The 1932-1933 Famine in the Documentary Cinema of the Republic of Kazakhstan: An Analysis of Competing Narratives

Performances of research are moments of encounter – between audience and performer, between audience and researcher, and in the instance of youth-centered critical participatory action research, between adults and young people. This piece considers the form and metaphor of artistic performances of research to interrogate the social constructions of adolescent and adult. Using an analysis of adult audience responses to five artistically embodied performances of youth-centered research, I focus on adult audience members’ declarations of shock, appeals for direction about taking action, and expressions of feeling inspired by the youth and their research. Through an analysis of these audience responses, I consider how research narratives travel, how data is interpreted, how power might be (re)arranged, and especially the ways that research performances can be an opportunity for making sense of and radically re-imagining adulthood, adolescence, and the spaces between us.

Performances of research are moments of encounter – between audience and performer, between audience and researcher, and in the instance of youth-centered critical participatory action research, between adults and young people. This piece considers the form and metaphor of artistic performances of research to interrogate the social constructions of adolescent and adult. Using an analysis of adult audience responses to five artistically embodied performances of youth-centered research, Fox considers adult audience members’ declarations of shock, appeals for direction about taking action, and expressions of feeling inspired by the youth and their research. Through an analysis of these audience responses, Fox considers how research narratives travel, how data are interpreted, how power might be (re)arranged, and especially the ways that research performances can be an opportunity for making sense of and radically re-imagining adulthood, adolescence, and the spaces between us.

The purpose of the research is to analyse the main aspects of the implementation of the creative idea for depicting nature in fiction and documentary films; to explore the techniques used by directors and cameramen to convey the peculiarities of nature; to identify the specifics of filming in nature and the successful choice of a location. Research methodology. The following methods were used: theoretical – to analyse the works of O. Dovzhenko’s films related to the portrayal of the nature image, determining its role in the films of this genre, generalising the achievements of screen arts, in particular documentary films, in the context of manifestation of special forms of nature depiction and means of influencing the viewer; systematic approach – for analysis, specification, clarification and generalisation regarding the stages of choosing a shooting location in open space; empirical approach – for comparing different approaches to the choice of natural locations. Scientific novelty. For the first time, the techniques of depicting nature in fiction and documentary cinema are conceptualised, a detailed analysis of the relationship between the technical capabilities of filming and the creative intentions of directors and cameramen is carried out, and the factors that influence the successful location and the final result of the footage are identified. The works of screen arts, in particular documentary cinema, are summarised in the context of revealing special forms of depicting nature and means of influencing the viewer. Conclusions. The article has analysed the use of technical means that allow one to effectively convey a creative idea and deepen the emotional perception of a film. By analysing audiovisual films, the article has examined the techniques used by directors and cameramen to convey the features of nature in the frame. The specifics of nature portrayal through the prism of editing techniques have been proved. The factors that influence the successful choice of a location have been summarised. The main aspects of the creative idea of depicting nature in fiction and documentary cinema have been outlined. The relationship between technical capabilities and creative intent has been conceptualised. The combination of nature images with images of people has been compared, which contributes to the creation of a deep symbolic perception and understanding of events on the screen.

This article1 is based on Punchdrunk/Sky’s The Third Day: Autumn, which was experienced as a livestream featuring Jude Law in a 12-hour event on HBO’s Facebook page in 2020, during the Covid-19 lockdown. Through an analysis of audience responses in social media comments to Law as both a person and a character, I discuss shifts in realism within the reception, while examining the relationship between fiction and reality. This leads to an interpretation of the streaming event as a variation of immersive theatre, while acknowledging the differences in audience positioning due to the medium. Within this analytical framework and the examination of the dimension of reality, I draw comparisons to Theodor Adorno’s reading of Beckett’s Endgame; a discussion that extends to the type of critique that emerges in the comment section of the Autumn livestream. I hope to demonstrate that the way this televised live event, through Law’s performance, shifts the boundaries of representational fiction challenges Adorno’s idea of negative dialectics and the transparency between thought and object. What this means is that the social media comments can be viewed as a form of ‘critique’ that may be even more critical than the explicitly proclaimed criticism, even if it originates from amateurs rather than trained professionals and reviewers. It becomes a critique that is more closely aligned with what one journalist reviewing The Third Day: Autumn referred to as “just reality”, rather than fiction striving conceptually to imitate reality.

