advertising constantly show us characters and animated objects created with computer graphics. There are many programs that can be used to perform 3D animations. In this project we will focus on Blender. Blender is a modeling and animation program that is available for free online. Blender is an open source program, so it is constantly being modified and improved by anonymous online users. The objective of this project is to create a one-minute animation short with Blender, for which we will require an initial set of guidelines on how Blender works and its possibilities. The first part of this project is a basic guide and will only cover basic features of Blender. In each chapter we will describe the interface and how to create objects (modeling, assigning materials and textures) and then we will learn to animate these objects and to display them as images or video. The second part focuses on the short film MOL. Created from the knowledge gained in the previous guide adding, in same cases, new properties necessary for its creation. We will describe each of the elements involved in the making of. This guide is intended to be a referent guide for anyone who wants to enter the world of 3D animation with Blender.