Search

Background: Empathy plays a pivotal role in the doctor–patient relationship. Some studies show that empathy dwindles over the years in undergraduate education. The present study was therefore planned to measure and promote empathy among the interns by using Cinemeducation as an interventional tool. MATERIALS AND METHODS: An educational interventional study was carried out among 60 interns belonging to the 2016 batch of a tertiary care teaching hospital in Telangana. The intervention consisted of two online sessions explaining the importance of empathy and best practices of empathy and a facilitated discussion on alternate days for a week in between on WhatsApp using movie clips. Jefferson’s scale of empathy—student version (JSE-S) was used to measure empathy levels. Knowledge and empathetic behavior were measured using a predesigned and pre-validated pre–post-test questionnaire and observer-rated checklist. Feedback on the Cinemeducation technique was taken. All the statistical analyses were performed using Jamovi software version 1.6.23.0. A value of P < 0.05 was considered statistically significant for complete analysis. Results: Data from 35 interns who completed all the forms was analyzed. All the interns were in the age group of 22-24 years. There was no statistically significant improvement in the scores of self-reported empathy levels (P = 0.153), but observer-rated empathy levels and the knowledge about empathy improved significantly (p =

Pienen maan elokuvakulttuuri on aina tiiviissä vuorovaikutuksessa laajempaan kansainväliseen kontekstiin, ja tämä pätee myös Suomeen. Toisen maailmansodan aikana elokuvatuotantoyhtiöiden oli välttämätöntä ylläpitää hyviä suhteita natsi-Saksaan, sillä se oli Euroopan suurin raakafilmin tuottajamaa. Kun Saksa hallinnoi miehityksen kautta suurta osaa elokuvan tuonnista ja viennistä, se käytännössä määritteli muiden maiden pääsyn eurooppalaisen elokuvan pariin. Suomessa tämä pyrkimys kulttuuriseen hegemoniaan tuli esiin filmiriidassa vuodesta 1942 eteenpäin. Tarkastelemme Viipurin esitystoiminnan kautta, onnistuivatko saksalaismieliset elokuva-alan toimijat estämään yhdysvaltalaisen elokuvan esittämisen Suomessa. Tutkimme myös, näkyikö pyrkimys yhdysvaltalaiselokuvan kieltämiseen viipurilaisten elokuvankatsojien arkielämässä ja millainen rooli saksalaiselokuvalla oli ohjelmistossa. Analysoimme sanomalehtiaineistoista koottuja datasettejä popstat-menetelmällä ja yhdistämme näin saadun tiedon elokuvan sisältöjen analyysiin. Kokonaisvaltaisella ymmärryksellä elokuvasta tuotannon, levittämisen, esittämisen ja katsomisen kokonaisuutena, tutkimuksemme hyödyntää uuden elokuvahistorian (new cinema history) teorioita ja kiinnittyy uuden sotahistorian perinteeseen, jossa sotaa tarkastellaan yhteiskunnallisena ja kulttuurisena prosessina. The film culture of a small country is always in close interaction with the wider international context, and this is also true for Finland. During the Second World War, film production companies needed to maintain good relations with Nazi Germany, which was Europe’s largest producer of raw film. By controlling a large part of European film imports and exports through the occupation, Germany effectively determined access to European cinema for these countries. In Finland, this quest for cultural hegemony was manifested in the film dispute from 1942 onwards. Here we study, through film exhibition in Vyborg, whether the pro-German film industry succeeded in preventing the screening of American cinema in Finland. We will also examine whether the attempt to ban American films was reflected in the everyday lives of filmgoers in Viipuri and what role German films played in the programming. We analyse datasets collected from newspapers using the popstat method to link the data to the inner world of cinema. With a holistic understanding of film as a whole of production, distribution, exhibition and viewing, our research draws on the theories of new cinema history and is anchored in the tradition of new military history, which focuses on war as a social and cultural process.

