"1, 2, 3... ação": o uso do cinema para o estudo das metáforas da enfermidade na formação em Medicina / "1, 2, 3... action": using cinema to study illness metaphors in medical education / "1, 2, 3... acción": el uso del cine para el estudio de las metáforas de la enfermedad en la formación en medicina

A cinematografia tem se mostrado ferramenta versátil na educação médica podendo ser utilizada no estudo do processo saúde-adoecimento-cuidado. Objetiva-se relatar a experiência do uso da cinematografia para discussão das metáforas da enfermidade no curso médico de uma Universidade Federal. Como preparo, os estudantes leram sobre "Significação e metáforas da doença". Foi exibido o filme "Para sempre Alice" e debatido o tema lido com base em suas metáforas. Posteriormente, os alunos foram à Rede Básica para aplicar o uso das metáforas. Notou-se a importância dos determinantes sociais em saúde e da relevância de ações que extrapolam o âmbito biológico. A atividade, além de lúdica, foi pedagógica e buscou tornar a aprendizagem mais significativa. Percebeu-se a efetividade da cinematografia para interpretação de metáforas da doença e contribuição para uma melhor prática médica.(AU)

Cinematography has shown itself to be a versatile tool in medical education, being used to study the health-illness-care process. This article describes the experience of using cinematography to discuss illness metaphors on a medicine course at a federal university in Brazil. As preparation, the students read about signification and illness metaphors. We showed the film "Still Alice" and the students debated the theme, drawing on the film's metaphors. They then visited primary care services to apply the use of the metaphors. The findings show the importance of the social determinants of health and relevance of actions that go beyond the realm of biology. Besides being game-based, the activity was educational and sought to make learning more meaningful. The findings confirm that cinematography is an effective tool for interpreting illness metaphors and contributes to better medical practice.(AU)

La cinematografía ha mostrado ser una herramienta versátil en la educación médica pudiendo utilizarse en el estudio del proceso salud-enfermedad-cuidado. El objetivo es relatar la experiencia del uso de la cinematografía para la discusión de las metáforas de la enfermedad en el curso médico de una Universidad Federal. Como preparación, los estudiantes leyeron sobre Significación y Metáforas de la Enfermedad. Se exhibió la película "Siempre Alice" y se discutió sobre el tema leído, a partir de sus metáforas. Posteriormente, los alumnos fueron a la Red Básica para aplicar el uso de las metáforas. Se observó la importancia de los determinantes sociales en salud y de la relevancia de acciones que extrapolan el ámbito biológico. La actividad, además de lúdica, fue pedagógica y su objetivo fue hacer que el aprendizaje fuera más significativo. Se percibió la efectividad de la cinematografía para interpretación de metáforas de la enfermedad y contribuir para una mejor práctica médica.(AU)

O cuidado em cenas: nas trilhas de Dona Violeta / Care in scenes: on the trail of Dona Violeta / El cuidado en escenas: en los caminos de Doña Violeta

Discutem-se as possibilidades reflexivas e práticas para compreensão do cuidado nas práticas de saúde com base na exploração de narrativas, inspiradas em vivências práticas, e em um filme, orientadas pela tríplice concepção de mimeses, que medeia tempo e narrativa (Paul Ricoeur). Essas histórias permitiram problematizar os limites de intervenções exclusivamente voltadas ao alcance de finalidades técnicas, evidenciando múltiplas possibilidades de conceber-se a noção de sucesso prático. Ao se abrirem para elementos significativos na vida dos personagens, as narrativas, como refiguração das experiências, possibilitaram cogitar sobre lacunas e projetar outros porvires, inclusive para o cuidado.(AU)

This article discusses reflective and practical possibilities for understanding care in health practices, drawing on the analysis of narratives inspired by practical experiences and a film guided by Ricoeur's theory of triple mimesis, which mediates time and narrative. The stories allowed us to problematize the limits of interventions exclusively geared towards achieving technical ends, evidencing multiple possibilities of conceiving the notion of practical success. By opening up significant elements of the protagonists' lives, the narratives, as a reconfiguration of experiences, allowed us to cogitate on gaps and project other futures, including those for care.(AU)

