This distinctively interdisciplinary approach to the subject encompasses filmmaking, psychoanalysis, philosophy and popular culture and offers a unique insight into documentary film practice from a psychoanalytic perspective. At the heart of the enquiry is belief that ‘transference-love’ is present in the documentary encounter. With a focus on testimony-driven film and a foreword by Michael Renov, who calls this book 'a radical and compelling account', _Psychoanalysis and Ethics in Documentary Film _covers a range of topics including: Four fundamental (...) concepts of psychoanalysis and documentary film A review of documentary film practice A personal account of the author’s relationship with a subject of her own work A thorough interrogation of the ethics of documentary Ideal for film studies scholars, psychoanalysts, psychotherapists and psychotherapeutically engaged professionals, as well as filmmakers, culture studies students and anyone interested in the process of documentary-making and contemporary culture, this work offers a unique approach. (shrink)

For the first time this volume makes Jean-Pierre Meunier's influential thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier's intricate phenomenological descriptions of the spectator's engagement with fiction films, documentaries and home movies can reach the wide audience they have deserved ever since their publication in French in 1969.

In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the (...) task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process... (shrink)

Limit Cinema explores how contemporary global cinema represents the relationship between humans and nature. During the 21st century this relationship has become increasingly fraught due to proliferating social and environmental crises; recent films from Lars von Trier's Melancholia (2011) to Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives (2010) address these problems by reflecting or renegotiating the terms of our engagement with the natural world. In this spirit, this book proposes a new film philosophy for the Anthropocene. (...) It argues that certain contemporary films attempt to transgress the limits of human experience, and that such 'limit cinema' has the potential to help us rethink our relationship with nature. Posing a new and timely alternative to the process philosophies that have become orthodox in the fields of film philosophy and ecocriticism, Limit Cinema revitalizes the philosophy of Georges Bataille and puts forward a new reading of his notion of transgression in the context of our current environmental crisis. To that end, Limit Cinema brings Bataille into conversation with more recent discussions in the humanities that seek less anthropocentric modes of thought, including posthumanism, speculative realism, and other theories associated with the nonhuman turn. The problems at stake are global in scale, and the book therefore engages with cinema from a range of national and cultural contexts. From Ben Wheatley's psychological thrillers to Nettie Wild's eco-documentaries, limit cinema pushes against the boundaries of thought and encourages an ethical engagement with perspectives beyond the human. (shrink)

What mental and physical distress do actors, camerapersons, and reporters experience when working on reenactments of traumatic moments in history? In Political Camerawork, D. Andy Rice theorizes that the intense feelings produced while creating these performed scenarios, called "simulation documentaries," connect difficult pasts to the present. Building on his background as a nonfiction film director, producer, editor, and cinematographer, Rice analyzes performance techniques to gain insight into the emotional toll of simulation documentaries, including those reliving the Vietnam War, the US (...) military's embodied training in California during the Iraq War, and an annual quadruple lynching reenactment organized by Black civil rights activists in Georgia. Investigating the lasting impact of these productions, Political Camerawork reveals that, by performing a simulation of a traumatic event they didn't directly experience, those involved become carriers of the trauma. (shrink)

In Third Digital Documentary: A Theory and Practice of Transmedia Arts Activism, Critical Design and Ethics Anita Chang offers a theory and methodology of transmedia arts activism within the technocultural and sociopolitical landscape of expanded documentary production, distribution, reception and participation. Through a detailed analysis of her transmedia project on indigenous and minority language endangerment and revival that consists of the feature-length documentary Tongues of Heaven, and the companion web application Root Tongue: Sharing Stories of Language Identity (...) and Revival, she reveals the layers and depths that comprise a critical arts practice when confronted with complex sociopolitical issues while working with multiple communities across territorial/national boundaries. In the context of the growing field of transmedia documentaries, Chang discusses the potentials and benefits of a critical design practice and production ethics that can transform this field to pilot new collaborations in documentary and digital media platforms towards a third digital documentary. (shrink)

