scholarly journals 24. UK Senior Citizens Learn Filmmaking as a Creative Pathway to Reflection and Fulfilment

2020 ◽  
pp. 517-543
Author(s):  
Teresa Brayshaw ◽  
Jenny Granville

Teresa Brayshaw and Jenny Granville offer a non-conventional treatment of a project that supports pensioners to engage in collaborative film making. Their performative approach is fairly radical and, in keeping with this, the chapter is multi-faceted. It includes a transcript of the film and its QR code to enable you to view it yourself, feedback from viewers, elements from a conference presentation and selections from the email exchanges between and among editors and academics that illustrate the difficulties when different views collide.

2012 ◽  
Vol 31 (11) ◽  
pp. 826-829
Author(s):  
A. Goette ◽  
P. Kirchhof ◽  
A. Treszl ◽  
K. Wegscheider ◽  
T. Meinertz

ZusammenfassungEs werden die Ergebnisse von Studien sowie die Protokolle laufender „Megastudien“ mit Bezug zum Vorhofflimmer-Netzwerk dargestellt. Bei den abgeschlossenen Studien handelt es sich um die Flecainide Short-Long trial (Flec-SL) und die Angiotensin-II-Rezeptorblocker in Paroxysmal Atrial FibrillationStudie (ANTIPAF). Bei den „Megastudien“ um Studien mit den Kürzeln EAST (Early Treatment of Atrial Fibrillation for Stroke Prevention Trial), CABANA (Catheter Ablation Versus Anti-arrhythmic Drug Therapy for Atrial Fibrillation Trial) und CASTLE-AF (Catheter Ablation versus Standard conventional Treatment in patients with LEft ventricular dysfunction and Atrial Fibrillation). Die Ergebnisse der Studien: Eine präventive Kurzzeittherapie nach Kardio-version ist sinnvoller als der Verzicht auf jegliche Antiarrhythmika-Nachbehandlung. Noch effektiver scheint eine antiarrhythmische Langzeit-Nachbehandlung über sechs Monate zu sein. In der ANTIPAF-Studie zeigte sich, dass bei Patienten mit paroxysmalem Vorhofflimmern (VHF) ohne strukturelle Herzkrankheit der Angiotensinrezeptorblocker Olmesartan nicht in der Lage ist, die Häufigkeit der Anfälle zu reduzieren. Wichtigstes therapeutisches Ziel ist die Verhinderung der Progression von VHF. In der EAST-Studie wird geprüft, ob eine frühzeitig eingeleitete, „aggressive“ Therapie zur Kontrolle des Herzrhythmus eher in der Lage ist, Morbidität und Mortalität von VHF zu senken als die Standardtherapie.


This article analyzes the main problems of urban public spaces, because today public spaces can determine the future of cities. It is noted that parks are multifunctional public spaces in the urban environment, as they are an important element of the citywide system of landscaping and recreation, perform health, cultural, educational, aesthetic and environmental functions. The article notes that the need for easily accessible and well-maintained urban parks remains, however, the state of parks in many cities of Russia remains unsatisfactory, requiring reconstruction. A brief historical background of the Park of Culture and Rest of the Soviet period in Omsk is expounded, the analysis of the existing territory of the Park is presented. It is revealed that the Park, being the largest public space in Omsk, does not meet the requirements of modern urbanism, although it represents a great potential for designing the space for the purpose of recreation of citizens. Performed functional zoning scheme of the territory of the Park in question, where its division into functional areas destined for active recreational users of the Park is presented, considered the interests of senior citizens, people with limited mobility, etc. Reconstruction of Parks of the Soviet period can provide the city with additional recreational opportunities, as well as increase its tourist attractiveness.


Author(s):  
Annamaria Motrescu-Mayes ◽  
Heather Norris Nicholson

In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women Amateur Filmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over forty women amateur filmmakers. Whether in remote communities, suburban homes, castles, missionary or diplomatic enclaves, or simply travelling as intrepid sightseers, women filmed their companions, other people and their surroundings, not only as observers but often displaying agency, autonomy and aesthetic judgment during decades when careers, particularly after marriage, were often denied in film and other professions. Research across Britain on films in private hands and specialist archives, interviews and extensive study of the Institute of Amateur Cinematographers (IAC's) collections enable the authors to reposition an activity once thought of as overwhelmingly male and middle class.


2019 ◽  
Vol 16 (4) ◽  
pp. 429-443
Author(s):  
Paul Mazey

This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.


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