[The representation of sexuality and ageing in cinema: a reflection of a persistent capacitist ideology]. / Sexualité et vieillissement au cinéma : reflet d'une idéologie capacitiste persistante.

One might think that the representation of the ageing body in film has evolved over the years, reflecting certain cultural and societal changes, as well as advances in the understanding of ageing. However, regardless of gender, older people are more likely than any other group to appear in film as comic antidotes to ageing, cultivating stereotypes of physical, cognitive and even sexual inefficiency.

Arts, culture and sports engagement and self-rated health: a cross-sectional population-based study in southern Sweden.

BACKGROUND: International research demonstrates an association between arts and culture activities and health and wellbeing. A similar association exists for sports event attendance and health. The aim of this study was to investigate associations between arts and culture engagement and attending sports events during the past year and self-rated health (SRH). METHODS: A cross-sectional study. A public health survey with three reminders was sent to a stratified random sample of the adult 18-84 population in Scania in the southernmost part of Sweden in October-December 2019. The weighted response rate was 44%, and 40,087 total respondents were included in the present study. Analyses were performed in logistic regression models with multiple adjustments for age, education, country of birth, leisure-time physical activity (LTPA), smoking, alcohol consumption, and economic stress. RESULTS: The prevalence of poor SRH was 32.8% among women and 27.6% among men. The prevalence of theatre/cinema attendance was 63.2% among women and 55.2% among men, arts exhibition/museum attendance was 41.0% among women and 36.0% among men, and for sports attendance it was 33.8% among women and 48.2% among men. All items included in the final models showed statistically significant associations with self-rated health in bivariate logistic regression models. In the multiple model, adjusted for all covariates including both men and women, the odds ratios (ORs) of poor SRH were statistically significant OR 1.21 (95% confidence interval: 1.14-1.29) for not visiting theatre/cinema during the past year, OR 1.11 (1.04-1.17) for not visiting arts exhibition and OR 1.31 (1.24-1.39) for not visiting a sports event. CONCLUSIONS: Significant associations between arts and culture engagement and sports event attendance, and SRH were observed, although effect measures were comparatively low for arts and cultural engagement. The results may be useful for informing public health promotion and prevention strategies.

Faith in frames: unveiling therapeutic narratives in religion-related cinema through computational analysis.

Introduction: This study explores the emotional impact of religion-related films through a "cinematherapy" lens. It aims to analyze the emotional patterns in a curated selection of religion-related films compared to a broader sample of acclaimed movies using facial recognition with YOLOv5 object detection. The study aims to uncover the potential therapeutic application of religion-related films. Methods: Facial recognition with YOLOv5 object detection was utilized in this study to analyze the emotional patterns in religion-related films. A curated selection of these films was compared to a broader sample of acclaimed movies to identify any distinct emotional trajectories. Results: The analysis of the emotional patterns revealed that religion-related films exhibited a subtler range of emotions compared to the broader film spectrum. This finding suggests that these films potentially create a safe space for contemplation, aligning with the profound themes often explored in religion-related films. Interestingly, the emotional arc observed in the films mirrored the spiritual journeys depicted in them. The films started with a low point of separation, transitioned through challenges, and culminated in a peak representing spiritual transformation. Discussion: These findings suggest promise for the therapeutic application of religion-related films. The muted emotional expression in these films creates a safe space for self-reflection, enabling viewers to connect with the struggles of the characters and explore their own values when faced with complex religious ideas. This emotional engagement may contribute to therapeutic goals such as introspection and personal growth. The study unveils the unique emotional power of religion-related films and paves the way for further research on their potential as therapeutic tools. It emphasizes the need for continued exploration of the emotional impact of these films and their capacity to aid in therapeutic goals.

Mal do século: meio ambiente e doença no filme "Safe" (1995) de Todd Haynes / Evil of the century: environment and disease in the film "Safe" (1995) by Todd Haynes / El mal del siglo: medio ambiente y enfermedad en la película "Safe" (1995) de Todd Haynes

O filme "Safe" (1995), dirigido por Todd Haynes, conta a história de Carol White, dona de casa de classe média alta em Los Angeles, que começa a sofrer de uma misteriosa alergia aos frutos da "modernidade" (alimentos ultraprocessados, produtos sintéticos e poluição). Realizado décadas atrás, o filme é atual para criticar a sociedade contemporânea, explorando a desconexão e o vazio existencial nas crises ambientais. A resenha se aprofunda nos dilemas sofridos pela personagem que, apesar de viver em um ambiente abastado, sente-se alienada e busca refúgio em um grupo que oferece uma solução pseudocientífica para seu mal. O filme se posiciona como uma crítica à sociedade de consumo e às consequências das políticas neoliberais, questionando a eficácia de soluções superficiais para problemas profundos e sistêmicos.

