Spaces of Memory in Documentary Film

TREATING PATIENTS in a hospital and of female medical workers visibly distressed as their heads are shaved in China during the COVID-19 outbreak have brought into the sharp focus the gendered dimensions of epidemic disease outbreaks. In many parts of the world during this pandemic, the majority of "front line" "key workers" in food sales, health and social care, and education and childcare are women. Both scholarly literature from disaster studies and development economics has supported the claims from charities and NGOs over the years that women and girls bear the harshest consequences of terrible disasters, such as floods, earthquakes, and droughts (Neumayer and Pl umper). Recent literature focusing on epidemic disease outbreaks-particularly regarding Ebola in West Africa and Zika in Brazil-has suggested much the same (Smith; Davies and Bennett). Frequently, access to sexual and reproductive health resources have been severely compromised (Sochas et al.), something complicated further during quarantines and isolation when travel is needed (Wenham et al., "Gender Mainstreaming"). More than two-thirds of patients in the 2019 outbreak of Ebola in Congo were women, while during the same affliction in Sierra Leone from 2013 to 2016, more women died

Interior design is basically a discipline that is related to the transformation of space and focuses on human needs. Throughout the interior design education process, students learn about current materials, colors, textures, detailing, technical drawing, the history of interior styles, architectural and furniture construction knowledge, space analysis, and visual representation of space. Intuitive thinking in interior design solution is one of the ways of generating solutions. This study describes the interior design process and visualization stages that proceed intuitively in the model making course, which is continued through distance education. Due to the adverse effects of the earthquake that occurred in Kahramanmaraş on February 6, 2023, the Spring Semester education of 2023 was conducted nationwide in Turkey through remote online platforms. During the Model Making course, great efforts were made to keep the students’ adaptation and interest alive. As a result, students shaped and visualized the spaces, described in the stories provided to them, based on their intuitions.

Documentary film covering the period beginning with the Nazi rise to power, from the end of the war until today, is the most reliable technological tool for bringing the Holocaust into our consciousness. It has shaped the iconography of the Holocaust for those who were not present to witness it and did not have any way of knowing what the results of human evil looked like on the faces and bodies of the survivors. Using its universal language, documentary film has served as an intermediary between the viewer and the survivor, as well as between the historical truth as captured by the eye of the lens, even before the smoke had evaporated from the furnaces, and the deniers. Documentary film has revealed, described, and exposed the inhumane face of humanity. This chapter will cover the most important documentary films created, stopping at different points in time to explore the cinematic choices made by directors at the specific times, places, and environments in which the films were recorded. The work will address the students to certain experiential stages of documentary Holocaust film, which make it possible to explain the unexplainable.

Reshaping the brain after stroke: The effect of prismatic adaptation in patients with right brain damage.

Human face perception requires a network of brain regions distributed throughout the occipital and temporal lobes with a right hemisphere advantage. Present theories consider this network as either a processing hierarchy beginning with the inferior occipital gyrus (occipital face area; IOG-faces/OFA) or a multiple-route network with nonhierarchical components. The former predicts that removing IOG-faces/OFA will detrimentally affect downstream stages, whereas the latter does not. We tested this prediction in a human patient (Patient S.P.) requiring removal of the right inferior occipital cortex, including IOG-faces/OFA. We acquired multiple fMRI measurements in Patient S.P. before and after a preplanned surgery and multiple measurements in typical controls, enabling both within-subject/across-session comparisons (Patient S.P. before resection vs Patient S.P. after resection) and between-subject/across-session comparisons (Patient S.P. vs controls). We found that the spatial topology and selectivity of downstream ipsilateral face-selective regions were stable 1 and 8 month(s) after surgery. Additionally, the reliability of distributed patterns of face selectivity in Patient S.P. before versus after resection was not different from across-session reliability in controls. Nevertheless, postoperatively, representations of visual space were typical in dorsal face-selective regions but atypical in ventral face-selective regions and V1 of the resected hemisphere. Diffusion weighted imaging in Patient S.P. and controls identifies white matter tracts connecting retinotopic areas to downstream face-selective regions, which may contribute to the stable and plastic features of the face network in Patient S.P. after surgery. Together, our results support a multiple-route network of face processing with nonhierarchical components and shed light on stable and plastic features of high-level visual cortex following focal brain damage. Brain networks consist of interconnected functional regions commonly organized in processing hierarchies. Prevailing theories predict that damage to the input of the hierarchy will detrimentally affect later stages. We tested this prediction with multiple brain measurements in a rare human patient requiring surgical removal of the putative input to a network processing faces. Surprisingly, the spatial topology and selectivity of downstream face-selective regions are stable after surgery. Nevertheless, representations of visual space were typical in dorsal face-selective regions but atypical in ventral face-selective regions and V1. White matter connections from outside the face network may support these stable and plastic features. As processing hierarchies are ubiquitous in biological and nonbiological systems, our results have pervasive implications for understanding the construction of resilient networks.

