1986 ◽  
Vol 39 (4) ◽  
pp. 59-60
Author(s):  
Andre Kuczewski
Keyword(s):  

2003 ◽  
Vol 43 (4) ◽  
pp. 540-570 ◽  
Author(s):  
Brian J. Low

That is the achievement of the psychologists. In our own society they are very kind, and do everything for our own good. The tales of what they do elsewhere are rather terrifying.—Hilda NeatbySo Little for the Mind (1953)Documenting the impact of the mental hygiene movement has been problematical for historians. The hygienists operated in the realm of mass psychology and social relations, within the “mentalities” of children—particularly of the postwar generation—who have left little observable evidence of changing social attitudes and relationships resulting from changes to mass child-rearing and schooling practices. The influence of the movement upon parenting literature and curricular documents may be readily observed in postwar baby books, magazines, newspapers, radio scripts, and films, as well as in the changing language of educational theorists and practitioners. But as to seeing the actual effects of this material upon any society, documentary evidence has remained elusive.


2019 ◽  
Vol 44 (3) ◽  
Author(s):  
Gilles Tassé

Context  Webdocumentaries are relatively new media and documentary entities and, though some articles have been written about them and typologies of the genre have been developed, no one has yet underlined or discussed their capacities for creating relational spaces, namely spaces that facilitate individual and group relationships, and social and individual links. Analysis This article examines, from a relational perspective, a selection of webdocumentaries produced primarily by the National Film Board of Canada (NFB), in a desire to identify the address modalities and interactive devices specific to this media object, that foster conversation, sharing, a sense of identification, collaboration and the discovery of others.Conclusions and implications  Webdocumentaries, through their spaces of expression, communication and collaboration, support a feeling of listening and of being heard. They act as a public place that encourages the meeting of others and asynchronous socialization.Contexte Les webdocumentaires sont des objets documentaires et médiatiques relativement nouveaux qui ont certes fait l’objet de quelques articles et d’élaboration de typologies, sans que toutefois soit relevé et discuté leur capacité à créer des espaces relationnels, c’est-à-dire des espaces favorisant les relations interindividuelles et groupales ainsi que le lien social et avec autrui. Analyse  Cet article étudie une sélection de webdocumentaires, principalement produits par l’Office national du film du Canada (ONF), depuis une perspective relationnelle afin d’identifier les modalités d’adresse de même que les dispositifs interactifs qui sont spécifiques à cet objet médiatique et qui encouragent la découverte d’autrui, la conversation, le partage, l’identification et la collaboration. Conclusions et implications  Le webdocumentaire, par ses espaces d’expression, de communication et de collaboration, permet un sentiment d’écouter et d’être entendu. Il agit telle une place publique qui favorise la rencontre avec l’autre et la socialisation en différé.


Author(s):  
Juan A. Suárez

Marie Menken was a New York-based experimental filmmaker who produced her main work during the 1950s and 1960s. Born in Brooklyn to an immigrant Lithuanian family, she attended the New York School of Fine and Industrial Arts and the Art Students’ League, where she was trained as a painter, her original vocation. After finishing her studies, she worked as a secretary to Hilla Rebay, first director and chief curator of the Museum for Non-Objective Painting (later renamed Salomon R. Guggenheim Museum). In 1936 she was granted a summer residency at the Yaddo artist colony in upstate New York, where she met Willard Maas (1907–1970), another resident, then a rising poet and editor. They married the following year and stayed together for the rest of their lives in a complex, at times embattled, relationship that led to fruitful artistic collaboration. By Maas’s own account, their interest in film was spurred by their friend Norman McLaren, the Scottish animator who lived in New York during the war years before moving to Canada to direct the Animation Division of the National Film Board.


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