Se discuten las posibilidades reflexivas y prácticas para comprensión del cuidado en las prácticas de salud, a partir de la exploración de narrativas, inspiradas en vivencias prácticas y en una película orientadas por la triple concepción de mimesis, presente en tiempo y narrativa (Paul Ricoeur). Esas historias permitieron problematizar los límites de intervenciones exclusivamente enfocadas en el alcance de finalidades técnicas, poniendo en evidencia múltiples posibilidades de concebir la noción de éxito práctico. Al abrirse para elementos significativos en la vida de los personajes, las narrativas, como reconfiguración de las experiencias, posibilitaron pensar sobre lagunas y proyectar otros porvenires, incluso para el cuidado.(AU)

Emotion dynamics in movie dialogues.

Emotion dynamics is a framework for measuring how an individual's emotions change over time. It is a powerful tool for understanding how we behave and interact with the world. In this paper, we introduce a framework to track emotion dynamics through one's utterances. Specifically we introduce a number of utterance emotion dynamics (UED) metrics inspired by work in Psychology. We use this approach to trace emotional arcs of movie characters. We analyze thousands of such character arcs to test hypotheses that inform our broader understanding of stories. Notably, we show that there is a tendency for characters to use increasingly more negative words and become increasingly emotionally discordant with each other until about 90% of the narrative length. UED also has applications in behavior studies, social sciences, and public health.

Embodying the camera: An EEG study on the effect of camera movements on film spectators´ sensorimotor cortex activation.

One key feature of film consists in its power to bodily engage the viewer. Previous research has suggested lens and camera movements to be among the most effective stylistic devices involved in such engagement. In an EEG experiment we assessed the role of such movements in modulating specific spectators´ neural and experiential responses, likely reflecting such engagement. We produced short video clips of an empty room with a still, a zooming and a moving camera (steadicam) that might simulate the movement of an observer in different ways. We found an event related desynchronization of the beta components of the rolandic mu rhythm that was stronger for the clips produced with steadicam than for those produced with a still or zooming camera. No equivalent modulation in the attention related occipital areas was found, thus confirming the sensorimotor nature of spectators´ neural responses to the film clips. The present study provides the first empirical evidence that filmic means such as camera movements alone can modulate spectators' bodily engagement with film.

Evaluating motion detection to score sleep disturbance for children: A translational approach to developing a measurement system.

Information obtained via direct observation of children's sleep disturbance throughout the night in their home can guide the assessment and treatment process, but watching live or via recorded video might be impractical in terms of time expenditures. In Experiment 1, we assessed the accuracy and reliability of a motion-detection camera with human motor movements. In Experiment 2, we tested the system's generality by using it to obtain in-home measures of sleep disturbance for three children with autism spectrum disorder and compared the accuracy to a continuous measurement system. We also measured scoring efficiency and assessed parents' acceptability of the camera. Results provide preliminary support for motion detection in measuring sleep disturbance, but further evaluation of motion detection to improve accuracy is warranted.

La enseñanza de Historia Social en la carrera de Enfermería / The teaching of Social History in the Nursing profession / A instrução da História Social na carreira de Enfermagem

Este artículo presenta una experiencia didáctica de Historia Social en el ámbito de la Licenciatura en Enfermería. En particular, se pretende mostrar cómo los documentales cinematográficos son un medio idóneo para la formación de recursos humanos en el ámbito específico de las ciencias sociales en general y de la enfermería en particular. El cine documental nos permite observar las expectativas y los imaginarios de ciertos grupos sociales, y permitir escuchar y ver a los participantes directos. Dicho aporte, luego, es puesto en tensión con las lecturas de clase y las vivencias de los propios estudiantes.(AU)

This study presents a teaching experience of Social History in Nursing undergraduate courses. Specifically, it has the aim to show how cinematographic documentaries are a suitable tool to train human resources in the Social Sciences field and notably in Nursing. Documentaries allow nursing professionals to observe expectations and the collective imaginary of specific social groups, allowing to see and listen to direct participants. This contribution is used together with readings during classes and students experiences.(AU)