Sighted Eyes | Feeling Heart (2017), directed by Tracy Heather Strain, recounts the storied life and dissembled desire of insurgent playwright and activist Lorraine Hansberry. My analysis of Sighted Eyes | Feeling Heart pulls on a thread tucked into the title of Hansberry's famous play. The concept and problematics of deferral not only punctuate the narrative of A Raisin in the Sun but hug the contours of Hansberry's life as an activist, outline the closeted confines of her sexual desire, and concretize with the impact of her untimely death. The phrase “a raisin in the sun” appears in the third line of the first stanza of Langston Hughes's poem “Harlem [2],” which is one of the eighty-seven poems that comprise Hughes's book-length serial poem “Montage of a Dream Deferred” (1994: 426).Harlem [2]What happens to a dream deferred?Does it dry upLike a raisin in the sun?Or fester like a sore—And then run?Does it stink like rotten meat?Or crust and sugar over—Like a syrupy sweet?Maybe it just sagsLike a heavy load.Or does it explode?The dream deferred, or, more appositely, the refusal to accept deferral any longer, is the imperative that sears her famous play, her radical resistance, her love life—and deferral is what we are left with in the wake of her death. In my discussion of Sighted Eyes | Feeling Heart, I track the way this deferral, along with an attendant refusal to defer, reverberates through Hansberry's celebrated play and emerges in Strain's film. My analysis pays special attention to the inclusion of photographs and rare archival footage of Hansberry at her Croton-on-Hudson home. I consider the ways that, even though she cloistered herself, sumptuous visual evidence of Hansberry's refusal to defer her lesbian life is burned into the photographs and silent film footage captured in and around her upstate New York sanctuary.Sighted Eyes | Feeling Heart had its world premiere at the Toronto International Film Festival on September 8, 2017. Over the next several years the documentary was broadcast on PBS, exhibited at museums and colleges across the country, and screened at historic venues like the Schomburg Center for Research in Black Culture in Harlem and significant locations like the Croton Free Library in Croton-on-Hudson, where Hansberry lived at the time of her death. Given that Sighted Eyes | Feeling Heart is the first feature-length documentary film about Hansberry's life, it is noteworthy that very little buzz has surrounded this film. While the documentary had an impactful presence at film festivals with screenings at the Chicago International Film Festival, DOC NYC, and Festival International des Films de la Diaspora Africaine in Paris, the film has gained very little notoriety beyond the festival circuit. The general lack of knowledge about the first feature-length film that chronicles the life of one of the greatest African American playwrights is curious; it appears that while A Raisin in the Sun is world renowned, its playwright may not yet be a household name. As a PBS American Masters production, this documentary's primary outlet was television; Sighted Eyes | Feeling Heart did not enjoy a theatrical showing like the documentary films that captured the lives of other Black luminaries from her generation, such as the twenty-first-century documentary about James Baldwin's life, I Am Not Your Negro (2016), Toni Morrison: The Pieces That I Am (2019), and Miles Davis: Birth of the Cool (2019). While the obscurity of Sighted Eyes | Feeling Heart can be attributed to its sparse programming on PBS, the limited audience of film festival screenings, and the exclusivity of academic streaming services, which have been the primary platforms for accessing the film in the years after its release, the limited knowledge of and access to this film reflect and redouble the shroud of secrecy that surrounds aspects of Hansberry's life—namely, her sexuality. The film's treatment of Hansberry's lesbian relationships further compounds the dissemblance and mystery that haunts this facet of the playwright's legacy. Despite the murkiness that envelops Hansberry's sexuality in this film, Strain creates the cinematic space to appreciate the life and legacy of this dynamic and courageous Black woman playwright who is an underrecognized American treasure. A chance to screen Sighted Eyes | Feeling Heart is a chance to hear the voice of an artist gone too soon, to learn about her life outside her famous play, and to spend time with a brilliant, pathbreaking Black woman playwright who was just finding a way to become her own.The title of Strain's documentary is an extraction from a quote by