The film "Safe" (1995), directed by Todd Haynes, tells the story of Carol White, an upper-middle-class housewife in Los Angeles, who begins to suffer from a mysterious allergy to the fruits of "modernity" (ultra-processed foods, synthetic products and pollution). Despite being made decades ago, the film is current in criticizing contemporary society, exploring the disconnection and existential void in environmental crises. The review delves into the dilemmas suffered by the character who, despite living in a wealthy environment, feels alienated and seeks refuge in a group that offers a pseudoscientific solution to her illness. The film positions itself as a critique of consumer society and the consequences of neoliberal policies, questioning the effectiveness of superficial solutions to deep, systemic problems.

La película "Safe" (1995), dirigida por Todd Haynes, cuenta la historia de Carol White, una ama de casa de clase media alta de Los Ángeles, que comienza a sufrir una misteriosa alergia a los frutos de la "modernidad" (alimentos, productos ultraprocesados, productos sintéticos y contaminación). A pesar de haber sido realizada hace décadas, la película está vigente en su crítica a la sociedad contemporánea, explorando la desconexión y el vacío existencial en las crisis ambientales. La reseña profundiza en los dilemas que sufre el personaje que, pese a vivir en un entorno acomodado, se siente alienada y busca refugio en un grupo que ofrece una solución pseudocientífica a su enfermedad. La película se posiciona como una crítica a la sociedad de consumo y las consecuencias de las políticas neoliberales, cuestionando la efectividad de soluciones superficiales a problemas sistémicos profundos.

The Politics and Aesthetics of Male Homosexuality in Malayalam Cinema: Contextualizing the Film Ka Bodyscapes (2016).

Focusing on the Malayalam film Ka Bodyscapes (2016), this article attempts to historically trace and critically engage with the representations of gay sexuality in Malayalam cinema from the South Indian state of Kerala. It interrogates how Ka Bodyscapes brought to the forefront hitherto unexplored visual dynamics of the gay male body and homoeroticism on screen while troubling the heterosexual dynamics of the Malayalam film industry. By situating this film within the history of representation of male homosexuality in Malayalam cinema and the changing regimes of queer politics and feminist interventions in Kerala in the last decade, the article argues how the film's radical visual representation of gay sexuality at the intersection of caste and religion problematizes the heterosexual family/state, thereby challenging the patriarchal masculinity that marginalizes women and sexual minorities in Kerala.

Risk factors for SARS-CoV-2 transmission during a movie theater outbreak in Incheon in the Republic of Korea, November 2021: a retrospective study.

BACKGROUND: We examined factors contributing to the transmission of an acute respiratory virus within multi-use facilities, focusing on an outbreak of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) in a movie theater in the Republic of Korea. METHODS: This retrospective cohort study involved a descriptive analysis of 48 confirmed cases. Logistic regression was applied to a cohort of 80 theater attendees to identify risk factors for infection. The infection source and transmission route were determined through gene sequencing data analysis. RESULTS: Of the 48 confirmed cases, 35 were theater attendees (72.9%), 10 were family members of attendees (20.8%), 2 were friends (4.2%), and 1 was an employee (2.1%). Among the 80 individuals who attended the 3rd to 5th screenings of the day, 35 became infected, representing a 43.8% attack rate. Specifically, 28 of the 33 third-screening attendees developed confirmed SARSCoV-2, constituting an 84.8% attack rate. Furthermore, 11 of the 12 cases epidemiologically linked to the theater outbreak were clustered monophyletically within the AY.69 lineage. At the time of the screening, 35 individuals (72.9%) had received 2 vaccine doses. However, vaccination status did not significantly influence infection risk. Multivariate analysis revealed that close contacts had a 15.9-fold higher risk of infection (95% confidence interval, 4.37-78.39) than casual contacts. CONCLUSION: SARS-CoV-2 transmission occurred within the theater, and extended into the community, via a moviegoer who attended the 3rd screening during the viral incubation period after contracting the virus from a family member. This study emphasizes the importance of adequate ventilation in theaters.

