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The range of films dealing with later age has increased enormously over the past 50 years; just like the variety of elderly people’s lifestyles. The article examines this film corpus offering numerous examples with regard to prominent topics and motives - such as changing social relationships and partnerships, opening up new liveworlds or dealing with personal sexuality - and gives a look behind the supposed limits and linearities of common age categories. [ABSTRACT FROM AUTHOR]

The article announces a late September, early October 2010 joint conference of the Austrian Society for Sociology and the Swiss Society for Sociology at the University of Innsbruck, Austria, and announces two 2011 conferences on the sociology of film and on analyzing visual data.

Copyright of Zeitschrift für Soziologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Russian silent movies interconnect Modernism, melodrama and emotions. As a new medium, the cinema reflects the transformations that Modernism has effected in the emotional repertoire. In Russian silent movies feelings give room to other desires, be they sexual or economic. A consideration of Russian silent-movie melodramas in terms of the Western melodrama theories of Peter Brooks, Thomas Elsaesser, and Laura Mulvey reveals that the Russian model differs from the excessive and passionate melodrama these critics describe by being morally ambivalent or even indifferent. Emotional crises are not resolved in happy (Western) endings but culminate in catastrophes. Urban, provincial and family melodramas provide different role models for the “new woman” who marks the centre of these movies. In these Russian silent movies, modernist discourse is closely linked to gender discourse. [ABSTRACT FROM AUTHOR]

BLACK HAWK DOWN: FILM BETWEEN THE REFLECTION AND CONSTRUCTION OF SOCIAL REALITY – In this article, Ridley Scott’s film Black Hawk Down (USA 2001) is read in the context of contemporary theories concerning cultural memory (Jan and Aleida Assmann) and media culture (Douglas Kellner). It is argued that film (and representation in general) does not merely reflect a preceding reality; it also actively serves to construct it. It is shown how Scott’s film privileges one particular perspective on an actual event and how this point of view is objectified and installed in the memory of Western media culture. What potential implications does an increased blurring of fact and fiction in the representation of war have? What are the consequences for political and pedagogical practice? What role can cultural studies play in these processes? [ABSTRACT FROM AUTHOR]

Copyright of ÖZP - Österreichische Zeitschrift für Politikwissenschaft is the property of Oesterreichische Zeitschrift fur Politikwissenschaft and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses investigates canonization in motion pictures produced in Central and Eastern Europe. The author discusses models of motion picture production as characterized by a focus on aesthetics, literary adaptations and realism in Polish motion pictures and historical aspects of Slovakian and Slovenian motion pictures. Changes to the film industry in Hungary and the depiction of social reality in films produced in post-Yugoslavian states are discussed. The author comments on how motion pictures help establish culture in postcommunist countries.

Copyright of Zeitschrift für Pädagogik is the property of Julius Beltz GmbH & Co. KG Beltz Juventa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An response is presented to a discussion by ritual expert Burckhard Dücker, in which the author criticizes the lack of a definition for "ritual" in Dücker's piece. Further attention is paid to the role of observers in the performing of rituals, the creation of rituals modeled after motion picture events, and rituals related to public romantic commitment. The author concludes that psychological theories of drive, pressure, and trauma can help further ritual studies.