Hansberry that appears in the film. In an interview, she is recorded saying, “One cannot live with sighted eyes and feeling heart and not know or react to the miseries which affect this world.” Hansberry's imperative to see, feel, and react to the miseries of the world as an activist, writer, and lover comes through in this documentary film. Sighted Eyes | Feeling Heart captures the vicissitudes of Hansberry's magnificent life and the heartbreak of her untimely death. The traditional style of framing expert interviews is made exciting by the cast of Black celebrities and the expertise of scholars who knit together this illustrious story.The film moves chronologically, beginning with Hansberry's early life in Chicago. Family photographs, archival footage, and photographs of everyday Black life on the South Side of Chicago in the 1930s accompany the array of interviews, narration by LaTanya Richardson Jackson, and recitation of personal papers performed by Anika Noni Rose. The film incorporates archival footage of interviews with Hansberry herself as well as reenactments of pivotal moments in her life and the priceless home footage of her in Croton-on-Hudson. All of these elements come together to chart the trajectory of Hansberry's life as the youngest daughter of the prominent Black real estate broker Carl Augustus Hansberry. As the film recounts, Lorraine's father loomed large in his family and was a powerful figure in Chicago. He served as the secretary of his local NAACP chapter. He was a philanthropist committed to ending segregation, and to that end he created the Hansberry Foundation to resist racial discrimination with a $10,000 endowment.The documentary spends time exploring a monumental and terrifying moment in Lorraine's young life when her family moved from the South Side to a home in the Woodlawn neighborhood of Chicago, a white neighborhood under a racially restrictive covenant.1 Carl Hansberry would not be intimidated into moving out of the neighborhood by the pressure of white supremacist vigilantism; he and his family lived for several months under imminent threat of violence. Lorraine's memory of this period is distilled in a quote performed by Rose: “My memories of the correct way of fighting white supremacy in America included being spat at, cursed, and pummeled on the daily trek to and from school.”The interviews with Lorraine's sister Mamie and cousin Shauneille Perry, who, as it happens, is herself a playwright and theater director, convey family stories from Lorraine's early years.2 Mamie recalls one terrifying evening when the family was living in their Woodlawn home and a gang of white supremacists descended onto their property. Lorraine was nearly killed when a vandal threw a piece of mortar through their living room window; it narrowly missed her head. The stone was thrown so hard that it lodged into the wall on the opposite side of the window. Leading Lorraine Hansberry scholars Imani Perry and Margaret Wilkerson, given prominent voices in this documentary, describe how this harrowing chapter in the family's life left a lasting impression on Lorraine and became fodder for her landmark play. Eventually, a court order demanded that the Hansberrys leave their Woodlawn home, but Carl Hansberry appealed the order, which led to a hearing before the United States Supreme Court. Hansberry v. Lee (311 U.S. 32) was heard in 1940. Though Carl Hansberry won that case, racially restrictive covenants would not be made illegal until the Fair Housing Act was passed in 1968.3An array of interviews with scholars, family members, and theater producers convey Hansberry's biographical details before, during, and after her rise to prominence.4 They describe how she moved to New York City after spending two years studying at the University of Wisconsin. In 1950, when she was twenty years old, Hansberry moved to Harlem as an aspiring journalist full of radical ambition. She began working for Paul Robeson's Freedom, a Negro publication that was new to the scene. She met her soon-to-be husband Robert Nemiroff during this time. They were married in 1953, when interracial marriage was still illegal in many US states.5 Hansberry wrote A Raisin in the Sun while living with Nemiroff in their Greenwich Village apartment at 337 Bleeker Street. These biographical threads are complemented by interviews with Hansberry's contemporaries and confidants, from the late Ruby Dee, Amiri Baraka, and Lloyd Richards to Sidney Poitier, Glenn Turman, and Harry Belafonte. These interviews weave together a behind-the-scenes narrative about the casting, production, and opening of A Raisin in the Sun. The