Chicano identity and discourses of supplementarity on Mexican cinema: from ‘The Man Without a Fatherland’ (Contreras Torres: 1922) to ‘Under the Same Moon’ (Riggen: 2008)

A radical change took place in Mexican narratives of belonging during the 1990s, when NAFTA was first negotiated. Narratives of migration drastically changed the status of Mexican migrants to the US, formerly derided as ‘pochos’, presenting them as model citizens instead. Following Derrida, I argue the role of the migrant became that of a supplement, which is, discursively, at the same time external to and part of a given unit, standing for and allowing deeper transformations to take place in the whole discourse of bilateral relations and national identity more generally. I use Derrida’s concept of the supplement to discuss changing representations of Chicanos in Mexican cinema, and to assess the extent that they have succeeded in reframing the discourse on national identity, with a focus on gender.

Psychometric properties of the Iranian version of the premature ejaculation diagnostic tool

Introduction Premature ejaculation (PE) is one of the most prevalent male sexual problems. The Premature Ejaculation Diagnostic Tool (PEDT) is a suitable patient-reported outcome measure for the assessment of PE. Aim To examine the psychometric proporties of a translated and culturally adapted version of the PEDT in a sample of Iranian men suffering from PE. Methods Two independent samples were compared, one including patients with PE based on the DSM-IV-TR criteria (n = 269) and the other including healthy men without PE (n = 289). A backward–forward translation procedure was used to translate the PEDT into Persian. Both samples were asked to fill in the PEDT twice—at baseline and 4 weeks later. Main Outcome Measures Internal consistency, test–retest reliability, convergent validity, factor structure, measurement invariance across sexual health status (i.e., between men with and without PE). Results Mean ages of men without and with PE were 34.9 and 35.3 years, respectively. Cronbach's alpha coefficient for the total PEDT score was 0.89. All items and the total score were remarkably consistent between the two measurement points. All five PEDT items correlated at r = 0.40 or greater with their own scale, indicating good convergent validity. There was a high and significant correlation (r = −0.82, P  < 0.001) between the PEDT score and IELT. Healthy men reported lower scores (fewer complaints) on the PEDT compared with the PE group. A single-factor model was found to be best-fitting in the exploratory factor analysis; this was confirmed by confirmatory factor analysis. The PEDT was invariant across sexual health status and perceived similarly by men with and without PE. Conclusion The results provide evidence for good reliability and validity of the Iranian version of the PEDT. The questionnaire therefore represents a suitable tool for screening PE in Iranian men.

I3MEDIA, e-journal of cinema, television and media studies. Especial Sport&Media

SIN FINANCIACIÓN

Media Gótico: O Crime e seu Duplo Ficcional na Literatura, TV e Cinema

Crime possesses a dual nature deriving from its portrayal in the media leading to duplicity in the act of witnessing crime which by showing reality inevitably transforms it into a different kind of reality. The direct relationship with the Gothic genre is very naturally justified by real crime seeming to replicate fictional crime and vice versa, thus originating various forms of the lack of distinction between reality itself and fictional reality, or between truth and falsehood, which many writers and artists associated with Gothic aesthetics have always relied on, and numerous examples of this can be found in the works of Edgar Poe, Patricia Highsmith, Chuck Palahniuk and many others. While real crime may take the Gothic novel as its prototype, it turns out that nowadays television has taken on this role. Examples of this phenomenon are the recent symptoms of obsessive dependence on TV series such as C.S.I., Criminal Minds, The X Files, The Following and Dexter, showing a tendency for television series to replace Gothic novels, thus revealing a perverse attraction for witnessing violence through the same means that transmit the daily news featuring violent events in different scenarios of war all over the world.

The Associations Between the Maladaptive Personality Dimensions of Neediness and Self-Criticism, Defense Styles, Selfobject Needs, and Attachment Styles in an Iranian Sample

The present study extends previous findings by examining whether defense styles, selfobject needs, attachment styles relate to Neediness and Self-Criticism, as maladaptive personality dimensions focused, respectively, on relatedness and self-definition in an Iranian sample. Three hundred and fifty two participants completed a socio-demographic questionnaire as well as the Persian forms of the Depressive Experiences Questionnaire, Experience of Close Relationships-Revised, Defense Style Questionnaire, Beck Depression Inventory–II and Selfobject Needs Inventory. Two Multiple Linear Regression Analyses, entering Self-criticism and Neediness as criterion variables, were computed. According to the results high Attachment anxiety, high Immature defenses, high depressive symptoms, and high need for idealization were related to self-criticism, and explained 47% of its variance. In addition, high attachment anxiety, low mature defenses, high neurotic defenses, high avoidance of mirroring, and low avoidance of idealization/twinship were related to neediness, and explained 40% of its variance. A Principal Component Analysis was performed, entering all the studied variables. Three factors emerged; one describing a maladaptive form of psychological functioning and two describing more mature modes of psychological functioning. The results are discussed in their implications for the understanding of neediness and self-criticism as maladaptive personality dimensions focused, respectively, on relatedness and self-definition.

Os espectáculos públicos e o cinema em Évora a partir da documentação arquivística

A documentação incorporada nos últimos anos no Arquivo Distrital de Évora, tem-nos permitido traçar linhas de permanência sobre a realização dos espectáculos públicos na cidade de Évora. Destaca-se neste pequeno texto, as possibilidades de estudo da cinematografia através daquela documentação.