To help College Students improve their entrepreneurial psychology and enrich their innovative achievements, this paper investigates College Students’ entrepreneurial behavior based on the theory of positive psychology under the background of multiculturalism. Firstly, the background and development status of multiculturalism are expounded, and the main features of the multicultural era are pointed out; Secondly, the current situation is explained for College Students’ mental health and entrepreneurial behavior, and the specific connotation of College Students’ entrepreneurial psychology is summarized according to entrepreneurial (...) behavior, including entrepreneurial consciousness, entrepreneurial will, entrepreneurial capability, and entrepreneurial personality; Thirdly, the positive effects of inspirational films and roles on the psychology of College Students are discussed. From the connotation of film and television culture, the main features of films are reviewed: intuitiveness, immediacy, universality, entertainment, and orientation. Finally, according to the psychological impact of inspirational films on College Students, a Questionnaire Survey is designed and distributed among the local College Students, and assumptions are put forward. The results show that the differences of College Students’ entrepreneurial level are mainly reflected in gender, urban, and rural household registration, only-child-or-no, and entrepreneurial experience, and the gender differences are mainly in entrepreneurial consciousness, will, and personality ; There are significant differences in consciousness, will, capability, and personality between urban and rural household registration and entrepreneurial experience ; The differences between the only-child and non-only-child are obvious in three aspects: will, capability, and personality. After the intervention of inspirational films, the average scores of all dimensions of the entrepreneurial level of students in the intervention group are 35.45, 36.41, 38.17, and 37.22, respectively, which have a certain improvement compared with the situation before the intervention. There are significant differences in the four dimensions, which is statistically significant, indicating that the intervention of inspirational films has a positive impact on students’ entrepreneurial level. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, anti-ocular (...) thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis’ article examines how Yale psychologist Arnold Gesell was able to extract (...) scientific data from a film. Felix Rietmann’s article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers’ engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O’Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. (shrink)

This book rethinks the discussion of sport as a cinematic subject. Arguing for the vitality of the sports film as distinctively 'modern' genre, the book looks at its innovative potential to capture twentieth- and twenty-first-century sport in all its complexity. Written in an accessible style and illustrated throughout, the book integrates work and ideas from film studies with thinking from sports psychology, philosophy, data theory and ecocriticism. In its detailed analyses of a wide-ranging group of films, the book shows (...) how film, from fictional works to biopics to experimental documentaries, can illuminate individual sporting experience, as well as sport's wider place in modern life. (shrink)

In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film (...) industry. I next review the great French Holocaust documentary Night and Fog (1955), directed by Alain Resnais. This was a widely acclaimed film, winning the Prix Jean Vigo in 1956. Resnais employed a camp survivor (Jean Cayrol) to write the dialogue, and it is powerful, indeed, truly lyrical in places. The last film I review in the essay is a generally overlooked British Thames Television documentary, Genocide: 1941-1945 (1974), directed by Michael Darlow (and narrated by Sir Laurence Oliver). It was the first of the major Holocaust documentaries to focus on the point that the Nazi genocide targeted first and foremost the Jewish people, and to explore the development of Nazi racial theory, and the rise of the SS. (shrink)

Film can be a significant way of doing public philosophy. This chapter sketches some essential public features of philosophy by using popular films. Learning to watch popular films as philosophical expressions, on par with books and articles, brings film and philosophy to inform one another and illuminate important areas of overlap. Memento is an especially uncanny film because it begins with the story's ending. Daniel J. Clark's 2018 documentary film Behind the Curve charts the resurgence of flat‐Earth (...) theory in the United States. Its core thesis is that false, avowed belief in flat‐Earth is sustained partly by an irrational weighing of evidence reinforced by various social, psychological, and economic benefits that come from holding the belief. We gain insight into a classic mechanism of motivated reasoning from Tony Kaye's film American History X, a fictional exploration of the rise of white supremacist ideology in US white working‐class neighborhoods. (shrink)