prospect of launching the first play written by a Black woman to open on Broadway gave producers such pause and trepidation that they nearly missed the opportunity to stage this groundbreaking production.6 In fact, A Raisin in the Sun first opened in Philadelphia, because Broadway producers were not willing to take the risk on a play written by a Black woman. The run in Philadelphia was such a rousing success that Broadway was compelled to have a change of heart; on March 11, 1959, A Raisin in the Sun opened at the Ethel Barrymore theater in New York City. In their retelling of the origin story of this production, the interviewed Black Hollywood legends describe how a bashful Hansberry handled her newfound influence and fame. Such stories told by friends, fellow playwrights, actors, directors, and producers pull back the curtain on the life of a reluctant star on the rise.After moving through the remarkable story of how A Raisin in the Sun came to be, the film connects the play's narrative with Hansberry's commitment to activism and Black liberation. The issue at the center of A Raisin in the Sun, what catalyzes the dramatic twists and turns in this play, is the peril of housing, space, and quality of life for a Black family, the Youngers, during the era of jim crow7 segregation. When the life insurance policy of the recently deceased patriarch of the Younger family returns ten thousand dollars, the family becomes fractured: Mama would like to purchase a house; Walter Lee, her son, would like to open a liquor store; Beneatha, her daughter, aspires to go to medical school and would like to use the money to that end. Walter Lee's wife Ruth and son Travis live in the small apartment as well. After Ruth discloses that she is pregnant, Mama makes the choice to buy a house in Clybourne Park, an exclusively white Chicago neighborhood. A representative of the Clybourne Park Improvement Association pays the Younger family a visit to their South Side apartment in order to persuade them to change their minds, to not move into Clybourne Park, and to accept instead a refund for the purchase of their home. The Youngers refuse. The play ends with the Youngers moving out of their South Side Chicago apartment and into an uncertain future in their new Clybourne Park home. The expectation of Black deferral for the sake of white comfort is the pressure that drives the action of A Raisin in the Sun.The family's concerted and collective resistance to that expectation indexes not only the biographical parallels of the Hansberry family's choice to move into the hotly contested space of the racially restricted Woodlawn neighborhood, it also reflects the writer's life as a radical activist. Like her father, Lorraine deplored segregation; but unlike her father, she was less convinced by the promise of the American Dream. Perhaps witnessing her father's struggle to achieve that dream activated a more radical tack in the journalist-cum–playwright, who was flagged by the FBI because of her political alliances and movement-building activities. To contextualize the racial and political climate out of which Hansberry was writing, Sighted Eyes | Feeling Heart uses photographs and newsreel footage of the attacks by police on civil rights protesters in 1963 and 1964. These images show the police in Alabama using German Shepherd hounds and high-powered water hoses to attack, brutalize, and subdue the Black citizens who refused to comply with racist segregationist laws. The documentary includes photographs of Hansberry in action at protests with friends like Nina Simone, and sound recordings of her giving speeches on the utility of violent resistance to white supremacy. Strain focuses in on Hansberry's work in the movement after the acclaim of A Raisin in the Sun and recounts how the playwright used her newfound celebrity and influence to help raise funds for the Student Non-violent Coordinating Committee, and the Congress of Racial Equality. One such enterprise raised $5,000 to purchase the station wagon that James Chaney, Andrew Goodman, and Michael Schwermer drove to Mississippi in 1964. These freedom fighters were abducted by police on a Mississippi highway and killed. The burned car was found days after their abduction, and their bodies were discovered several months later. This set of events was devastating for Hansberry. The cost of the refusal to wait, to prolong, delay, or defer a dream of freedom was born out in the lives and murders of freedom fighters who did not adhere to the tacit or explicit, violently enforced expectation for Black people to save liberty for another day.The photographs and archival