This article presents the gatekeeping funnel as a model of the process that a public service announcement (PSA) goes through from distribution until it reaches its target audience. Process measures such as bounceback postcards, the Broadcast Advertisers Report (BAR), and analysis of audience response are suggested as ways of monitoring this funneling process. The model is then applied to the National Cancer Institute's PSA campaign designed to promote cancer prevention awareness. Three waves of PSAs were distributed between March 1984 and May 1985. Two of these waves of PSAs were targeted to the general public and the third wave was targeted to black audiences. Bounceback postcards, BAR data, and the Cancer Information Service (CIS) call data exemplify the gatekeeping funnel model described in the article. When the messages were distributed, they had the potential of reaching 170 million adults with televisions. BAR data show that the gatekeeping function narrowed the number of people potentially exposed to the messages to 24 million, or 14% of the total. Yet only 144,000 people, or less than one-tenth of 1% responded to the messages by calling the CIS number and asking about cancer prevention. This analysis may help PSA campaign planners to develop more realistic expectations for message effects.

Victim Impact Statements (VIS) facilitate victims’ participation in the judicial process by enabling them to speak out the harm they have sustained. It also serves as a form of testimony for judges and jurors in making legal decisions. Employing discourse information theory and transitivity system, this paper aims to examine how VIS fulfill their dual objectives as a means to relieve grief for the victim’s families and serving as verbal testimony in court. To this end, this paper analyzes how ideational meanings are realized through linguistic choices and information structures in three VIS from George Floyd’s case, and further explores their perceived impact through an analysis of audience responses. Findings reveal that the three VIS exhibit similar information structures and process type distributions, which are predominately fact-oriented and then effective in expressing grief. Moreover, the audience show strong empathy towards the victim’s families and widely criticize the defendant and his mother for lacking remorse and apology, which may offer indirect insight into how such statements may influence judicial perceptions. This paper provides a linguistic perspective on how VIS function as tools of emotional expression and judicial reference, influencing perceptions of justice within the court and in broader social contexts.

Bruno et le fou sacré : Mythe, Mimesis et la transmission des mémoires traumatiques

ABSTRACTGobbledegook Theatre’s Ear Trumpet is a site-responsive outdoor theatre performance in which a team of sonic investigators have discovered pockets of sound, trapped in the Earth beneath our feet. The show allows audiences to listen, using ear trumpets, a collection of recycled trumpets, trombones and gramophone horns that are repurposed as listening devices. In this article, the aurality of Ear Trumpet is described through a qualitative, practice-led methodology of first-person performance-as-research, artist interviews, and analysis of audience response. The article considers Augoyard and Torgue’s notion of ‘sharawadji’ in Ear Trumpet, arising, the author argues, through a combination of the sonic effects of anamnesis, decontextualization, delocalization, attraction, phototonie and quotation. The article considers how Ear Trumpet positions the relationship between physical environment, the socio-cultural milieu, and the individual listener and reveals how participants’ suspension of disbelief in the pseudo-science of ‘sonic geology’ allows them to posit multiple historic dimensions of sound in a way that reframes their everyday soundscape and magically and suddenly transports [them] elsewhere. Finally, it raises questions about the effect of sharawadji in terms of the tension between theatrical illusion, belief and critical distance among audiences, and considers a politics of aurality in performance contexts.

This article explores the underrepresentation of collective trauma in contemporary Kazakh documentary cinema, focusing on significant historical events such as the 1931–33 famine (Asharshylyk) and the Jeltoqsan uprising in 1986. While the Kazakh film industry has embraced innovative narrative techniques and global trends, it often neglects deep-seated societal wounds. By analysing films like Chronicle of an Unannounced Demonstration (1991) and A Glimmer of the Truth (2021), this study highlights the limited cinematic engagement with unresolved historical traumas, contrasting these documentaries with narrative films that prioritise entertainment over introspection. The article argues that political influences and commercial priorities have constrained documentary cinema’s potential to serve as a medium for cultural therapy and national self-awareness. Drawing on theories of cultural trauma and collective memory, it underscores the critical need for films that confront Kazakhstan’s historical past to foster societal progress. This research situates Kazakh documentary cinema within the broader context of global trauma representation, suggesting that authentic and uncompromising approaches could catalyse a deeper understanding of national identity and historical consciousness.

