Jean Rouch: Un antropòleg de les fronteres

Jean Rouch (1917-2004) és una referència ineludible en la història del cinema etnogràfic. Especialista en els rituals de possessió a l'Àfrica de l'Oest i clarament influenciat pel cinema de Flaherty i de Vertov, Rouch va desenvolupar un mètode i una teoria cinematogràfica que s'oposaven frontalment als principis del positivisme científic així com a les teories objectivistes del cinema etnogràfic. Més concretament, Rouch va posar en pràctica durant el seu treball de camp una "antropologia compartida", basada en una concepció no jerarquitzada de les relacions entre l'antropòleg i la comunitat estudiada, i va situar la idea de ¿reflexivitat¿ com a eix principal del coneixement científic i del cinema etnogràfic. Crític amb la clàssica distinció entre art i ciència, el director francès sempre va reivindicar la creativitat, l'experimentació i la llibertat d'estil com a punts essencials de la recerca etnogràfica.

La Implicació de Hollywood en la Segona Guerra Mundial: el cas Why we fight

Why we fight és un grup de set pel·lícules de format documental que van formar part d’un ampli programa d’informació, formació i propaganda impulsat per l’exèrcit nord-americà, en el moment en què els Estats Units ja s’havien implicat en la Segona Guerra Mundial. És també un dels més reeixits exercicis de retòrica cinematogràfica nord-americana d’aquell període que permet analitzar com els països democràtics van gestionar qüestions tan compromeses com la propaganda de guerra. La pretensió d’aquest treball de recerca és aprofundir en la complexitat ideològica i formal de la sèrie, que faci possible descobrir-ne els orígens, els objectius i la manera com aquests van ser assolits per un grup d’especialistes cinematogràfics, coordinats pel director Frank Capra, tots els quals havien triomfat fins llavors a Hollywood

Estados Unidos en Guerra, Why we fight de Frank Capra. La historia al servicio de la causa aliada

Con la implicación definitiva de los Estados Unidos en la Segunda Guerra Mundial, el gobierno y el alto mando militar decidieron impulsar un amplio programa audiovisual que utilizando la letra impresa, la radio y el cine intentaría explicar –principalmente, aunque no exclusivamente, a millares de civiles reclutados para la ocasión– el porqué de la guerra y la necesaria implicación de los Estados Unidos en la contienda. Naturalmente, a esta voluntad pedagógica se unía otra propagandística. Por lo que respecta al cine, y contando con los destacados antecedentes del cine soviético y las producciones cinematográficas del régimen nazi, se decidió poner en marcha un exhaustivo programa para la producción cinematográfica de documentales que cubriría estos dos aspectos esenciales: el formativo y el propagandístico –bautizado, eufemísticamente, como “orientación moral”. De entre las producciones cinematográficas de orientación moral, impulsadas por el ejército, destaca, por su ambición y calidad intrínseca, una serie de siete documentales presentada bajo el título genérico de Why We Fight

La Razón frente a la imposición en las estrategias didáctico-propagandísticas del ejército estadounidense durante la Segunda Guerra Mundial: "Why We Fight" de Frank Capra como ejemplo

El presente artículo analiza algunos aspectos de los métodos de formación y propaganda destinados a los sol-dados del ejército estadounidense al enfrentarse a la implicación de su país en la Segunda Guerra Mundial. El general George C. Marshall, jefe del alto mando militar, pretendía oponer a los anticuados métodos de instruc-ción basados en la fuerza del hábito corporal, la fuerza del hábito mental. Esta pretensión supuso desplegar un amplio programa que contemplaba, además de la instrucción militar, la formación intelectual y que contaba, para ello, entre otros recursos, con el cine. En este último ámbito, destacó la producción de la serie documen-tal de siete episodios “Why We Fight”. La serie, desde su mismo título, pareció apostar por la argumentación racional antes que por la emocional, para hacer comprensible, a los soldados, la implicaciónde Estados Unidos en la contienda mundial. Sin embargo, más allá de su apariencia retórica, la serie debía funcionar como un efectivo mecanismo de propaganda a favor de los intereses estratégicos del país norteamericano

Film bibliography of aviation and related fields.