footage not only historically situate the racial and political climate within which Hansberry existed, they also visualize the collective refusal to defer freedom that powered the civil rights movement. The scenes of Black resistance to white supremacy from the civil rights era included in Sighted Eyes | Feeling Heart carry an intensified meaning in the contemporary moment. The national uprisings and global protests that erupted in the summer of 2020 after the murders by police of George Floyd in Minneapolis, Breonna Taylor in Louisville, and Rayshard Brooks in Atlanta have an incendiary tether through time and space with the civil rights protests of the 1960s in this country. In the summer of 2020, there were lynchings of Black men in California, Texas, and New York (Democracy Now! 2020), while KKK members were making themselves unabashedly visible in public places, and armed white supremacist militias were welcomed by police at Black Lives Matter protests. These horrific realities make perfectly clear that the terror of anti-Black racial violence that Black protesters fought in the mid-1960s is still being battled two decades into the new millennium.8 The refusal to defer resistance to white supremacist violence that mobilized the protests of jim crow segregation during the civil rights movement had been reawakened in recent years by the state-sanctioned murders of Trayvon Martin in 2012, Eric Garner, Mike Brown, and Tamar Rice in 2014, Sandra Bland, Walter Scott, and Freddie Gray in 2015, Philando Castile and Alton Sterling in 2016. Tony McDade, a Black trans man, was murdered by the police in Florida two days after the murder of George Floyd in Minneapolis. Black trans people who are murdered receive very little attention outside the queer community; by the summer of 2020, the year had already seen twelve trans people of color murdered: Dustin Parker in Oklahoma, Neulisa Luciano Ruiz in Puerto Rico, Yampi Mendez Arocho in Puerto Rico, Monika Diamond in North Carolina, Lexi in Harlem, Johanna Metzger in Maryland, Serena Angelique Velazquez Ramos in Puerto Rico, Layla Pelaz Sanchez in Puerto Rico, Penelope Diaz Ramirez in Puerto Rico, Nina Pop in Missouri, Helle Ja O'Regan in Texas, Dominique in in in and in Chicago The terror of white anti-Black police and is at a and the national and global movement that is to this of violence has to delay, defer, or comply any The newsreel footage that appears in Sighted Eyes | Feeling Heart of Black and being and by police is to contemporary moment. are are living in the legacy of freedom collective at any to defer Eyes | Feeling Heart then together Hansberry's movement-building work as a radical civil rights activist, her lesbian and love her with her in Sidney her with visual and of from her stories and personal the documentary Hansberry's marriage to Nemiroff with the playwright's of her love for learn that Hansberry her lesbian even while this she used had and to move out of the for more While Hansberry and Nemiroff were and even after their he her in this facet of her life and in her by making public with a in which Hansberry to a about her sexual desire and her and I have been for years we the friends of I I know that what I have before that it has to be I the woman. not be the for they had been lives Hansberry and Nemiroff in when she moved to the home that she in Croton-on-Hudson, outside New York City. 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Ion Creangă’s “Childhood Memories”, the most complex and significant work of the classic of Romanian literature, has so far known a single screening, that of the director Elisabeta Bostan from Romania. The film, with the same title, highlights a landscape as authentic as possible of the time, morals, customs and traditions and reflects the national identity. Or else, the memories of the writer, the main character of the film, about his childhood, his native village, villagers, etc., remain a living expression of the time. The drama organically combines two timeframes and spaces: that of Nică’s childhood, spent in the picturesque landscapes of Humulești, and the second that of the writer Ion Creangă, who listed his memories in the “bojdeuca (hut)” from Țicău. The director remains faithful to Creanga’s text, to the same colorful language full of expressions characteristic of Moldovan speech, and creates a universe similar to that of the mid-nineteenth century. The film Memories from Childhood (1965), considered by critics to be the “bridgehead of screening”, remained “in the English Academy and the Los Angeles Museum of the Arts – as a reference film in the field of screenings”.

