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This article uses the 'students as partners' framework to examine the implications of an action research project conducted as part of a film studies module, delivered at a transnational tertiary education provider, a Sino-British university in China. The action research project consisted of the implementation of a system of film nomination and voting that allowed students to actively participate in one element of the syllabus design, namely, the choice of films to be screened and discussed in a segment of the module's curriculum, spanning 3 out of the total 14 weeks of the semester. Using as a dataset a series of semi-structured interviews with students who participated in the project, the article analyses their attitudes towards the process of nomination and voting, and points to future directions of research. By focusing on the intended democratic stakes of the project, the article argues that although the students evidenced some of the expected benefits of the collaboration, they also discursively privileged the role, the experience and the perspective of the teacher over their own.

The right to honour, reputation and image, as well as the right to privacy, tend to protect the peace and the tranquillity of personal and family life, resulting from the notion of freedom and hence the difficulty of determining the circumstances to put them into operation. If we assumed that the right to privacy absorbed the right to image, it could be declared about the right to dignity that it included the right to honour and reputation. Each of them should be considered as an autonomous right, but in the context of the protection of personality rights. Unlike the Communist regime, in the transitional period Romania, the legislator admitted that the infringement of non-patrimonial rights attracted the same consequences, either in the hypothesis of damaging the rights of individuals or legal persons, so that only the natural person had the name as attribute of identification, whereas the legal person was identified by the legal entity's official legal name. Any infringement to the name of the natural person or legal person is, in fact, a violation of the right to honour, reputation or image. This article provides an overview on the evolution of the Romanian legislation on addressing the protection of these rights and of the concept that not only the individuals, but also the legal persons may suffer moral damages. [ABSTRACT FROM AUTHOR]

The principle of full reparation of damages in the field of moral injuries is based on the need to restore relationships broken by a guilty and illicit fact, to reinstatement of the victim, as far as possible, in the situation previous to the act of tort. In the period prior to the establishment and consolidation of the Communist regime in Romania (1865- 1952), Romanian classical legal doctrine and case law have set up a joint system of repairing moral damages that included both pecuniary (monetary) and non-patrimonial means (resources). From 1952 to 1989, the practice of monetary remediation of moral damages has been banned, following the Guidance Decision of the Plenary of the former Supreme Tribunal no. VII from December 29, 1952, the motivation of this prohibition being ideological: bourgeois idea of conversion into money of moral sufferings was in contradiction with the fundamental principles of socialist law. The authors used the comparative study of the case-law decisions handed down by Romanian courts in the communist period and after December 1989. The main conclusion of this paper is that, after 1989, the Romanian doctrine and jurisprudence returned to the thesis of repairing moral damages through economic means, including by admitting the idea that legal persons, not only individuals, may suffer moral injuries. [ABSTRACT FROM AUTHOR]

A criticism is presented of the 1978 French film "Molière, ou la vie d’un honnête homme," directed by Ariane Mnouchkine and starring Joséphine Derenne, Philippe Caubère and Jonathan Sutton. The role that the theater company Théâtre du Soleil played in the film's production is discussed. The film's depiction of the French playwright Jean-Baptiste Poquelin, or Molière, is discussed.