In these periods when the series and film industry is going through a significant change, the effect of the digitalization and pandemic process on this change is relatively high. While expressing how this change occurred, its relationship with organizational ecology theory should not be ignored. The research aims to examine the digital revolution, the pandemic process and the aftermath of the great collapse in cinemas and the rise in digital series and film platforms by associating them with various concepts within the theory of organizational ecology. It is also aimed to contribute to the literature by expressing this connection, which has not been examined in the literature before, more clearly. As a result of the study, it is planned to explain various concepts in organizational ecology theory more clearly with examples from the sector, by explaining the decline in the cinema sector, which is expressed as organizational ecology and the change in the shell in the sector, and the rise in digital TV series and film platforms. In the research, the document analysis method, which is one of the qualitative research methods, was used. In the study, the rise of digital platforms and the decline in the cinema sector were evaluated through digitalization and the pandemic process, and this evaluation is examined through organizational ecology theory. In addition to the fact that no other study in the literature has been carried out in this direction before, the fact that it is carried out with the document analysis method, which is one of the qualitative research methods, which is a research method that is rarely preferred in research on organizational ecology theory, constitutes an original and different aspect of the study from other studies in the literature. As a result of the study, in terms of digital series and film platforms and the cinema sector; It has been determined that the organizational ecology basic concepts of competition approach, niche approach, selection approach, structural inertia, density, density delay, organizational and cognitive legitimacy, inured, imprinting are supported, but age dependence is not supported. [ABSTRACT FROM AUTHOR]

Temos por finalidade, neste artigo, abordar as interfaces entre criações de imagens, cinema e os efeitos e sensações produzidos nesses encontros. A partir de Alves (2016), entendemos as redes educativas que nos formam e formamos com os outros, como importantes fluxos de ‘conhecimentossiginificações’. Com isso, buscamos compreender como as imagens (criações cotidianas) ‘vistasouvidassentidasfeitaspensadas’ provocam afetos, lembranças e narrativas que nos permitem conversar acerca de diferentes situações existenciais. Escolhemos o cinema, paixão dos autores, para pensarmos juntos com essas criações. De acordo com Deleuze e Guattari (1992), as imagens evocam nossos sentidos e nos permitem tecermos ‘personagens conceituais’ para continuarmos experimentando e resistindo e também como uma das muitas formas de ‘fazersentirpensar’ a educação. Acreditamos que os filmes podem nos envolver em bons encontros, consistindo em dispositivo aguçador de práticas heterotópicas.

In this article, we aim to address the interfaces between image creation, cinema and the effects and sensations produced in these meetings. From Alves (2016), we understand the educational networks that form us and form with others, as important flows of 'knowledge and meanings'. With this, we seek to understand how the images (everyday creations) 'seenhearddonefeltthought' provoke affections, memories and narratives that allow us to talk about different existential situations. We chose cinema, the authors' passion, to think together with these creations. According to Deleuze and Guattari (1992), images evoke our senses and allow us to weave 'conceptual characters' to continue experimenting and resisting and also as one of the many ways to 'make people think' education. We believe that films can involve us in good encounters, consisting of a sharpening device for heterotopic practices. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition.

The article discusses the process of the fall of cinema attendance that took place in Soviet cinema in the 1970's - early 1980-ies. The author examines the causes of this negative tendency and the measures that took the leaders of the Soviet cinematography and the filmmakers to eliminate this problem. The article contains the questions of cinema sociology, movie rental, repertoire policy.

Copyright of Zeszyty Wiejskie is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Building upon the methodological approach offered by the history of emotions, this article re-examines the records of Mass Observation's Worktown to explore how cinemas in Bolton functioned as sites of public emotion between 1930 and 1954. It suggests that the cinema was a unique emotional space in which tensions between the public and private nature of feeling were contested and developed. This article argues that Bolton's cinemas were instrumental not only in the leisure landscape of the town but also in the development of wider emotional practices (both individual and collective) in the mid-twentieth century. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the process of the fall of cinema attendance that took place in Soviet cinema in the 1970's - early 1980-ies. The author examines the causes of this negative tendency and the measures that took the leaders of the Soviet cinematography and the filmmakers to eliminate this problem. The article contains the questions of cinema sociology, movie rental, repertoire policy.

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition.

Book review of Os Cinemas de Lisboa. Um fenómeno urbano do século XX, by Margarida Acciaiuoli (2012).