Este trabalho apresenta uma experiência didática de História Social no curso de Enfermagem. Em particular, pretende-se mostrar como os documentários cinematográficos são um meio idôneo para a formação de recursos humanos no âmbito das Ciências Sociais em geral e da Enfermagem em particular. O documentário nos permite observar as expectativas e os imaginários de determinados grupos sociais e ouvir/ver os participantes diretos. Tal contribuição é colocada em diálogo com as leituras em sala de aula e vivências dos próprios estudantes.(AU)

Nanomanufacture of Free-Standing, Porous, Janus-Type Films of Polymer-Plant Virus Nanoparticle Arrays.

We present a facile method for preparing hierarchical assemblies of cowpea mosaic virus (CPMV) nanoparticles adsorbed onto patterned polypyrrole copolymer arrays, which can be released as a freely standing and microporous polymer-protein membrane with a Janus-type structure. The patterning protocol is based on colloidal sphere lithography wherein a sacrificial honeycomb pattern composed of colloidal polystyrene (PS) microspheres is assembled on an electrode. A thin layer of polypyrrole film is electropolymerized within the interstices of the template and monitored using an electrochemical quartz crystal microbalance with dissipation (EC-QCM-D) and microscopy. Dissolving the PS template reveals an inverse opaline pattern capable of electrostatically capturing the CPMV particles. Through an electrochemical trigger, the polypyrrole-CPMV delaminates from the surface producing a self-sustaining polymer-protein membrane that can potentially be used for sensing and nanocargo applications.

Santiago Ramón y Cajal en la literatura, el cine y la televisión / Santiago Ramón y Cajal in literature, cinema and television

Introducción. La vida y obra de Santiago Ramón y Cajal ha sido recogida en artículos científicos, obras biográficas y autobiográficas, cómics, películas, series televisivas o documentales que han intentado reflexionar sobre su vida o sus aportaciones a la ciencia y acercarlo a la población general. Objetivo. Analizar cómo ha sido representada la figura de Santiago Ramón y Cajal en la literatura, el cine y la televisión, y conocer al científico a través de su obra de ficción. Desarrollo. Son múltiples las obras biográficas escritas sobre Santiago Ramón y Cajal, artículos científicos, cómics, libros para niños y jóvenes, sin olvidar las obras autobiográficas, ensayos, e incluso literatura de ciencia ficción, que permiten una buena aproximación a la vida del científico y a su obra. Su figura ha sido también llevada al cine (Salto a la gloria) o a la televisión (Ramón y Cajal, historia de una voluntad; Las mariposas del alma), que han acercado a Cajal, con mayor o menor acierto y exactitud, a la población general. Conclusiones. A través de los numerosos escritos biográficos, apuntes históricos, artículos, la propia obra científica, de ensayo y de ficción de Cajal, así como de las representaciones que el cine y la televisión han hecho del Nobel español, podemos realizar una interesante aproximación al científico, al profesor, al divulgador, al médico humanista y, en suma, al hombre que realizó tan importantes aportaciones a la neurociencia (AU)

Introduction. The life and work of Santiago Ramón y Cajal has been portrayed in scientific papers, biographical and autobiographical works, comics, films, television series or documentaries that have attempted to reflect upon his life or his contributions to science and to bring him closer to the general public. Aims. To analyse the different ways Santiago Ramón y Cajal has been represented in literature, cinema and television, and to become more closely acquainted with this scientist through his fictional writings. Development. A number of biographical works have been written about Santiago Ramón y Cajal, including scientific papers, comics, books for children and youngsters, as well as the autobiographical writings, essays and even science fiction stories, which provide a good introduction to the life of the scientist and his work. His life has also been adapted to film (Leap to fame) or television (Ramón y Cajal, historia de una voluntad; The butterflies of the soul), which have, with varying degrees of success and accuracy, made him better known to the general population. Conclusions. The numerous biographical writings, historical notes, articles, the scientific work itself, the essays and fictional works by Cajal, as well as the portrayals of the Spanish Nobel Prize winner produced for films and television, can be used to obtain some interesting insights into the scientist, teacher, science populariser, humanist physician and, in short, the man who made such important contributions to neuroscience (AU)

¿Te atreves a prescribir películas en Pediatría? / Do you dare to prescribe movies in Pediatrics?

