The article explores the films of the Soviet and Russian director Alexander Pankratov. The author analyzes the visual retory and narrative of films. The author draws attention to how various ...literature shaped and transformed the style of Pankratov’s films, starting with an early film in the genre of the rock opera Musical Fantasy (1978) based on the play by M. Gorky. The techniques used by the director when trying to reconstruct history in his films are analyzed. The films “Portrait of the Artist’s Wife”, created based on the story of Yu. Nagibina “Berendeev Forest”, films based on the original scripts “Happy, Eugene!” (1984), “Goodbye, Zamoskvoretskaya punks” (1987), etc. The author identifies the ways that the director uses to design a space in the style of “retro”, to create authentic characters. Pankratov tried to document and interpret modern life in the USSR or in Russia in his films. Images of time/historical memory occupy a lot of space both in films of the 1970s and in the 1990s. The author pays special attention to characters and plots from modern Russia. The problem of emigration is analyzed in detail in the film “An Emigrant or a Beard with Glasses and a Warthog” (2001) and “Hitchhiking” (2009). The director is alarmed by the dehumanization of Russian society and the immoralism of Pankratov’s contemporaries. The author relies on numerous publications about Pankratov, his interview with him, and Pankratov’s literary works.
Nos anos 1970, no Brasil, o campo da fotografia passava por um processo de reorganização e institucionalização com a criação de novos espaços de trabalho na grande imprensa, formação de agências de ...fotógrafos, bem como o ingresso da fotografia no campo artístico através de mostras, exposições em museus e em galerias especializadas. Processo que culminou na criação do Núcleo de Fotografia em 1979 e, posteriormente, em sua transformação no Instituto Nacional de Fotografia da FUNARTE (em 1984) para debater e estabelecer políticas públicas para o setor. Neste contexto, pretende-se pensar três das primeiras mostras da Galeria de Fotografia da FUNARTE: Nossa Gente (1979), Classe Média Brasileira (1980) e Visita do Papa ao Brasil (1980).
The papers of Beck and Snider (this issue) grapple with the place of abortion in our psychoanalytic thought and practice, locating abortion within the larger cultural and political world. At the ...heart of much of the difficulty surrounding a thoughtful consideration of abortion is the accompanying dissociative pressure arising from the binaries of life and death, of maternal versus fetal well-being, and the confounding of socio-cultural and personal decision making. I offer an intergenerational lens juxtaposing the polarized present with the open and accessible abortion landscape of the late 1970s. In both eras, examples are discussed where the political and cultural zeitgeist exerts dissociative pressure on patient and therapist alike, leaving little room for psychoanalytic exploration. The role of both partners in any conception is also discussed.
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