'Young People and Social Media: Contemporary Children's Digital Culture' explores the practices, relationships, consequences, benefits, and outcomes of children's experiences with, on, and through social media by bringing together a vast array of different ideas about childhood, youth, and young people's lives. These ideas are drawn from scholars working in a variety of disciplines, and rather than just describing the social construction of childhood or an understanding of children's lives, this collection seeks to encapsulate not only how young people exist (...) on social media but also how their physical lives are impacted by their presence on social media.One of the aims of this volume in exploring youth interaction with social media is to unpack the structuring of digital technologies in terms of how young people access the technology to use it as a means of communication, a platform for identification, and a tool for participation in their larger social world. During longstanding and continued experience in the broad field of youth and digital culture, we have come to realize that not only is the subject matter increasing in importance at an immeasurable rate, but the amount of textbooks and/or edited collections has lagged behind considerably. There is a lack of sources that fully encapsulate the canon of texts for the discipline or the rich diversity and complexity of overlapping subject areas that create the fertile ground for studying young people's lives and culture. The editors hope that this text will occupy some of that void and act as a catalyst for future interdisciplinary collections.'Young People and Social Media: Contemporary Children's Digital Culture' will appeal to undergraduate students studying Child and Youth Studies and-given the interdisciplinary nature of the collection- scholars, researchers and students at all levels working in anthropology, psychology, sociology, communication studies, cultural studies, media studies, education, and human rights, among others. Practitioners in these fields will also find this collection of particular interest. (shrink)

Since _Jung and Film_ was first published in 2001, Jungian writing on the moving image in film and television has accelerated. _Jung and Film II: The Return_ provides new contributions from authors across the globe willing to tackle the broader issues of film production and consumption, the audience and the place of film culture in our lives. As well as chapters dealing with particular film makers such as Maya Derren and films such as _Birth, The Piano, The Wrestler _and (...) _Breaking the Wave_, there is also a unique chapter co-written by documentary film-maker Tom Hurvitz and New York Jungian analyst Margaret Klenck. Other areas of discussion include: the way in which psychological issues come under scrutiny in many movies the various themes that concern Jungian writers on film how Jungian ideas on psychological personality types can be applied in fresh ways to analyse a variety of characters. The book also includes a glossary to help readers with Jungian words and concepts. _Jung and Film II_ is not only a welcome companion to the first volume, it is an important stand- alone work essential for all academics and students of analytical psychology as well as film, media and cultural studies. (shrink)

In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the (...) soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

The horror and psychological denial of our mortality, along with the corruptibility of our flesh, are persistent themes in drama. Body horror films have intensified these themes in increasingly graphic terms. The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche, all of whom demonstrated that we have just cause to be anxious about our physical reality and its existence in the world. (...) This book examines the relationship between these writers and the various manifestations of body horror in film. The most characteristic examples of this genre are those directed by David Cronenberg, but body horror as a whole includes many variations on the theme by other figures, whose work is charted here through seven categories: copulation, generation, digestion, mutilation, infection, mutation, disintegration and extinction. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are (...) being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field. (shrink)

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing (...) both directly on the work of Maurice Merleau-Ponty and on some recent film- and feminist-theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film-texts. (shrink)

Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...) : multiple screens as affective weapons -- Conclusion : the neuro-image : brain-screens from the future. (shrink)

Artworks are attentional engines, or artifacts intentionally designed to direct attention to formal features that are diagnostic for their artistically salient aesthetic, expressive, and semantic content. This is nowhere more true than the movies. Moving pictures are constructed from a suite of formal and narrative devices carefully developed to capture, hold, and direct our attention. These devices are tools for developing content by controlling the way information is presented throughout the duration of our engagement with a movie. In this respect (...) moving pictures are analogous to visual routines used to direct and bias attention in natural behavior - they are artifacts used to deliver information on the fly as it is needed for the development of the narrative. This article reviews some of the fundamental devices movie makers use to discharge this function - such as variable framing and criterial prefocusing – and discusses their relation to our underlying cognitive, affective, and neurological architecture. These formal devices are designed to guide and control salient aspects of viewers behavioral responses to mass market movies. Therefore, we argue that it is no surprise to discover that that they are fine tuned to the architecture of emotion, perception, and cognition. (shrink)