Zeman & Samuels | "The Truth of a Mad Man": Collective Memory and Representation of the Holocaust in The Partisans of Vilna (1986) and the Documentary Genre U The Truth of a Mad Man": Collective Memory and Representation of the Holocaust in The Partisans of Vilna (1986) and the Documentary Genre Scott C. Zeman, New Mexico Tech Mark Chasins Samuels, Mew Mexico Tech One day you will speak of all this, but your story will fall on deaf ears. Some will mock you, others will try to redeem themselves through you. You will cry out to the heavens and they will refuse to listen or to believe... You will possess the truth, but it will be the truth of a madman.1 -an S.S. officer Fictional, dramatized, and documentary films have attempted to represent and reconstruct the Holocaust. But, can film ever adequately reconstruct something as unimaginable, as unrepresentable , as the Holocaust? The surprising box office success of films such as Sophie's Choice (1982), Schindler's List (1993), and Life Is Beautiful (1997) as well as best selling books like The Diary ofAnne Frank (1952) and Elie Wiesel's Night (1960), indicate that people do want to understand the "truth" of the Holocaust. But, what is the truth that viewers take from film? Elie Wiesel warns of the difficulties and dangers of representation : Auschwitz is something else, always something else. It is a universe outside the universe, a creation that exists parallel to creation. Auschwitz lies on the other side of life and the other side of death. There, one lives differently, one walks differently, one dreams differently. Auschwitz represents the negation and failure of human progress; it negates the human design and casts doubts on its validity. Then it defeated culture; later it defeated art, becausejust as no one could imagine Auschwitz before Auschwitz, no one can retell Auschwitz after Auschwitz. The truth of Auschwitz remains hidden in its ashes. Only those who lived it in their flesh and in their minds can possibly transform Jewish Partisans on Liberation Day in their experience into knowledge. Others, despite their best intentions, can never do so.2 How can film reconstruct something that represents nothing less than the "negation and failure of human progress." This essay, which examines the complex relationship between documentary film and collective memory of the Holocaust, grew out of an interdisciplinary course in psychology and history the authors taught on the topic of memory and historical reconstruction . In part, the course focused on fictionalized and documentary representations of the Holocaust. The main question of that course, and the question addressed by this essay, considers how these representations shape/distort our collective memory ofthe Holocaust. And, more specifically, how documentary films inform our collective memory of the Holocaust. Filmmakers' attempts to create coherent narratives of the Holocaust inherently lead to distortion. Films construct narratives , and narratives by their very nature distort history and memory. Narratives require a beginning, middle, and end. They speak to us because, according to Joyce Appleby, the "human intellect demands accuracy" while at the same time "the soul craves meaning." Narratives cannot apprehend the constellation of simultaneous, contradictory, or ambiguous, historical events. Narrative itself is "a literary form without any logical connection to the seamless flow of happenings that constitute living" and, one might add, dying.3 By necessity, historical narratives, whether written or in film, are as much constructions as reconstructions . They impose hierarchy, causality, and linearity , and they propose meaning . Certainly, the Holocaust must not be trivialized, as Wiesel has argued, but should it be represented in film at all? The filmmaker that does take on the challenge faces an enormous responsibility. Annette Insdorf notes that "filmmakers confronting the Holocaust Vilna, Lithuania, July, 1944.must assume a special respon38 I Film & History Scott C. Zeman & Mark Chasins Samuels | Special In-Depth Section sibility, commensurate with its gravity and enormity."4 Or, as Wiesel states, "in order not to betray the dead and humiliate the living, this particular subject demands a special sensibility, a different approach, a rigor strengthened by respect and reverence and above all, faithfulness to memory."5 In Schindler's List, director Steven Spielberg chose not to portray Oscar Schindler as...

