Social aspects /

Mode of access: Internet.

Social aspects of pharmaceutical innovation: heart disease

This study examines the invention, innovation, introduction and use of a new drug therapy for coronary heart disease and hypertension; beta-blockade. The relationships between drug introductions and changes in medical perceptions of disease are analysed, and the development and effects of our perception of heart disease through drug treatments and diagnostic technology is described. The first section looks at the evolution of hypertension from its origin as a kidney disorder, Bright's disease, to the introduction and use of effective drugs for its treatment. It is shown that this has been greatly influenced by the introduction of new medical technologies. A medical controversy over its nature is shown both to be strongly influenced by the use of new drugs, and to influence their subsequent use. The second section reviews the literature analysing drug innovation, and examines the innovation of the beta-blocking drugs, making extensive use of participant accounts. The way in which the development of receptor theory, the theoretical basis of the innovation,was influenced by the innovation and use of drugs is discussed, then the innovation at ICI, the introduction into clinical use, and the production of similar drugs by other manufacturers are described. A study of the effects of these drugs is then undertaken, concentrating on therapeutic costs and benefits, and changes in medical perceptions of disease. The third section analyses the effects of other drugs on heart disease, looking at changes in mortality statistics and in medical opinions. The study concludes that linking work on drug innovation with that on drug effects is fruitful, that new drugs and diagnostic technology have greatly influenced medical perceptions of the nature and extent of heart disease, and that in hypertension, the improvement in drug treatment will soon result in much of the population being defined as in need of it life-long.

Betty Friedan speaks at "Films and Women" meeting about violence against women in motion pictures

General note: Title and date provided by Bettye Lane.

On the Social Aspects of Unemployment: The Case of Life Satisfaction

Unemployment is related to economic, political and social aspects. One of the least analysed social aspects is the relationship between unemployment and the (individual) perceived levels of well-being, such as life satisfaction or happiness. This chapter complements previous work on the subject, using a panel-data econometrics methodology to analyze the relationship between unemployment and life satisfaction in a wide range of countries worldwide. The results confirm that unemployment has a negative effect, statistically significant, on life satisfaction, either for men or for women.

Cinema i educació (social). Tres mirades pedagògiques d'una mateixa pel·lícula. El cas de «Sleepers»

La verificació que la vida acadèmica està patint una revolució formal i de contingut obliga a recrear el discurs pedagògic introduint-hi elements molt heterogenis. Ressaltar els valors culturals dels diferents mitjans de comunicació ens permet destacar les potencialitats i l¿ús del cinema com a instrument docent facilitador dels aprenentatges dels alumnes. Fa molts anys que cadascú de nosaltres hem incorporat el cinema en el nostre treball docent. D¿acord amb els continguts que desenvolupem en les nostres assignatures, l¿utilitzem com a font analítica i documental per a la intervenció pedagògica i social. Els relats filmogràfics ens permeten introduir pràctiques formatives i professionalitzadores a partir de l¿anàlisi de casos, una eina de treball molt utilitzada en l¿àmbit socioeducatiu. Amb aquest article, presentem, doncs, tres visions diferents desenvolupades en el marc de tres assignatures dels ensenyaments de Pedagogia i Educació Social, i ho fem a partir d¿una mateixa pel·lícula, Sleepers, de Barry Levinson (1996), tot demostrant el caràcter transversal de la nostra proposta.

Del cine épico al cine social: el universo metafílmico en También la lluvia (2010) de Icíar Bollaín

El siguiente artículo consiste en un análisis de la película También la lluvia de Icíar Bollaín centrado en el cuestionamiento de dos géneros cinematográficos pertenecientes al modo de significación realista: el cine épico y el cine social. Por un lado nos encontramos ante un uso crítico de las narrativas fílmicas convencionales sobre la colonización, por otro se plantea una reflexión sobre el cine social como una herramienta de cambio político. Una de las claves interpretativas del filme será el papel de María, un personaje secundario a la sombra de los protagonistas masculinos, que filma un documental sobre el rodaje desviando la mirada hacia la “Guerra del Agua”. Se mostrará cómo Bollaín visibiliza la mirada del “observador ideal”, explorando al mismo tiempo la violencia de la mirada cinematográfica y los límites morales de la creación artística.