The GRADE Working Group and CINeMA approaches provided inconsistent certainty of evidence ratings for a network meta-analysis of opioids for chronic noncancer pain.

OBJECTIVES: Assessment of the certainty of evidence (CoE) from network meta-analysis is critical to convey the strength of inferences for clinical decision-making. Both the GRADE (Grading of Recommendations Assessment, Development and Evaluation) Working Group (GWG) and the Confidence in Network Meta-Analysis (CINeMA) framework have been designed to assess the CoE of treatment effects informed by network meta-analysis; however, the concordance of results is uncertain. STUDY DESIGN AND SETTING: We assessed the CoE for treatment effects of individual opioids on pain relief and physical functioning from a network meta-analysis for chronic noncancer pain using the GWG approach and the CINeMA framework. Both approaches evaluate the CoE as high, moderate, low or very low. We quantified the number of discrepant CoE ratings between approaches and the magnitude of the difference (ie, one level, two levels, or three levels). RESULTS: Across 105 comparisons among individual opioids for pain relief, the GWG and CINeMA approaches provided different CoE ratings in 34% of cases (36 of 105). Across 66 comparisons for physical functioning, there was discordance in 17% of cases (11 of 66). All discrepancies were separated by one level. The CINeMA framework typically provided lower CoE ratings compared to the GWG approach, predominantly because of differences in the assessment of transitivity and heterogeneity. CONCLUSION: Our findings suggest there are differences between the CoE ratings provided by the GWG and CINeMA approaches when applied to network meta-analyses. Further research is needed to replicate or refute our findings in other network meta-analyses and assess the implications for clinical decision-making.

A atenção psicológica: reflexões entre psicanálise e cinema / Atención psicológica: reflexiones entre psicoanálisis y cine / Psychological attention: reflections between psychoanalysis and cinema

Este artigo investiga possíveis analogias entre a escuta e o olhar do documentarista Eduardo Coutinho e a atenção psicológica psicanaliticamente orientada. A filmografia de Eduardo Coutinho questiona a simples dualidade entre realidade e ficção. Também a psicanálise questiona essa dualidade, a partir de noções como realidade psíquica e realidade material, por exemplo. Freud chegou a afirmar que o aparelho psíquico se constitui enquanto ficção, problematizando os limites entre a realidade objetiva e o vivido. Em uma situação de análise, é por meio da associação livre por parte do paciente e da escuta interessada que acredita na verdade do sujeito por parte do analista que podem ocorrer transformações, de modo que representações sejam modificadas, situações traumáticas elaboradas, o sofrimento dirimido. Nesse caso, tanto a atenção psicológica quanto a de Eduardo Coutinho estariam atestando a existência dos sujeitos por meio de uma abertura radical à alteridade e tomando a existência também em sua vertente ficcional.(AU)

This article investigates possible analogies between the documentarian's, Eduardo Coutinho's, listening and view, and psychoanalytical attention. Coutinho's filmography questions the simple duality between reality and fiction. Psychoanalysis, too, questions this duality, from notions such as psychic reality and material reality. Freud went on to affirm that the psychic apparatus is constituted as fiction. In a situation of analysis, and through free association, by the patient, and interested listening, which believes in the subject's truth, by the analyst, transformations may occur, in a way that representations can be modified, traumatic situations elaborated, suffering settled. In this case, both psychoanalytical, as well as Eduardo Coutinho's listening, would be attesting the subject's existence through a radical opening to otherness and taking existence in its fictional aspect.(AU)

Este artículo investiga posibles analogías entre el estilo del documentalista Eduardo Coutinho y la atención psicológica de orientación psicoanalítica. La filmografía de Eduardo Coutinho cuestiona la dualidad entre realidad y ficción. El psicoanálisis también cuestiona esta dualidad, a partir de nociones como realidad psíquica y realidad material, por ejemplo. Freud planteó que el aparato psíquico se constituye como una ficción, problematizando los límites entre la realidad objetiva y lo experimentado. En una situación de análisis, es a través de la asociación libre por parte del paciente y de la escucha interesada del analista que cree en la verdad del sujeto que pueden ocurrir transformaciones, de manera que se modifican representaciones, se elaboran situaciones traumáticas, sufrimiento esta resuelto. En este caso, tanto la atención psicológica como la postura de Eduardo Coutinho estarían dando fe de la existencia de los sujetos a través de una apertura radical a la alteridad y tomando también la existencia en su aspecto ficcional.(AU)

Effect of Subtitles on Gaze Behavior during Shot Changes: An Eye-tracking Study.