The article uses three of Antonio Pietrangeli's films with female protagonists — La parmigiana (1963), La visita (1963), and Io la conoscevo bene (1965) — as case studies for a spatial approach to the analysis of gender in Italian cinema. Applying feminist theories of space to the Italian context, it addresses the way in which profilmic spaces, including the country, the city, and domestic space, are constructed as filmic space in these films through the use of techniques and devices such as sequence shots and point of view cinematography, and links these spatial constructions with wider historical processes of social change. The increasing gap between both traditional and contemporary Italian society's essentialist conception of women, and the female protagonists' own desires for autonomy is articulated through a use of cinematic space which allows for female identities characterized by contradiction, fragmentation, and complexity.

Chapter 9 - Object localization

We have studied the orderliness of representation of visual space in the medial and lateral banks of the middle suprasylvian sulcus. Penetrations were made either parallel to the sulcus, in one bank or the other, or vertical, thus crossing the sulcus between the postero-medial (PMLS) and posterolateral (PLLS) divisions of this area. In some cases we found clear evidence for topographical order in the representation of the visual field with a tendency (greater in PMLS than in PLLS) for the receptive fields of cells recorded deeper in the walls of the sulcus to lie closer to the area centralis, but along many penetrations the receptive fields were so large and so scattered that no retinotopic arrangement could be discerned. In PMLS the receptive fields of the majority of units we studied were centered below and close to the horizontal meridian, whereas in PLLS they were distributed over both the upper and lower visual fields with an over-representation of the upper field. Receptive fields were significantly larger in PLLS (mean field area = 442.2 deg2) than in PMLS (mean area = 154.4 deg2); there was also less clear correlation between receptive field size and eccentricity in PLLS (correlation coefficient = +0.25) than in PMLS (corr. coeff. = +0.72). Analysis of the distance between the receptive field centres of consecutively recorded units demonstrated that the mean scatter in both PMLS and PLLS amounts to about half the average receptive field diameter. In summary the topographical representation of visual space is less orderly in PLLS, and may involve a wider area of the visual field. These findings may relate to the segregated visual cortical and extrageniculate thalamic connections that the medial and lateral banks of the LS receive.

Abstract: In this article, I discuss Federico García Lorca's sympathetic portrayal of female protagonists in his plays, as well as his exposure to scientific principles, and his incorporation of science into some of his texts. I explore the potential for considering two of his plays by examining their female protagonists and their environments from the perspective of environmental niche studies, evolutionary biology, and ecofeminism. This includes viewing Lorca through foundational scientific texts familiar to him, as well as popular science texts contemporary to today's readers. All provide lenses for a reading of Yerma (1934), Doña Rosita la soltera (1935), and the protagonists for which the plays are named. The consideration of Lorca through an ecofeminist lens is based on Lorca's deep roots in the vega , his love of Nature, his formative experiences in the Residencia de Estudiantes , his interest in science, his associations with woman in rural, traditional settings, and his understanding of humanity's interaction with Nature–filtering all through his extraordinary empathy and capacity for artistic transformation. This preliminary reading will suggest a new approach to several of Lorca´s poetic, dramatic and plastic texts.