In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

This study draws from theoretical environmental debates as well as a selection of films, documentaries, and texts to discuss Africans’ approaches to environmental and ecological problems. Furthermore, it highlights the various strategies that Africans have developed in their attempts to provide holistic and much more comprehensive responses to environmental challenges. Informed by African indigenous knowledge, those strategies do involve community-based micro-level initiatives, grassroots organizations, ancestral spirits, and use local languages or lingua franca to educate as well as prod the (...) people’s consciousness about environmental and ecological issues. (shrink)

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of _déjà vu_, as though we have already seen the sad outcome to this story. Drawing from recent scholarship that analyzes climate change as a form of “slow violence” that (...) humans are inflicting on the environment, _Climate Trauma_ theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.” Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming. Examining dystopian classics like _Soylent Green _alongside more recent examples like _The Book of Eli_, _Climate Trauma_ also stretches the limits of the genre to include features such as _Blindness_, _The Happening_, _Take Shelter_, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, _Climate Trauma _provides us with the tools we need to extract something useful from our nightmares of a catastrophic future. (shrink)

Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, inviting (...) the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation. (shrink)

This paper explores the relationship between thinking and decision-making. In the first part, the paper analyzes the process of thinking from three aspects – language, psychology, and behavior. It then proceeds to investigate the implications of different kinds of thinking ondecision-making. The final section of the paper raises some questions and concerns about the role of the scientific method in making decisions under conditions of uncertainty. The author offers specific examples from the book publishing business and the movie industry.

This article explores how post-war documentary film-makers negotiated complex social, formal, and autobiographical issues associated with representing mental illness and its treatments, and the extent to which their respective approaches helped to challenge conventional attitudes to alternative psychotherapies – especially within the context of advances in new documentary film-making technologies, alongside a wider culture of social activism. Focussing on A Look at Madness ( Regard sur la folie; Mario Ruspoli, 1962, France) and Now Do You Get It Why (...) I Am Crying? ( Begrijpt u nu waarom ik huil?; Louis van Gasteren, 1969, Netherlands), the article discusses how the collaborative, democratic aims of cinéma direct coincided with the ethos of institutional psychotherapy, and compares this with the relations between the documentary form and the subject of LSD-assisted psychotherapeutic techniques in Van Gasteren's film. (shrink)

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

Documenting the dark side : fictional and documentary treatments of torture and the 'war on terror' -- History lessons : what audiences (could) learn about genocide from historical drama -- The art of disappearance : remembering political violence in Argentina and Chile -- Uninvited visitors : immigration, detention and deportation in science fiction -- Architectures of enmity : the Israeli-Palestinian conflict through a cinematic lens.

The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents. This book questions how cinematic narratives relate to and affect ethical life.

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

This descriptive case study explores how on cohort of 17 White elementary preservice teachers examined counter-narratives of racism and Whiteness in selected documentary films using a historical inquiry approach. Findings indicate that by joining documentary film and historical inquiry in elementary social studies education, teacher educators can foster preservice teachers' engagement with perspective recognition while developing historical content knowledge. This study also documents White preservice teachers' acceptance of racism and resistance towards unpacking their White privilege and racism (...) as status quo. Implications for using this approach with preservice teachers and the dilemma of White avoidance in social studies education are discussed. (shrink)