GLAUBER ROCHA E RUBEM FONSECA: UM NOVO MODO DE PRODUZIR CINEMA E LITERATURA NO BRASIL

Enfocando a época da ditadura militar no Brasil, o texto analisa alguns contos de Rubem Fonseca, publicados durante o período, bem como o movimento do Cinema Novo e a Estética da Fome, de Glauber Rocha, que revolucionaram o próprio modo de se fazer cinema no Brasil. Centrando a atenção na proposta cinematográfica de Glauber Rocha, o texto faz ainda uma aproximação entre os recursos utilizados por ele em filmes como Deus e o Diabo na Terra do Sol, Terra em Transe e Idade da Terra, e o Teatro Épico, de Bertolt Brecht.

TEIA DE ARANHA: UM RELATO SENTIMENTAL SOBRE O CINEMA DE AKIRA KUROSAWA E OUTRAS ARTES

Enquanto um fantasma branco de um velho ou de uma mulher demoníaca fia uma linha translúcida e frágil em uma tenda, um samurai poderoso, com um punho fortemente cerrado sobre sua espada, percebe que seu destino está sendo desenrolado ali, e partir-se-á tão facilmente quanto o fio de uma teia de aranha. Um outro samurai, não tão jovem, mas com uma espada em riste, derrama seu sangue em terra familiar. Um menino e uma menina têm de vestir máscaras demoníacas a fim de sobreviver em um mundo que não permite a doçura. Estes são alguns dos personagens e dos temas encontrados freqüentemente na obra de Akira Kurosawa; motivos sinistros e dolorosos, recusados geralmente por mentes comuns, mas abraçados com coragem pelo gênio brilhante e sensível que transforma tudo isto em arte e beleza. Isto é o que procuraremos nesse ensaio: o casamento da beleza com o sofrimento em seus filmes, como aconteceu também em sua vida e foram encenados em seus filmes com suas leituras prediletas, as pinturas que admirava, a música da qual gostava, como uma parte essencial do trabalho científico, como disse Fritjoff Capra, n’O Tao da Física, refere-se a minha vida também, pois era inevitável, sendo um fotógrafo deste casamento como fui.

Two main challenges in service description : Web service tunnel vision and semantic myopia

Through media such as newspapers, letterbox flyers, corporate brochures and television we are regularly confronted with descriptions for conventional (bricks 'n' mortar style) services. These representations vary in the terminology utilised, the depth of the description, the aspects of the service that are characterised and their applicability to candidate service requestors. Existing service catalogues (such as the Yellow Pages) provide little relief for service requestors from the burdensome task of discovering, comparing and substituting services. Add to this environment the rapidly evolving area of web services with its associated surfeit of standards, and the result is a considerably fragmented approach to the description of services. It leaves the reality of the Semantic Web somewhat clouded. --------- Let's consider service description briefly, before discussing our concerns with existing approaches to description. The act of describing is performed prior to advertising. This simple fact provides an interesting paradox as services cannot be described exactly before advertisement. This doesn't mean they can't be described comprehensively. By "exactly", we are referring to the fact that context provided by a service requestor (and their service needs) will alter the description of the service that is presented to the discoverer. For example, a service provider who operates a cinema wants to describe the price of their service. Let's say the advertised price is $15. They also want to state that a pensioner discount and a student discount is available which provides a 50% discount. A customer (i.e. service requestor) uses the cinema web site to purchase tickets online. They find the movie of their choice at a time that suits. However, its not until some context is provided by the requestor that the exact price is determined. The requestor might state that they are a pensioner. The same is applicable for a service requestor who purchases multiple tickets perhaps on behalf of other people. The disconnect between when the service is described and when a requestor provides context introduces challenges to the description process. A service provider would be ill-advised to offer independent descriptions that represent all the permutations possible for a single service. The descriptive effort would be prohibitive.

Less popular but more democratic? Corrie, Clarkson and the dancing Cru

The central cultural experience of modernity has been change, both the ‘creative destruction’ of existing structures, and the growth, often exponential, of new knowledge. During the twentieth century, the central cultural platform for the collective experience of modernising societies changed too, from page and stage to the screen – from publishing, the press and radio to cinema, television and latterly computer screens. Despite the successive dominance of new media, none has lasted long at the top. The pattern for each was to give way to a successor platform in popularity, but to continue as part of an increasingly crowded media menu. Modern media are supplemented not supplanted by their successors.

Digital scholarship and pedagogy, the next step : cultural science.

There are two aspects to the problem of digital scholarship and pedagogy. One is to do with scholarship; the other with pedagogy. In scholarship, the association of knowledge with its printed form remains dominant. In pedagogy, the desire to abandon print for ‘new’ media is urgent, at least in some parts of the academy. Film and media studies are thus at the intersection of opposing forces – pulling the field ‘back’ to print and ‘forward’ to digital media. These tensions may be especially painful in a field whose own object of study is another form of communication, neither print nor digital but broadcast. Although print has been overtaken in the popular marketplace by audio-visual forms, this was never achieved in the domain of scholarship. Even when it is digitally distributed, the output of research is still a ‘paper.’ But meanwhile, in the realm of teaching, production- and practice-based pedagogy has become firmly established. Nevertheless a disjunction remains, between high-end scholarship in research universities and vocational training in teaching institutions; but neither is well equipped to deal with the digital challenge.