When it comes to visual representation in documentary film, the seemingly distant societies and nations of Pakistan and Colombia become siblings, sharing the features that have been assigned to them in the realm of the imaginaries created by hegemonic media and film. Both Colombia and Pakistan have been depicted as forbidden territories, societies in conflict and dysfunctional nations, as well as places of indigenous magical wisdom, exotic primitive music and a poor but noble population. The west, in the form of foreign filmmakers, has embraced these reductive representations as a lingua franca, the same language with a vocabulary of euphemisms such as Third Worlds or Developing Nations, used frequently in order to portray what does not align with principles affiliated with eurocentrism, capitalism and Christianity. As a result, there is a wide arrangement of documentary films about the two countries made by foreigners speaking a unified language of otherisms. We, the Pakistani and the Colombian authors of this text, know it, just as any other Colombian or Pakistani also would. We also know it as Colombian and Pakistani documentary filmmakers and film researchers. As a Pakistani or Colombian documentary filmmaker, how do you become a part of an international film market that would potentially require you to relate to a series of depictions that more often than not get translated into political debate? That is the agglutinating topic that we explored with documentary filmmakers from our nations in the form of conversations about their films, about what the international market expects from them, about the role of the international film development funds, the participation in international film festivals and film markets, and what they expect from themselves as filmmakers in this environment. The answers provided show that all documentary filmmakers have ruminated on these dilemmas, they have faced both episodes of combat and episodes of resignation, revealing a duality that manifests individually and collectively, confronting the documentary filmmaker as the director in a career-building path, with the documentary filmmaker as the autonomous creative critic of the hegemonic film language. This article is conceived as a case study presenting the first results of this research, which has facilitated a communal reflection, an opportunity to unify the concerns of filmmakers from locations and societies that have had a specific representation in cinema and media, in this case Pakistan and Colombia, who end up speaking to each other from the same level and speaking to other communities in similar situations. In addition, the individual experiences of the documentary filmmakers have answered the seldom formulated question of how we - non-western documentary filmmakers - conceive the international film market, a space that mistakenly has had the tendency to regard itself as a neutral. This research features documentary filmmakers Aseneth Suarez Ruiz, Mohammed Ali Naqvi, Mauricio Acosta, Haya Fatima Iqbal, Viviana Gómez Echeverri, Ammar Aziz, Jenni Kivistö & Jussi Rastas, Saad Khan, Clare Weiskopf & Nicolas van Hemelryck, Jamil Alvi and Federico Atehortúa.

Summary. The purpose of the study is to analyze the problem of representation of the memory of forced laborers of the Second World War in the modern public space and scientific discourse of Ukraine. The methodology of the research is based on the general scientific and special historical methods. The work is based on the principles of historicism, scientific objectivity and the problem chronological approach. The scientific novelty of the article is an attempt to comprehensively study the features of the historical memory of Ostarbeiters as victims of the Second World War, who suffered from the Nazi and later from the Soviet repressive systems. It has been studied that comprehension and further reproduction the people՚s traumatic experiences is an important condition for the formation of the politics and culture of memory of the Second World War and the postwar period in Ukraine. Conclusions. It was found that the process of (re)creation of the historical memory of forced laborers in the public space and in the scientific discourse of Ukraine takes place from the standpoint of recognizing Ostarbeiters as victims of the Nazi and Soviet totalitarian systems. It has been studied that the problems of forced labor as a separate type of crime of the National Socialist state and the traumatic "acquisition of the homeland" by Ostarbeiter-repatriates are transmitted through individual and collective dimensions of historical memory. It is observed that the process of creating the image of forced labor in Ukrainian society is represented through research projects, memorial space, permanent museum exhibitions, museum-exhibition initiatives, feature and documentary films, thematic scientific conferences, educational events (lectures, workshops, museum lessons, school, student competitions, etc.), etc. Therefore, through research and discussion of this topic from different scientific perspectives and at different levels of society, it is possible to free oneself from the past traumatic experience.

This article examines post-dictatorial documentaries from Argentina and Chile in the context of their use of particular places that held significance during the dictatorships and which have since been converted into official memorial spaces. Often these are sites that were used for detention and execution of prisoners. I argue that the creative deployment of these sites in the films I consider productively unfixes memory and multiplies the uses and heterogeneity of memories in their relation to place. I read several films, El Mocito , Reinalda del Carmen, mi mamá y yo, El predio and Tabula rasa alongside the memorial spaces that they inhabit, represent and comment upon. This article both reveals the ways in which documentary filmmakers have participated in the work of memorialization in the Southern Cone and presents a case for the value of the study of documentary film in relation to the particularities of place.