Bilinç akışı tekniği, kişinin duygu ve düşüncelerinin kendi ağzından, birinci tekil kişi ile yansıtıldığı, postmodern roman anlatım tekniğidir. Bu tekniği kullanan yazarlar, kahramanın bilinç yansımasıyla, hayatı nasıl algıladığını derin ve soyut ifadelerle dile getirirler. Bilinç akışı tekniğinin en belirgin özelliği, düşünceler arasında mantıksal bir bağ bulunmayışı ve dilbilgisi kurallarına uygunluk olmayışıdır. Düşünceler anlık olarak, duyusal, işitsel ve görsel bağlantılarla birleşerek ifade edilir. Modern edebiyat eserlerinde oldukça sık kullanılan bilinç akışı tekniği, kahramanların olayları algılama şeklini ve ruhsal dünyalarındaki yansımalarını aktarır. Bilinç akışı tekniği, XX. yüzyılda Varoluşçuluk (Existentialisme) akımı ile birlikte kendini göstermeye başlar. Bu akımın öncülerinden olan ve Saçma Felsefesinin (la philosophie d’absurde) kurucusu olan Fransız yazar Albert Camus, eserlerinin çoğunda, özellikle Yabancı (L’Etranger) isimli eserinde, ana karakteri Meursault’nun düşüncelerini bilinç akışı tekniği ile aktarır. Modern Türk Edebiyatı’nda sıkça kullanılan bu teknik ile Yusuf Atılgan, Aylak Adam isimli eserinde ana karakter C.’nin belleğindeki düşünceleri, mantıksal bir bağ kurmadan, bilinç yansımasıyla ifade eder. Bu çalışmada Camus’nün Yabancı ve Atılgan’ın Aylak Adam isimli romanlarında karşılaştırmalı olarak bilinç akışı tekniği ele alınarak, ana karakterlerin kendi iç hesaplaşmalarındaki düşünceleri ve karşılıklı konuşmaları üzerindeki etkileri belirtilmeye çalışılacaktır. Karşılaştırmalı olarak hazırlanan bu çalışmada, ana karakterlerin eylemlerini neden ve nasıl bir süreç içerisinde yaptıkları sorunsalı üzerinde durulacaktır. İnsanın varoluş felsefesini Varoluşçuluk düşüncesinde belirten her iki yazar da eserlerindeki ana karakterlerin içinde yaşadıkları topluma yabancılaşmalarını, yalnızlıklarını, bilinç akışı tekniği ile birey odaklı bir anlayış içinde, toplumdan kopuk bireyin parçalanmışlığını dile getirirler.

The heterogeneity and diversity of the North Caucasus culture, which has been rediscovered in recent years due to the growing demand for domestic tourism, inevitably attracts the attention of journalists, filmmakers and researchers. The relevance of the issues is confirmed by the release of a variety of audiovisual content devoted to the socio–cultural specificities of life in the Caucasus. Documentary materials about the region in various genres – from reportage to large documentary films – are released regularly and provoke contradictory audience responses. The novelty of the study lies in the compilation of a list of artistic expressive means of audiovisual works that contribute to the creation of a certain image of the region’s inhabitants and the peculiarities of their socio–cultural life. The author analyses contemporary documentary materials about the role and status of women in the culture of the peoples of the North Caucasus, published on the Internet or released on the big screen for 2015–2021. The artistic analysis of the pictures allowed us to identify the main expressive means used by the authors of audiovisual works. Among them we can single out visual metaphor, leitmotif, cliché, montage, presence of the author and voice–over text, interviews, audio accompaniment. These artistic means are not characteristic features of one type of cinema, but they are tools of audiovisual narrative and occur in different proportions in the films. A comparative analysis of the films was conducted, which helped to systematize the material and to determine that these documentaries about the region exist in such artistic categories as kitsch, propaganda and visual anthropology. This has a direct impact on the viewer’s perception of the documentary material and generates a multitude of interpretations both within and outside the region.

Narrative empathy, broadly understood as the sharing of characters’ perspective and emotional experiences, is thought to be often involved in readers’ engagement with characters. A number of claims have been made in the literature about the potential effects of particular narrative techniques on readerly experiences of empathy. However, most of these discussions are based on narratological hypotheses, and empirical work in the area has been rather thin. This study seeks to understand the role of textual, but also readerly, factors in readers’ empathetic (or otherwise) engagement with characters. I take a qualitative linguistic approach that combines stylistic-narratological textual analysis and empirical reader-response research. I analyse some short stories by Uruguayan author Eduardo Galeano, and focus on narrative techniques which have been regarded as being somehow involved in either empathetic or non-empathetic reader responses ― point of view, speech and thought presentation, emotion presentation, and characterisation techniques. I also consider readerly factors such as contextual appraisal (including moral evaluation) and the reader-character relationship. The empathy potential of these textual and non-textual phenomena is then considered in the light of what readers report. I conducted two focus group discussions with readers who shared their experiences of the characters after reading three stories. Through thematic analysis (using Atlas.ti), I relate readers’ self-reported involvement with characters to insights from textual analysis and scholarly claims. While my findings support some of the assumptions in the literature, they also problematise some claims about the direct effects of textual cues. I argue for a nuanced approach that accommodates the interaction between textual and readerly phenomena, and conclude that narrative empathy is a highly flexible and context-dependent phenomenon given the complex interplay between textual and readerly factors. The main contributions of the study are to do with (i) the value of the focus on language (a stylistically-informed approach to the stimulus texts and a linguistically-aware approach to readers’ responses), (ii) the gathering of empirical data on readers’ responses through focus groups, and (iii) the in-depth qualitative analysis of these responses, whereby I map out the complex interplay between textual and readerly factors, and develop a typology of potential linguistic evidence of empathetic responses.