El proyecto 'Cine y Pediatría' nació en enero del año 2010 en el blog Pediatría basada en pruebas. Desde entonces he escrito más de 280 posts, uno cada semana y todas las semanas desde hace más de cinco años. Y desde el blog, 'Cine y Pediatría' se ha convertido en realidad en cuatro libros, publicados sucesivamente en los años 2012, 2013, 2014 y 2015. Y el proyecto continúa vivo, más vivo si cabe. 'Cine y Pediatría' nació como una experiencia personal, pero se ha convertido en un proyecto colectivo gracias a Internet y las redes sociales. Experiencias en congresos científicos de Pediatría (nacionales e internacionales), experiencias en actividades docentes (de pregrado, posgrado y formación continuada), experiencias en publicaciones científicas (pediátricas y no pediátricas) y, cómo no, también nos hemos hecho presentes en festivales de cine, principalmente en el Festival Internacional de Cine de Alicante en sus últimas cuatro ediciones. Y este camino me ha permitido cumplir un sueño: llegar a ser miembro de Asociación Española de Médicos Escritores y Artistas (ASEMEYA). El discurso inaugural tuvo lugar el 15 de diciembre de 2014 en la sede de la Organización Médica Colegial de Madrid, rodeado de colegas, amigos y familiares. Mi discurso de ingreso llevaba por título '¿Te atreves a prescribir películas en Pediatría?'. Y tuvo lugar en la mejor compañía, con dos amigos, maestros del lenguaje: la laudatio la realizó el doctor José Ignacio de Arana Amurrio (pediatra) y la conversatio fue presentada por el doctor Fernando A. Navarro (médico traductor). El objetivo de este artículo es presentar mi discurso de ingreso en ASEMEYA y contestar a algunas preguntas clave sobre 'Cine y Pediatría': qué, por qué, para quién y cómo. Y apoyar la idea de que el cine es una oportunidad para mejorar la relación entre profesionales sanitarios y pacientes, para mejorar la humanización y para abrir el debate bioético. Porque en Pediatría es importante no solo prescribir modernos y sofisticados tratamientos y pruebas diagnósticas, sino también películas (antiguas y modernas), películas que ayuden a entender la enfermedad, a mejorar el duelo y a humanizar los cuidados sanitarios (AU)

The project 'Cine y Pediatría' started in January 2010 within a blog called Pediatría basada en pruebas. Since then more than 280 posts have been written by the author Dr. Javier González de Dios, one every week, a total of 280 during the last five and a half years. 'Cine y Pediatría', which started being a web-blog, crossed borders from the digital world and became a series of real books, with a compilation of the posts been published successively in 2012, 2013, 2014 and 2015. This Project has had a great welcome not only among the pediatricians but also the general public interested in education, cinema, etc. The project is still alive, with more to come. 'Cine y Pediatría' was initially a Dr. Gonzalez de Dios’ personal experience, but thanks to the Internet and its spreading power, it soon became a collective project involving the industry leaders. Experiences in scientific Pediatrics’ conferences (national and international), experience in teaching activities (undergraduate, graduate and continuing education), experience in scientific publications (pediatric and non- pediatric) and, of course, we have also been present at film festivals, mainly in the Festival Internacional de Cine de Alicante in the last four editions. Thanks to the hard and constant work, together with the effort of delivering a top quality content, Dr. Javier González de Dios has become a member of the Asociación Española de Médicos Escritores y Artistas (ASEMEYA). The inaugural speech took place on December 15, 2014, in the Organización Médica Colegial (Madrid), surrounded by colleagues, friends and family. 'A dream has come true', he says referring to it. The inaugural speech, called 'Do you dare to prescribe movies in Pediatrics?' took place together with two great friends and teachers of language: the laudatio was made by Dr. Jose Ignacio de Arana Amurrio (pediatrician doctor) and the conversatio was presented by Dr. Fernando A. Navarro (medical translator). The aim of this article is to present Dr. González de Dios’ opening speech in ASEMEYA and answer some key questions regarding 'Cine y Pediatría' such as: what, why, for whom and how. And promote the cinema as an opportunity to improve the relationship between health professionals and patients, to improve the humanization and to open the bioethical debate. In Pediatrics it is important not only to prescribe modern and sophisticated diagnostic tests and treatments, but also movies (old and new), films that help to understand disease, improve the mourning, to humanize care and improve the relationship between health professionals and patients (AU)