The development of cinema in Tunis did not seem, at first, to disrupt the geography of leisure in the city. Movie theaters were mostly located in the city center, favoring the most vibrant streets of the Tunisian capital. Exhibitors admittedly neglected the outskirts of the city. Yet movie theaters were scattered across the new town and started penetrating a medina doomed to marginalization, proving that the ancient forms of urbanization were not irreconcilable with the new urban lifestyle. Movie consumption was first and foremost a local activity. But neither the social influence of the local cinema nor the symbolic frontiers dividing the city could confine movie lovers. The expansion of the cinema generated new flows of moviegoers throughout the city and helped Tunisians to reclaim the public space. In the post-war years, the movie theaters of the “European” center became a place of conviviality for an educated youth whose urban identity would be rooted there.

Copyright of Index.Comunicación is the property of Index.comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the nineteenth century, Tecuci was a town hard tried by fires that threatened the prosperous affairs of merchants and the life of the entire community. Fire prevention measures taken by the City Hall shaped the city starting from buildings to people's behavior in public. Over time, the fire extinguishing technique evolved in Tecuci from the use of cumbersome manual pumps, which needed periodical repairs after big fires, to the use of self-pumps. A dynamic situation that can evolve violently, fire binds firefighters to be forces themselves. The Firefighters' Inspectorate sees to the training of its military personnel through various methods, but the model of behavior closest to the troops is the commander. Lieutenant Vlad Radu proved to be a model leader for the Tecuci firefighters through his work with them and through the solutions he proposed to the city for saving fire victims and transporting them to medical units. [ABSTRACT FROM AUTHOR]

OBJECTIVE: The aim of this study was to describe the auditory-perceptive evaluation and the psychodynamic aspects of voice samples among suicidal movie characters. METHOD: Voice samples of 48 characters (27 male, 21 female), extracted from 36 movies produced between 1968 and 2006, were analyzed. The samples were evaluated through a specific protocol focusing on the auditory-perceptive evaluation (voice quality, resonance, pitch, loudness, modulation, pauses, articulation and rhythm) and the psychodynamic aspects of voice. RESULTS: 85.5% of the samples exhibited abnormal findings in at least five parameters of the auditory-perceptive analysis, such as breathiness (n = 42; 87.5% of the samples), hoarseness (n = 39; 81.2%) and strain (n = 29; 60.4%), as well as laryngopharingeal resonance (n = 39; 81.2%), either high pitch (n = 14; 29.2%), or decreased loudness (n = 31; 64.6%). With respect to the psychodynamic aspects, dismay was detected in 50% (n = 24) of the samples, hopelessness in 47.9% (n = 23), resignation in 37.5% (n = 18), and sadness in 33.3% (n = 16). CONCLUSION: Our findings suggest the existence of specific patterns used by actors during the interpretation of suicidal characters. The replication of these findings among real patients may contribute to improvement in the evaluation of potential suicidal patients, as well as the implementation of preventive measures.OBJETIVO: O objetivo do presente estudo foi descrever a análise perceptivo-auditiva e de psicodinâmica vocal de amostras de fala de personagens suicidas em filmes de cinema. MÉTODO: Foram analisadas amostras de fala de 48 personagens suicidas (27 homens, 21 mulheres), extraídas de 36 filmes produzidos no período de 1968 a 2006. As amostras foram analisadas utilizando-se um protocolo especificamente produzido para o registro das características da voz por meio da análise perceptivo-auditiva (qualidade vocal, ressonância, pitch, loudness, modulação, pausas, articulação e ritmo de fala) e da psicodinâmica vocal. RESULTADOS: 85,5% das amostras (n = 41) apresentaram alterações em ao menos cinco parâmetros da análise perceptivo-auditiva, com destaque para soprosidade (n = 42; 87,5% das amostras), rugosidade (n = 39; 81,2%) e tensão (n = 29; 60,4%), bem como ressonância laringofaríngea (n = 39; 81,2%), pitch agudo (n = 14; 29,2%) e loudness fraca (n = 31; 64,6%). A análise da psicodinâmica vocal revelou desânimo em 50% (n = 24) das amostras, desesperança em 47,9% (n = 23), resignação em 37,5% (n = 18) e tristeza em 33,3% (n = 16). CONCLUSÃO: Os achados do presente estudo apontam para padrões vocais característicos utilizados por atores na interpretação de personagens suicidas. Se replicados entre pacientes reais, estes achados podem contribuir para o aperfeiçoamento da avaliação do risco de suicídio e a instauração de medidas preventivas.