Cover title.

USDA films for television /

"This publication supersedes Agricultural handbook, no. 131, Television film catalog of the U.S. Department of Agriculture."

USDA films for television, 1966 /

Includes index.

Conceptualizing Institutional Capacity Building Through a Learning Process Set in Motion by a Foundation

Employing critical pedagogy and transformative theory as a theoretical framework, I examined a learning process associated with building capacity in community-based organizations (CBOs) through an investigation of the Institutional Capacity Building Program (ICBP) initiated by a Foundation. The study sought to: (a) examine the importance of institutional capacity building for individual and community development; (b) investigate elements of a process associated with a program and characteristics of a learning process for building capacity in CBOs; and (c) analyze the Foundation’s approach to synthesizing, systematizing, and sharing learning. The study used a narrative research design that included 3 one-on-one, hour-long interviews with 2 women having unique vantage points in ICBP: one is a program facilitator working at the Foundation and the other runs a CBO supported by the Foundation. The interviews’ semistructured questions allowed interviewees to share stories regarding their experience with the learning process of ICB and enabled themes to emerge from their day-to-day experience. Through the analysis of this learning process for institutional capacity building, a few lessons can be drawn from the experience of the Foundation.

Using selected scenes from Brazilian films to teach about substance use disorders, within medical education

CONTEXT AND OBJECTIVES: Themes like alcohol and drug abuse, relationship difficulties, psychoses, autism and personality dissociation disorders have been widely used in films. Psychiatry and psychiatric conditions in various cultural settings are increasingly taught using films. Many articles on cinema and psychiatry have been published but none have presented any methodology on how to select material. Here, the authors look at the portrayal of abusive use of alcohol and drugs during the Brazilian cinema revival period (1994 to 2008). DESIGN AND SETTING: Qualitative study at two universities in the state of São Paulo. METHODS: Scenes were selected from films available at rental stores and were analyzed using a specifically designed protocol. We assessed how realistic these scenes were and their applicability for teaching. One author selected 70 scenes from 50 films (graded for realism and teaching applicability > 8). These were then rated by another two judges. Rating differences among the three judges were assessed using nonparametric tests (P < 0.001). Scenes with high scores (> 8) were defined as "quality scenes". RESULTS: Thirty-nine scenes from 27 films were identified as "quality scenes". Alcohol, cannabis, cocaine, hallucinogens and inhalants were included in these. Signs and symptoms of intoxication, abusive/harmful use and dependence were shown. CONCLUSIONS: We have produced rich teaching material for discussing psychopathology relating to alcohol and drug use that can be used both at undergraduate and at postgraduate level. Moreover, it could be seen that certain drug use behavioral patterns are deeply rooted in some Brazilian films and groups.

Report regarding investigation directed to be made by the President in his Executive order of November 27, 1933, approving the Code of fair competition for the motion picture industry.

Mode of access: Internet.

Motion picture projection and sound pictures.

"12th edition."--Dust jacket.

The best moving pictures of 1922-23, also Who's who in the movies and the Yearbook of the American screen.

Mode of access: Internet.

Information Society, Teaching, and Learning: Education Reforms in Brazil

This article examines the subject matter of learning within the context of information society, through an inquiry concerning both the reforms in education adopted in Brazil in the last thirty years and their results. It provides a revision on the explanations of school failure based on assumptions of learning problems due to cognitive and linguistic deficits. From the guidelines related with written school forms as well as the constant cultural oppression accomplished inside the school, the article claims the necessity of changing the psychological and pedagogic views that, under the label of democratic practices, determine school institutions and its daily life, by means of instrumental relations with knowledge that disregard the reading practices which are congenial to popular culture.