La narración cinematográfica del posthumanismo / The cinematographic narration of the posthumanism

El cine constituye hoy día la vanguardia estética del posthumanismo y una poderosa instancia de reflexión sobre el horizonte posthumano. En su dimensión más futurista nos presenta un proceso evolutivo irreversible, vinculado al desarrollo tecnológico, que determinará el fin del hombre y su nacimiento a una nueva realidad posthumana. Pero resulta paradójico que se presente como inevitable el proceso de deshumanización de los humanos y, sin embargo, se plantee como ideal utópico el deseo de humanización de los androides (mantener los valores humanos más allá de la especie humana). En consecuencia, la reflexión cinematográfica sobre el posthumanismo parece apuntar no tanto hacia la aparición de una nueva naturaleza sino hacia la recuperación de lo genuinamente humano

The cinema constitutes today the aesthetic forefront of the posthumanism and a powerful instance of reflection on the posthuman future. In its more futurist dimension, the films present an evolutionary irreversible process linked to the technological development, which will determine the end of the human kind and its birth to a new posthuman reality. But it turns out paradoxical that the process of dehumanization of the human beings appears like inevitable and, nevertheless, appears as ideally Utopian the desire of humanization of the androids (to support the human values beyond the human kind). In consequence, the cinematographic reflection on posthumanism seems to be headed not towards the appearance of a new nature but towards the recovery of the genuine human values

El cine como recurso para la formación en pediatria (I) / Film as a resource for training in pediatrics

Este trabajo trata de la utilización del cine comercial en la docencia dirigida a los estudiantes y profesionales de enfermería y profesiones afines. Consta de dos partes: la primera aborda la utilización del cine en las ciencias de la salud haciendo énfasis en la formación de las especialistas en pediatría. Se presenta la enfermedad de Pompe que es objeto de la película Medidas Extraordinarias (T. Vaughan, 2010). En la segunda se explican una serie de pautas que pueden guiar en la preparación y realización de una clase o sesión con la película antes mencionada. Estas pautas sirven de orientación para otros largometrajes sobre temas de salud. El objetivo específico de esta primera parte es presentar el cine comercial como un recurso útil para formar al estudiante en valores, actitudes y habilidades sociales, aprovechando la temática y contenido de las películas visionadas. Además muestra el modo de incorporar el cine como metodología educativa en el proyecto curricular(AU)

This paper deals with the use of commercial cinema in teaching aimed at students and nursing professionals and related professions. It consists of two parts: the first deals with the use of cinema in the health sciences with emphasis on the training of specialists in pediatrics. We present Pompe disease that is the subject of the film Extraordinary Measures (T. Vaughan, 2010). The second sets out a number of guidelines that can guide in the preparation and conduct of a class or session with the film above. These guidelines provide guidance for other films onhealth issues. The specific objective of this first part is to present the commercial cinema as a useful resource to train students in values, attitudes and social skills, using the theme and content of the films viewed. It also shows how to incorporate film as educational methodology in the curriculum project(AU)

High-resolution far-field integral-imaging camera by double snapshot.