Del cine épico al cine social: el universo metafílmico en También la lluvia (2010) de Icíar Bollaín

El siguiente artículo consiste en un análisis de la película También la lluvia de Icíar Bollaín centrado en el cuestionamiento de dos géneros cinematográficos pertenecientes al modo de significación realista: el cine épico y el cine social. Por un lado nos encontramos ante un uso crítico de las narrativas fílmicas convencionales sobre la colonización, por otro se plantea una reflexión sobre el cine social como una herramienta de cambio político. Una de las claves interpretativas del filme será el papel de María, un personaje secundario a la sombra de los protagonistas masculinos, que filma un documental sobre el rodaje desviando la mirada hacia la “Guerra del Agua”. Se mostrará cómo Bollaín visibiliza la mirada del “observador ideal”, explorando al mismo tiempo la violencia de la mirada cinematográfica y los límites morales de la creación artística.

"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

Medo de dentista em cena: uma análise de produções cinematográficas

The fear related to dental procedures can be acquired through disturbing experiences and/or negative cultural influences related in experiences of previous generations. Such influences may be present in diverse forms of cultural expression: in the cinema, plastic arts, music, literature, and diverse vehicles of printed and visual media. This research aimed investigates the images of fear related to the dental service and dentist in motion pictures. The study has qualitative approach, which used the documentary analysis of movies. The data collection was accomplished through research in the Internet by means of the Google tool (http://www.google.com.br), using the describing words filme and dentista . A total of 44 films were found. Of these, after selective criterion for films with scenes showing interaction between dentist and patient in the execution of clinical procedure, only 24 films were enclosed. Then, these were registered in data base created for this research. After second selective criterion of inclusion (scenes with suggestion of dental anxiety), 15 films remained. As regards cinematographic gender, the films with scenes showing "dental anxiety" varied between comedy (8), horror (3), drama (2), thriller (1) and childish (1). Of these films, scenes with images of situations that suggest fear of the dentist and his job were selected and described. The images were categorized by the identification of negative characteristics that incite "dental anxiety". Then, the classification of the categories was proceeded detaching the most recurrent characteristics in the scenes: situation of fear in the waiting-room; pain; instrument coarse/rudimentary; coarseness of the dentist; torture; and low qualification technique. The waiting-room was observed as a place of great tension, due to the noises coming from the dental attendance. The pain related to the Dentistry was the predominant subject in the majority of films (14), associated to others negative characteristics. The rudimentary aspects of procedures and instruments, and the coarse attitudes of the professional could be observed too. The dentist was characterized as confused, sadist, violent, insensitive, incompetent person and disturbed. Such results suggest that, despite the technological advances of the profession, the image of the dentist and his job is still transmitted in a negative way aspect and reinforces the dental anxiety

Primeiras Estórias e o filme A terceira margem do rio: estruturas artísticas e consciência possível

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Motion picture projection and sound pictures.

"12th edition."--Dust jacket.

I film therefore I am: process and participation, networks and knowledge – examples from Scottish community media projects.

This chapter examines community media projects in Scotland as social processes that nurture knowledge through participation in production. A visual and media anthropology framework (Ginsburg, 2005) with an emphasis on the social context of media production informs the analysis of community media. Drawing on community media projects in the Govan area of Glasgow and the Isle of Bute, the techniques of production foreground “the relational aspects of filmmaking” (Grimshaw and Ravetz, 2005: 7) and act as a catalyst for knowledge and networks of relations embedded in time and place. Community media is defined here as a creative social process, characterised by an approach to production that is multi-authored, collaborative and informed by the lives of participants, and which recognises the relevance of networks of relations to that practice (Caines, 2007: 2). As a networked process, community media production is recognised as existing in collaboration between a director or producer, such as myself, and organisations, institutions and participants, who are connected through a range of identities, practices and place. These relations born of the production process reflect a complex area of practice and participation that brings together “parallel and overlapping public spheres” (Meadows et al., 2002: 3). This relates to broader concerns with networks (Carpentier, Servaes and Lie, 2003; Rodríguez, 2001), both revealed during the process of production and enhanced by it, and how they can be described with reference to the knowledge practice of community media.

Dispersión agrícola y cambio social en las Sierras de Córdoba (ca. 1000 a C.- 1600 d C.) Agricultural spread and social change in Córdoba Hills (ca. 1000 b C- 1600 a D.)