Time has multiple aspects and is difficult to define as one unique entity, which therefore led to multiple interpretations in physics and philosophy. However, if the perception of time is considered as a composite time concept, it can be decomposed into basic invariable components for the perception of progressive and support-fixed time and into secondary components with possible association to unit-defined time or tense. Progressive time corresponds to Bergson’s definition of duration without boundaries, which cannot be divided for measurements. (...) Time periods are already lying in the past and fixed on different kinds of support. The human memory is the first automatic support, but any other support suitable for time registration can also be considered. The true reproduction of original time from any support requires conditions identical to the initial conditions, if not time reproduction becomes artificially modified as can be seen with a film. Time reproduction can be artificially accelerated, slowed down, extended or diminished, and also inverted from the present to the past, which only depends on the manipulation of the support, to which time is firmly linked. Tense associated to progressive and support fixed time is a psychological property directly dependent on an observer, who judges his present as immediate, his past as finished and his future as uncertain. Events can be secondarily associated to the tenses of an observer. Unit-defined time is essential for physics and normal live and is obtained by comparison of support-fixed time to systems with regular motions, like clocks. The association of time perception to time units can also be broken. Einstein’s time units became relative, in quantum mechanics, some physicist eliminated time units, others maintained them. Nevertheless, even the complete elimination of time units is not identical to timelessness, since the psychological perception of progressive and support-fixed time still remains and cannot be ignored. It is not seizable by physical methods, but experienced by everybody in everyday life. Contemporary physics can only abandon the association of time units or tenses to the basic components in perceived time. (shrink)

In recent years, documentary formats have entered prominently into the realm of the culture industry, especially since Hollywood and Netflix started to invest in costly productions addressed to the mainstream. Many of these documentaries claim to show reality in its immediacy (“as it really is”), to reveal that which is obscured, or to critically assess societal evils. They use aesthetic strategies that reinforce the appearance of authenticity, while concealing the mediation of what they represent, and the authoritarian stances they (...) presuppose. This turns them into powerful instruments for diffusing authoritarian and populist ideologies. Their political impact on society, their performative power of opinion-shaping, and their subliminal influence on how we perceive and understand reality call urgently for critical assessment. Horkheimer and Adorno’s critique of the culture industry, along with their philosophical, sociological, and aesthetic writings, provide a constructive starting point. This essay aims to mobilize their critical theory of society for the problematization of documentary films in terms of their dialectical relation to society. (shrink)

The documentary film is a popular curriculum tool, and the goal of this paper is to expand the educational significance of the documentary genre I argue that current understandings of this genre are limited and limiting, and offer an alternative perspective on the genre. This alternative will be built from Stanley Cavell’s philosophy of education, in particular, his understanding of the role that ‘representativeness’ plays in teaching and learning.

What are the main learning difficulties or advantages encountered by students with learning disabilities within e-environments? As a result of the Covid-19 emergency, e-learning is being increasingly used to support students’ learning processes. A number of countries closed their schools altogether, so face-to-face lessons were and have been replaced by distance lessons. A search of current literature via Scopus, Eric and Google Scholar electronic databases was conducted according to Prisma Guidelines. Other sources of literature were also considered, starting from the (...) references in the full text of the articles consulted. We used the following search keywords: “LDs” combined with the “AND/OR” Boolean operator and “e-learning platforms,” “well-being,” “psychological factors,” “emotional distress,” and “self-regulation.” One body of literature highlights the lack of inclusive accessibility standards and a lack of attention to specific tools for addressing LDs, which causes students to develop high levels of stress/anxiety and emotional distress, in addition to low levels of well-being, self-esteem and self-efficacy. Another area of literature looks at how students can develop high levels of self-regulation and emotional awareness, as well as high levels of inclusion. Results are discussed in terms of the promotion of e-learning that focuses on the psychological well-being of students and teachers use of technological tools. (shrink)

The changes that have affected all spheres of society have also affected the existing stereotypes of gender behaviour, so the issue of the place and role of men and women in society focuses on research on the aspirations, interests and preferences of both sexes. Gender issues are studied in an interdisciplinary aspect, so recently there have been many studies in which the subject of discussion concerns different fields of science - psychology, philosophy, linguistics, journalism, sociology, political science and many others. (...) To study the gender sphere of concept of contemporary periodicals for women and men, the following scientific methods are considered: descriptive method, analysis, content analysis, questionnaire, comparative method and induction. However, an attempt has been made to analyze different approaches to the study of concepts. There are many different definitions of the concept, which indicates the complexity and ambiguity of the “concept” meaning, but there is a limit to the scientific description and understanding of the concept. The gender sphere of concept is a system of interactions of maximum concepts of man and woman, as well as their derivatives, which are called gender and social roles in society performed by man and woman. Concepts, sphere of concept include gender features, which allow a gender approach to study the gender sphere of concept of contemporary periodicals for women and men. The study of the gender sphere of concept within the framework of contemporary gender-labelled publications allows to identify and correlate metagender and gender concepts that appear in society. (shrink)