In multi-view three-dimensional imaging, to capture the elemental images of distant objects, the use of a field-like lens that projects the reference plane onto the microlens array is necessary. In this case, the spatial resolution of reconstructed images is equal to the spatial density of microlenses in the array. In this paper we report a simple method, based on the realization of double snapshots, to double the 2D pixel density of reconstructed scenes. Experiments are reported to support the proposed approach.

Creeping, drinking, dying: the cinematic portal and the microscopic world of the twentieth-century cell.

Film scholars have long posed the question of the specificity of the film medium and the apparatus of cinema, asking what is unique to cinema, how it constrains and enables filmmakers and audiences in particular ways that other media do not. This question has rarely been considered in relation to scientific film, and here it is posed within the specific context of cell biology: What does the use oftime-based media such as film coupled with the microscope allow scientists to experience that other visualization practices do not? Examining three episodes in the twentieth-century study of the cell, this article argues that the apparatus ofmicrocinematography constitutes what might be thought of as a technical portal to another world, a door that determines the experience of the world that lies on the other side of it. In this case, the design of apparatuses to capture time-lapsed images enabled the acceleration of cellular time, bringing it into the realm of human perception and experience. Further, the experience of the cellular temporal world was part of a distinct kind of cell biology, one that was focused on behavior rather than structure, focused on the relation between cells, and between the cell and its milieu rather than on cell-intrinsic features such as chromosomes or organelles. As such, the instruments and technical design of the microcinematographic apparatus may be understood as a kind of materialized epistemology, the history of which can elucidate how cinema was and is used to produce scientific knowledge.

"Tangible as tissue": Arnold Gesell, infant behavior, and film analysis.

From 1924 to 1948, developmental psychologist Arnold Gesell regularly used photographic and motion picture technologies to collect data on infant behavior. The film camera, he said, records behavior "in such coherent, authentic and measurable detail that ... the reaction patterns of infant and child become almost as tangible as tissue." This essay places his faith in the fidelity and tangibility of film, as well as his use of film as evidence, in the context of developmental psychology's professed need for legitimately scientific observational techniques. It also examines his use of these same films as educational material to promote his brand of scientific child rearing. But his analytic techniques - his methods of extracting data from the film frames - are the key to understanding the complex relationship between his theories of development and his chosen research technology.

Cinematic technology: the role of visual learning.

Using movies as a classroom teaching strategy can provide a dynamic learning experience that engages students in learning complex material and enhances and visually illustrates lecture content. The authors discuss their use of movies and its outcomes in teaching psychiatric and mental health nursing.

SUBTLEX-ESP: Spanish word frequencies based on film subtitles

Estudios recientes han mostrado que las estimaciones de frecuencia de las palabras obtenidas de los subtítulos de películas y series de televisión predicen mejor los resultados de los experimentos de reconocimiento de palabras que la tradicional estimación de frecuencia basada en libros y periódicos. En este estudio presentamos una lista de frecuencias de las palabras basada en los subtítulos para el español, uno de los idiomas más extendidos en el mundo. La frecuencia de los subtítulos fue obtenida a partir de un corpus de 41 millones de palabras tomadas de películas y series de televisión (de entre los años 1990 y 2009). Además, las frecuencias fueron validadas al correlacionarlas con los tiempos de reacción de dos megaestudios realizados sobre 2764 palabras cada uno (con las tareas de decisión léxica y lectura en voz alta). La frecuencia de los subtítulos explicaban un 6% más de la varianza que las frecuencias escritas en la tarea de decisión léxica y un 2% extra en lectura en voz alta(AU)

Recent studies have shown that word frequency estimates obtained from films and television subtitles are better to predict performance in word recognition experiments than the traditional word frequency estimates based on books and newspapers. In this study, we present a subtitle-based word frequency list for Spanish, one of the most widely spoken languages. The subtitle frequencies are based on a corpus of 41M words taken from contemporary movies and TV series (screened between 1990 and 2009). In addition, the frequencies have been validated by correlating them with the RTs from two megastudies involving 2,764 words each (lexical decision and word naming tasks). The subtitle frequencies explained 6% more of the variance than the existing written frequencies in lexical decision, and 2% extra in word naming(AU)