The study provides a comprehensive picture of the effect of subtitles on the gaze behavior of the participants while watching continuity editing and discontinuity editing style cinema. Three video clips (with English subtitles and without subtitles) of continuity editing and discontinuity editing styles were presented to participants. The video clips came from English movies and the participants were not native English speakers. Entry time, dwell time, first fixation time, scan path, and average fixation duration were taken as dependent variables in this within-group study. The eye-tracking data gathered were subjected to repeated measures of two-way ANOVA and paired t-test. Results revealed that the appearance of subtitles at the bottom of the screen changed the eye movement pattern of the participants during the shot changes. Timing of the subtitle starting point (before the cut or after the cut) also affected the gaze behavior. The editing style, however, did not make any difference in the gaze behavior of participants while watching subtitled video clips. Further, participants preferred reading subtitles to seeing visual images even if the subtitles were presented during the shot changes.

Este estudio provee una imagen completa del efecto de subtítulos en el comportamiento de la mirada en múltiples participantes viendo películas elaboradas con edición continua y discontinua. Tres videoclips (con y sin subtítulos en inglés) con estilos de edición continua y discontinua fueron presentados a los participantes. Los videoclips fueron extraídos de películas de habla inglesa, y los participantes no eran hablantes nativos de inglés. Tiempo de entrada, tiempo de permanencia, tiempo de primera fijación, trayectoria de escaneo, y duración promedio de fijación, fueron tomados como variables dependientes en este estudio entre grupos. La data de rastreo ocular recolectada fue sometida a un ANOVA de dos vías de medidas repetidas y a pruebas-t pareadas. Los resultados revelaron que la presencia de subtítulos en la parte baja de la pantalla cambió el patrón de movimiento ocular de los participantes durante los cambios de toma. El momento de aparición de los subtítulos (antes o después de los cortes) también afectó el comportamiento de la mirada. Sin embargo, el estilo de edición no generó ninguna diferencia en el comportamiento de la mirada de los participantes mientras veían los videoclips subtitulados. Adicionalmente, los participantes prefirieron leer los subtítulos que ver las imágenes visuales, incluso si estos subtítulos se presentaban durante cambios de toma.

Producción y distribución de largometrajes de ficción en maranhão: contradicciones de un mercado invisible en brasil

El estado de Maranhão ocupa un escenario peculiar en el mercado cinematográfico brasileño. Las producciones de ficción en forma de largometrajes tuvieron sus primeras incursiones a mediados de la década de 2000. En un marco desarrollado por la investigadora en su disertación de maestría en curso de História (Silva, 2018), y actualizado hasta 2022, catalogamos veintidós películas, solo seis de los cuales fueron registrados en la Agencia Nacional de Cine. La principal metodología utilizada fue la recolección e interpretación de datos, además de entrevistas no estructuradas o no estructuradas (Lakatos y Marconi, 2003). Como principales resultados podemos señalar: en Maranhão, el mercado es predominantemente informal, con momentos ocasionales de formalidad. La conclusión inicial de nuestra investigación es que el factor económico asociado a la falta de políticas públicas, sumado a la falta de cursos de educación superior en la zona, son los principales impulsores de este incipiente escenario.

The State of Maranhão occupies a peculiar scenario in the Brazilian film market. Fiction productions in the form of feature films had their first forays in the mid-2000s. In a framework developed by the researcher in her masters dissertation in History (Silva, 2018), and updated up to 2022, we cataloged twenty-two films, only six of which were registered in the National Film Agency. The main methodology to be used will be the collection and interpretation of data, in addition to unstructured or unstructured interviews (Lakatos and Marconi, 2003). As main results, we can point out that, in Maranhão, the market is predominantly informal with occasional moments of formality. The initial conclusion of our research is that the economic factor associated with the lack of public policies, added to the lack of higher education courses in the area, are the main drivers of this incipient scenario.