_Despite advances in standard of living of the population, the condition of widows and divorced women remains deplorable in society. The situation is worse in developing nations with their unique social, cultural and economic milieu, which at times ignores the basic human rights of this vulnerable section of society. A gap exists in life expectancies of men and women in both developing and developed nations. This, coupled with greater remarriage rates in men, ensures that the number of widows continues to (...) exceed that of widowers. Moreover, with women becoming more educated, economically independent and aware of their rights, divorce rates are increasing along with associated psychological ramifications. The fact that widowed/divorced women suffer from varying psychological stressors is often ignored. It has been concluded in various studies that such stressors could be harbingers of psychiatric illnesses (e.g., depression, anxiety, substance dependence), and hence should be taken into account by treating physicians, social workers and others who come to the aid of such women. A change in mindset of the society is required before these women get their rightful place, for which a strong will is needed in the minds of the people, and in law-governing bodies._. (shrink)

What are the ethics of using voices generated by artificial intelligence or “deepfake” technology in documentary film? This case study explores the controversy surrounding the use of AI to reconstruct Anthony Bourdain’s voice in the biographical film, Roadrunner.

ObjectiveGonadotoxicity is considered one of the most distressing side effects of cancer treatment. Although fertility preservation can be a valid solution, it also involves a challenging process. A clear understanding of the features of women who decide to pursue fertility preservation after cancer diagnosis is missing. The purpose of the present study was therefore to analyze the personality profile of female patients referred to oncofertility prior to gonadotoxic treatment.MethodsFifty-two female cancer patients took part in the study. The Temperament and Character (...) Inventory-Revised, the Response Evaluation Measure-71, the Beck Depression Inventory, and the State-Trait Anxiety Inventory-Y Form were administered to examine personality characteristics, defense mechanisms, depression and anxiety symptoms.ResultsCompared with reference data of the Italian population, our sample reported significantly lower scores in Harm Avoidance and trait anxiety, and significantly higher levels of mature defense mechanisms. Most of the patients reported low scores in immature defense mechanisms, depression, and trait anxiety, and medium scores in state anxiety.ConclusionsOur findings suggest that these women display functional personality traits and defensive style, in association with low levels of depression and trait anxiety. These features may enable a proactive attitude to cancer and the ability to make long-term plans. This may favor psychological adjustment to cancer and a projection toward the future. (shrink)

Psychological Aspects of Risk and Aggression among Motorcyclists - "Mad Max" Syndrome The primary objective of this study was the psychological examination of a group of Polish motorcyclists against a group of students and graduates of Technical Universities. This work poses a question regarding the differences in temperament, aggression and the level of risk between motorcyclists and the control group. The second question was whether it was possible to create a typology of Polish motorcyclists taking into account (...) the variables describing risk, temperament and aggression. This study used the Pavlovian Temperamental Scale, Stimulating-Instrumental Risk Inventory, SIRI 2001, Multifactor Risky Behavior Scale, Unhealthy behavior Inventory and the Buss and Perry Aggression Questionnaire. The tests were performed on 267 motorcyclists and 188 students and graduates of Technical Universities. A number of important differences was observed between the motorcyclists and the control group. Motorcyclists had a higher level of mobility of nervous processes and higher degree of excitation at the lower level of inhibitory processes. In terms of the measured level of risk they also had a higher level of stimulating, instrumental and unhealthy risk, at the lower levels of physical, social, ethical and financial risk in relation to the control group. Cluster and confirmation analyses showed the existence of three sub-groups of motorcyclists: prevaricators, ones with a Mad Max syndrome, and adventurers. The confirmation analysis was carried out on an additional group of 243 motorcyclists. (shrink)