El proceso cultural en las Sierras de Córdoba fue habitualmente concebido como marginal con respecto al Noroeste Argentino. Tras el establecimiento del esquema básico de la secuencia prehispánica, a mediados del siglo pasado, se definió una etapa agroalfarera de cronología tardía, que continuaba a una extensa etapa precerámica cuyos límites se aproximaban a la transición Pleistoceno-Holoceno. Se hacía referencia, de este modo, al advenimiento de un modo de vida agrícola y aldeano, que reemplazaba a otro basado en la caza y recolección. Dicha transformación, alternativamente atribuida a la población cazadora local o a una migración de grupos agricultores desde regiones vecinas, se habría consumado hacia 1500 AP, fijando uno de los límites de la dispersión de la agricultura andina. Es necesario destacar la extremada escasez y el carácter indirecto de las evidencias arqueológicas utilizadas para sustentar la ocurrencia de tal proceso. Asimismo, la vigencia de supuestos que han comenzado a mostrar inconsistencias con los resultados de las recientes investigaciones. Entre ellos, principalmente, el que asume que la introducción de la agricultura dio paso a una transformación radical de las sociedades prehispánicas, constituyendo un hito fundamental en su devenir histórico, el comienzo de una nueva etapa. Nuestros últimos estudios en el sector central de las Sierras de Córdoba apuntaron, entre otros objetivos, a reconocer indicadores arqueológicos directos de producción agrícola, así como de la manipulación y consumo de plantas cultivadas. Los primeros resultados nos permiten vislumbrar un escenario complejo que desafía los modelos vigentes. El consumo de maíz, por ejemplo, parece haber antecedido por muchos siglos a la adopción de prácticas agrícolas. El acceso a este cultígeno, sumado a otros elementos, indicaría cambios entre los cazadores-recolectores serranos, promovidos por su integración en redes macrorregionales que los vincularon con sociedades agricultoras de la vertiente oriental andina y quizás del Chaco Santiagueño, por lo menos desde 2500 AP. En definitiva, la agricultura no parece haber sido adoptada rápidamente ni provocado transformaciones profundas e inmediatas en la organización de los grupos prehispánicos. Se ha observado, por el contrario, la incorporación gradual de distintas innovaciones que incluso permiten relacionar la manipulación y más tarde el cultivo de plantas domesticadas, con procesos de intensificación productiva de mayor escala temporal. Uno de nuestros objetivos en este proyecto consiste, básicamente, en profundizar las investigaciones en curso a fin de ampliar el cuerpo de datos con el cual analizar y discutir el problema de la dispersión agrícola en la región. Ello implica el tratamiento de diferentes líneas de evidencia, en particular: 1) la distribución regional de sitios arqueológicos y las modalidades de ocupación de las tierras cultivables; 2) la búsqueda de superficies de cultivo en sitios estratificados; y 3) estudios arqueobotánicos, polínicos y de isótopos estables. Se entiende que no le corresponde a la arqueología asumir apriorísticamente el significado histórico de la introducción de la agricultura, sino establecerlo en cada caso puntual a través de la investigación concreta. Nuestro segundo objetivo consiste, por lo tanto, en delinear los cambios (económicos, tecnológicos, políticos, sociales) que acompañaron al proceso de dispersión agrícola. Ello implica el tratamiento de diferentes problemas, entre otros: 1) las prácticas de apropiación de los recursos silvestres; 2) la continuidad y cambio tecnológico; 3) la movilidad y la articulación microambiental; y 4) los aspectos políticos y sociales ligados a prácticas como la molienda grupal y la producción del arte rupestre. The radical chage of societies from hunter-gatherers to farmers in 1500 BP was considered a milestone whitin the cultural process of pre-hispanic societies in Cordoba Hill. But there is a shortage of archaeological remains to support this change and there are weak hypotheses of absolute transformations. During the last years, our studies carried out on the central area of Cordoba Hill have tried to recognize direct archaeological signs of agriculture production as well as the handling and consumption of crops. The first results show a complex set that challenges the current theoretical models. For example, the corn was probably eatten prior to its adoption for farm practices. Our first main consists in increasing a corpus of data about the spread of agriculture in Cordoba region that we have been researching for the last years. These researches involve different lines of evidence: 1-regional location of archaeological sites and kinds of occupation on cultivable lands; 2-the search for plots at archaeological sites; 3-archaeobotanical, pollen and stable isotopes studies. Our second main consists in outlining changes within the spread of agriculture. It implies to considering different problems: 1-the practices to gatherer wild resources; 2-the continuity and changes of technologies; 3-the mobility and the articulation on the micro-environment; 4-political and social aspects in connection with activities such as groupal grinding and rock art productions.