Going vertical: examining the rise and impact of contemporary Russian sports cinema.

Introduction: While Hollywood has been central to the definition and popularisation of the genre internationally, sport cinema also has a significant presence in national cinemas across the world, though less research has been undertaken to date of the place of sport within European cinema and its growing importance in this context. This article will introduce a new database and online research platform (Sport in European Cinema, sportandfilm.eu) recently made publicly available which enables a deeper consideration of the significance of sport in European cinema, including its increasing importance in the Russian context. Indeed the third most commercially successful indigenous film ever released (as of 2023) at the Russian box office is a sports film, Движение вверх (Going Vertical (AKA Three Seconds) (2017). Methods: This article adopts a mixed-methods approach, combining quantitative and qualitative methods to examine the place of sport in European cinema, including a case study of contemporary Russian sport cinema and its connection with broader political and ideological messaging. Results: Sport cinema has become an increasingly important part of European cinema, both in terms of number of films produced and their impact on European society, as evident in the case study provided of Russian sport cinema. Conclusion: This paper introduces a new research database dedicated to European Sport Cinema and identifies the increasing importance of sport cinema in the European context. It includes a case study of contemporary Russian sport cinema and identifies its role in articulating and affirming existing power structures and ideological hegemony within Russian society, as evident within Going Vertical and further recent Russian sport films in a particularly challenging period of national and international instability and contestation.

Can a UV-C box help the cinema industry by disinfecting video cameras?

Introduction: UV-C has proven to be an effective virucide and microbicide, and its cost-effectiveness allowed it to spread as a disinfecting procedure in different environments. Methods: The study aims to determine the microbicide activity on Staphylococcus aureus, Escherichia coli and SARS-CoV-2 of the UV-C Boxer by Cartoni S.p.A. Three separate experiments were performed to assess the effectiveness of the UV-C disinfection device on different materials, directly on surfaces of a video camera and on a specific carrier for SARS-CoV-2. Results: In all three experiments, a significant abatement of bacterial and viral contamination was reached after 60 seconds on carriers and after 3 minutes on all examined surfaces of the video camera, with a higher reduction on glass carriers. Conclusions: UV-C devices may be a valuable tool to implement in the working routine to achieve a higher level of safety in work environments.

Intersecting gender, ethnicity, and sexuality in Arantxa Echevarría's film Carmen & Lola (Spain, 2018).

Arantxa Echevarría's film Carmen y Lola (2018) takes a groundbreaking new approach to intersectionality and lesbian identity contextualizing a lesbian coming-of-age-story and its multicultural background and context. Owing to the colonial gaze and the outsider's perspective in the story telling, the film makes some major missteps in its representation of the Romani community in Spain. But nonetheless, the intersectional presentation is groundbreaking in terms of representation of lesbian diversity and experiences, since it portrays the lesbian subject as a triple minority: woman, lesbian, and Roma - a minority ethnic group still discriminated against in Spain. The story of two female Roma adolescents coming to terms with their mutual homoerotic desire intertwines with the marginality of their community and a conservative and homophobic environment in which lesbianism does not find a space. I argue that Echevarría's film explores the topics of minorities both in terms of ethnicity and sexual orientation. The director aims to represent this otherness as a marginalized and decentered subjectivity that intersects with other axes of discrimination. It is from this marginal position that the film explores the forms of resistance against the control of the lesbian body that women directors are carrying out in Spanish cinema.