Lack of time these days makes leisure moments increasingly valuable. While movies are an important entertainment option in big cities recently there have been changes in theaters around the world and many adaptations have been made to attract and retain viewers. This article addresses key attributes and motivations with respect to movies and theaters that influence moviegoers in Porto Alegre. Data analyzed reveals that the main moviegoer motivation is leisurely entertainment. Seating comfort and cleanliness are the most important attributes for motion picture theaters while cast and script rate highest for motion pictures. This information may influence more of a focus on actions for customer preferences in the endeavor to attract more viewers.La creciente falta de tiempo de las personas en los tiempos actuales ha dejado los momentos de ocio cada vez más valorados. La ida al cine es una de las principales opciones de entretenimiento de la población en las grandes ciudades. Sin embargo, en los últimos años, ha habido cambios en varios aspectos de las salas de cine en todo el mundo, cambios que dan cuenta que las empresas del ramo, en proceso de permanente adaptación, incorporan nuevas formas de conquistar y hacer leales a sus clientes. Este artículo busca tratar de los principales atributos y motivaciones de las salas de cine y de las películas que determinan la ida del espectador al cine en la ciudad de Porto Alegre. El análisis de los datos recolectados en este estudio revela que la principal motivación que lleva a las personas al cine es el entretenimiento/ocio. Los atributos de las salas de cine más valorados, según los datos presentados, son la comodidad de los asientos y la limpieza e higiene, mientras que los atributos de las películas más valorados son el guión y el elenco. Las informaciones analizadas en este estudio podrán influenciar la toma de decisiones de las empresas del ramo para que dirijan sus esfuerzos hacia aquello que el cliente realmente valora, para así conseguir mantenerse en este difícil mercado.A crescente falta de tempo das pessoas, nos dias atuais, vem tornando os momentos de lazer cada vez mais valorizados. A ida ao cinema, nesse contexto, é uma das principais opções de entretenimento das populações das grandes cidades. Entretanto, nos últimos anos houve mudanças em diversos aspectos no panorama das salas de exibição em todo o mundo, e as empresas do ramo estão se adaptando, buscando sempre conquistar e fidelizar clientes. Este artigo objetiva abordar os principais atributos e motivações das salas e dos filmes que determinam a ida do espectador ao cinema na cidade de Porto Alegre. A análise dos dados coletados neste estudo revela que a principal motivação das pessoas para ir ao cinema é o entretenimento/lazer. Os atributos das salas de exibição mais valorizados, conforme os dados apresentados, são o conforto das poltronas e a limpeza e higiene, e os atributos mais valorizados dos filmes são o roteiro e o elenco. As informações analisadas neste estudo poderão influenciar a tomada de decisão das empresas, no sentido de estas focarem seus esforços nos itens que o cliente realmente valoriza, para assim conseguirem se manter neste mercado acirrado.

This research aims to emphasize the activity of the 'Prince Carol' Royal Cultural Foundation created in 1921 in order to lead to the emancipation of villages in particular and of the Romanian culture in a more general perspective. Overall, we may say that the period between the two world wars was marked, also due to the help of the Royal Cultural Foundation, by substantial progress in various fields of education, science and culture in general, and thus contributed to changing Romania into a state with a high level of culture and to creating an image and a prestige of the country that commanded worldwide respect. The research was done on the basis of the documents studied at the Service of the Central National Historical Archives (SANIC), the Stock of the 'Prince Carol' Royal Cultural Foundation and at the Library of the Romanian Academy. [ABSTRACT FROM AUTHOR]

Film production in Africa encounters numerous difficulties while at the same time theaters close down. An essential prerequisite to the possible adoption of appropriate remedies to this situation is an analysis of the causes which led to the extinction of theaters and the comprehension of the industry's current structure. If some countries such as Nigeria or South Africa seem more like an exception to the rule without, thus, being able to become models, it is not certain that the contemporary digitalization of the sector helps to radically overcome its structural difficulties. Instead of succumbing to discourses of victimization, it would be better to study the main symptoms and the multiple causes, to start with the audiences' expectations and attitudes, as well as the much larger political and economic dysfunctions which influence the majority of these nations and prevent the film industry from restructuring, while favoring the emergence of less known but massively practiced forms of collective sharing of images.