The purpose of the research is to find out the role of the director’s observation in the authenticity of the perception of actual events in contemporary documentary films. Research methodology. The article uses the following methods: analytical – to understand publications on contemporary documentary theory, works by well-known theorists and practitioners; empirical – to study the use of director’s observation in creating an anti-war narrative; communicative audience analysis – to identify viewers’ reactions and responses to documentaries, which allowed us to explore how viewers perceive certain narratives in them and how this can affect their perceptions of global issues. Scientific novelty. The study analyses for the first time the role of the director’s observation as a tool for achieving authenticity in the perception of real events in contemporary documentary cinema, including the impact of interviews as a tool for revealing the inner world of the protagonist and identifying the role of the observation method in creating an anti-war narrative. The article expands the horizons of understanding contemporary audiovisual art and the contribution of the director’s observation to contemporary documentary practice. It clarifies the specifics of using these methods in the context of modern challenges and cultural changes. Conclusions. The director’s observation is identified as a key tool that helps to focus the authenticity of the perception of real events in contemporary documentary cinema. The study of the role of the observation method has shown that objectivity in contemporary documentary cinema is a difficult task due to the subjective point of view of the director. Still, this subjectivity can create a richer, more emotional narrative that is more open to the representation of reality. By analysing the approaches and views of well-known theorists and by examining examples from audiovisual art, the article shows the importance of the director’s observation as a tool that helps bring the viewer closer to the reality of events and also establishes the role of interviews in exploring the inner world of characters.

Things or events about politics are always attracted the attention of mass media to be news materials. The news about political actors in the mass media will form the self-image of the political actors in the eyes of the public Current media conditions are widely used as a political vehicle, made the news presented by the media is difficult to objective even the media prioritize the interests of this media. It can affect the image of someone who became the object of news. The formulation of the problem in this research is how the reception of the audience towards the image of Basuki Tjahaja Purnama through the news in mass media and what the factors that can affect the audience in the reception to the image of Basuki Tjahaja Purnama through the mass media. The purpose of this study is to determine how the reception of audience to image Basuki Tjahaja Purnama through mass media and also what factors affect the audence during the reception. Researchers used Stuart Hall’s reception analysis theory to know how reception of audience to the image Basuki Tjahaja Purnama in mass media. The results obtained are the researchers found two sources who are in the position of the dominant-hegemonic and and four others are in the position of the negotiated reading. Researchers did not find the audience included in the category of the oppositional reading. The conclusion of this study is that not always the theory of reception analysis proposed by Stuart Hall can produce three audiences positions. Its because, audience is dynamic, not static. Then, factors that influence the reception of audiences are four, media usage that includes the frequency of news consuming and media selection, religion, culture and fanaticism.

Sensory processing differences, particularly within the visual domain, are common in neurodevelopmental conditions, including autism. Studies examining hierarchical processing of figures containing global (i.e., gist) and local (i.e., detail) elements are inconsistent but converge on a common theme in relation to autism: slowed global processing and a locally-oriented default. We examined behavioral and pupillary responses in adults with varying levels of autistic traits during a free-viewing hierarchical processing task. Results showed that participants were both more likely and faster to report global elements, but contrary to our hypothesis, differences in level of autistic traits were unrelated to spontaneous reporting of global vs. local elements. When examining phase-based analysis of pupillary responses, participants high on autistic traits showed more early and less later constriction within trials. Further, trajectory-based pupillary analysis revealed two trajectories, one characterized by constriction and the other dilation, and results showed that the dilation group disproportionately included low traits individuals. Findings suggest that although high and low traits groups showed similar behavioral responses, visual strategies used may differ, as indicated by pupillometry. This study advances our understanding of the relationship between autistic traits and visual processing, laying groundwork for further investigations into neurodivergent visual processing mechanisms.