Bioética e integración de la inteligencia artificial en la medicina: reflexiones desde el cine sobre la condición humana y la responsabilidad hacia las generaciones futuras / Bioethics and Integration of AI in Medicine: reflections from Cinema about the Human Condition and Responsibility towards Future Generations

La discusión sobre la ética en torno a la inteligencia artificial y la medicina ha ganado cada vez más relevancia en el ámbito académico y público. Independientemente de los diversos enfoques, hay un hecho innegable: la práctica médica y todos los agentes involucrados, tanto profesionales como usuarios, se verán condicionados por la inteligencia artificial. En este análisis ético narrativo, basado en el cine, se aborda la condición humana y la responsabilidad hacia las generaciones futuras como elementos cruciales dentro de la discusión bioética y fundamentales para lograr una incorporación reflexiva y coherente de la inteligencia artificial en la medicina. Como conclusión, se propone que la autenticidad, la responsabilidad y el diálogo son pilares esenciales en el proceso de integración de esta tecnología

The discussion on the ethics surrounding artificial intelligence and medicine has gained increasing relevance in the academic and public sphere. Regardless of the various approaches, there is an undeniable fact: medical practice and all the agents involved, both professionals and users, will be conditioned by artificial intelligence. In this narrative ethical analysis, based on cinema, the human condition and responsibility towards future generations are addressed as crucial elements within the bioethical discussion and fundamental to achieve a thoughtful and coherent incorporation of artificial intelligence in medicine. In conclusion, it is proposed that authenticity, responsibility and dialogue are essential pillars in the process of integration of this technology

Cinematographic continuity edits across shot scales and camera angles: an ERP analysis.

Film editing has attracted great theoretical and practical interest since the beginnings of cinematography. In recent times, the neural correlates of visual transitions at edit cuts have been at the focus of attention in neurocinematics. Many Event Related Potential (ERP) studies studies have reported the consequences of cuts involving narrative discontinuities, and violations of standard montage rules. However, less is known about edits that are meant to induce continuity. Here, we addressed the neural correlates of continuity editing involving scale, and angle variations across the cut within the same scene, two of the most popular devices used for continuity editing. We recorded the electroencephalographic signal obtained from 20 viewers as they watched four different cinematographic excerpts to extract ERPs at edit points. First, we were able to reproduce the general time and scalp distribution of the typical ERPs to filmic cuts in prior studies. Second, we found significant ERP modulations triggered by scale changes (scale out, scale in, or maintaining the same scale). Edits involving an increase in scale (scale out) led to amplification of the ERP deflection, and scale reduction (scale in) led to decreases, compared to edits that kept scale across the cut. These modulations coincide with the time window of the N300 and N400 components and, according to previous findings, their amplitude has been associated with the likelihood of consciously detecting the edit. Third, we did not detect similar modulations as a function of angle variations across the cut. Based on these findings, we suggest that cuts involving reduction of scale are more likely to go unnoticed, than ones that scale out. This relationship between scale in/out and visibility is documented in film edition manuals. Specifically, in order to achieve fluidity in a scene, the edition is designed from the most opened shots to the most closed ones.

Portrayal of illicit drug use in bollywood movies over the last two decades: A content analysis.

AIM: to analyse Bollywood movies depicting illicit drug use, released in last two decades, based on their content. METHODOLOGY: Online movie databases, source books and blogs were accessed along with Google search to compile a list of movies portraying illicit drug use in at least one character. Each movie was screened twice for details of character and drug use pattern. RESULTS: Total 22 movies depicting 25 characters were included in analysis. Majority of characters were male, young, students and affluent. Intoxication was the commonest state and social adversities were most common complications depicted. Treatment seeking was low and most common outcome was death. CONCLUSION: Cinematic depiction of drug use may promote some misconceptions among viewers. Alignment of cinematization with scientific knowledge is needed.

Onde Vivem os Monstros? Enlaces entre Cinema, Adolescência e Horror / Where do the Monsters Live? Links Between Cinema, Adolescence and Horror / ¿Dónde Viven Los Monstruos? Vínculos Entre Cine, Adolescencia y Horror

Partindo da ideia de Stephen King de que as produções de horror servem como um barômetro muito preciso que aponta aquilo que aterroriza uma sociedade, este artigo tem como objetivo propor uma reflexão acerca dos enlaces entre adolescência, cinema e horror, no momento em que a adolescência como categoria social se consolida, isto é, nos anos 1950. Para isso, realizamos uma revisão bibliográfica sobre a relação entre horror, monstruosidade e cultura, assim como sobre o desenvolvimento dos gêneros cinematográficos horror e teen movies. Também realizamos sucintas análises fílmicas de algumas obras importantes na história desses gêneros cinematográficos. Observamos que, se, por um lado, com o surgimento dos teen movies, as telas do cinema passam a ser habitadas por monstros adolescentes, por outro, os discursos com pretensão de cientificidade nos falam sobre uma adolescência monstruosa. A partir disso, concluímos que talvez haja uma intrigante equivalência cultural entre adolescência e monstruosidade: tanto monstros quanto adolescentes trazem à luz algumas questões fundamentais para o ser humano, encarnam aquilo para o que não temos resposta, apontam os limites do saber.

Based upon Stephen King's idea that the horror productions act as a barometer, pointing out what terrifies some societies, this article aims to propose some thoughts about the possible links among adolescence, cinema, and horror, around the time adolescence emerges as a consolidated social category (in the 1950s). In order to achieve that, we researched the relations between horror, monstrosity, culture, and the development of the horror and teen movies cinematographic genres. We also made a brief film analysis of some important works in the history of these cinematographic genres. We notice that two events occurred in parallel: the emergence of teenage monsters in teen movies on the cinema screens and the allegedly scientific discourses about a monstrous adolescence. We have concluded that perhaps there is a cultural equivalence between adolescence and monstrosity: monsters and teenagers bring to light some fundamental questions for the human being; they incorporate things to which we do not have an answer and point out the limits of our knowledge.

Partiendo de la idea de Stephen King de que las producciones de terror sirven como un barómetro muy preciso que señala lo que aterroriza a una sociedad, este artículo pretende proponer una reflexión sobre los vínculos entre la adolescencia, el cine y el terror, en el momento en el que la adolescencia se consolida como una categoría social, es decir, en la década de 1950. Para ello, realizamos un repaso sobre la relación entre horror, monstruosidad y cultura, así como sobre el desarrollo de los géneros cinematográficos horror y teen movies. También hicimos un breve análisis fílmico de algunas películas importantes en la historia de estos géneros cinematográficos. Observamos que, por un lado, con la aparición de los teen movies, las pantallas de cine ahora están habitadas por monstruos adolescentes, por otro, los discursos con pretensión de cientificidad nos hablan de una adolescencia monstruosa. De esto, concluimos que puede haber una equivalencia cultural intrigante entre la adolescencia y la monstruosidad: tanto los monstruos como los adolescentes sacan a la luz algunas preguntas fundamentales para los seres humanos, encarnan aquello para lo que no tenemos respuesta, señalan los límites del saber.

Arts and culture engagement and mortality: A population-based prospective cohort study.

AIMS: The aim of this study was to investigate associations between having visited the theatre/cinema and an arts exhibition during the past year and all-cause, cardiovascular disease (CVD), cancer and other-cause mortality. METHODS: The 2008 public health postal survey in Scania, Sweden, was distributed to a stratified random sample of the adult population (18-80 years old). The participation rate was 54.1%, and 25,420 participants were included in the present study. The baseline 2008 survey data were linked to cause-of-death register data to create a prospective cohort with 8.3-year follow-up. Associations between visit to the theatre/cinema, visit to an arts exhibition and mortality were investigated in survival (Cox) regression models. RESULTS: Just over a quarter (26.5%) had visited both the theatre/cinema and an arts exhibition during the past year, 36.6% only the theatre/cinema, 4.9% only an arts exhibition and 32% neither of the two. Not visiting the theatre/cinema during the past year was associated with higher all-cause and CVD mortality. Not visiting an arts exhibition was associated with higher all-cause and other-cause mortality. The combination of having visited neither the theatre/cinema nor an arts exhibition during the past year was associated with higher all-cause, CVD and other-cause mortality. CONCLUSIONS: There is an association between attending arts and culture activities and a reduced risk of CVD and other-cause mortality but not cancer mortality, although model imperfections are possible.

Domestic Violence on the Italian Screen: Representation and Resistance.

This article looks at how contemporary Italian films address issues of the tragedy and horror of domestic abuse and attempt to create a space for reflection and change. Ferzan Ozpetek's (2008) Un giorno perfetto (A Perfect Day), Andrès Arce Maldonado's (2017) Dentro (Inside), and Ivano De Matteo's (2016) La vita possibile (A Possible Life) ultimately challenge the perception of domestic violence as a fixed and unchangeable condition for women. The films explore how female solidarity, empathy, and care can serve as pathways to combatting the isolation, guilt, and associated emotions that prevent women from seeking or finding la vita possibile.