Correction to: Ludek, Broz: Evil Spirits and Rocket Debris: In Search of Lost Souls in Siberia

Abstract “Au pied de mon lit,” the fifth song from Lili Boulanger’s cycle Clairières dans le ciel, is fewer than forty measures long, yet in that span it uses six distinct piano textures. Some of those textures underline shifts from one formal section to another; others happen in the middle of a section, or even the middle of a phrase. The changing accompanimental patterns, in other words, create their own form—a textural form, which is by turns aligned and at odds with the form created by harmony and melody. Texture, traditionally considered a “secondary” musical parameter, has often been seen as less essential than the “primary” parameters of melody, harmony, and rhythm; a song like “Au pied de mon lit,” however, shows that this secondary parameter can be of primary importance. My article explores the relationship between textural, harmonic-melodic, and poetic form in Clairières dans le ciel and outlines three textural strategies that Boulanger uses throughout the cycle: juxtaposition, transition, and suspension. An analysis of these songs allows us to deepen our understanding of Boulanger’s musical style and also to broaden our conception of form. Looking at her songs from different formal perspectives suggests that a single piece is not in a single form but instead in many forms at once, the number of forms dependent upon the number of parameters we attend to, the degree of correspondence or conflict among them, and the elements that captivate us most.

Gardenia ternifolia is a shrub of the Rubiaceae family that is harvested in the wild for protection against evil spirit as it is believed that the plant has protective charm property. The study aim to determine the phytochemicals constituents and mineral compositions of aqueous and methanol extracts of the leaf and root bark of G. ternifolia. The leaves and root of Gardenia ternifolia were obtained from the wild in Akpegede in Otukpo Local Government Area of Benue State. The sample was rinsed and air dried in a shade, then pulverized. Extracts from the plant parts were gotten using water and methanol solvent. Thereafter, qualitative phytochemicals and minerals constituents was screened. The phytochemicals present in both aqueous and methanol extracts include carbohydrates, phenols, flavonoids, alkaloids, tannins, steroids, saponins, triterpenes and cardiac glycosides in different proportions. While, the minerals found include iron, copper, zinc, nickel, lead and cobalt.

The article describes the historical roots of the use of lesser periwinkle, its most important constituents, and their biological activity. Full text English translation is available in the on-line version.

This article examines ritual practices of magical path blocking, which were widespread among Russians and other Eurasian ethnic groups in the 19th and 20th centuries. The research reconstructs a complex of beliefs and ritual actions associated with the creation of symbolic barriers. Drawing on ethnographic, folkloric, and dialecto-logical sources, the author examines such actions within the framework of key rites of passage (such as weddings and funerals), as well as in the context of protection against diseases and evil spirits, the search for missing per-sons, and the identification of individuals accused of sorcery or witchcraft. The study positions these rituals as one of the elements of the road tradition in Russia — a system of stable behavioral stereotypes associated with travel on foot or by horse-drawn transport. Until the first half of the 20th century, the road tradition constituted a signifi-cant aspect of everyday life in Russia. This area of scientific knowledge obviously intersects with ethnography, anthropology, and cultural studies. Symbolic path obstruction had different forms. The article examines such va-rieties as “cutting off a road”, “closing a road”, “chopping the cholera”, “throwing the crosses”, etc. These actions were typically accompanied by the recitation of incantations. The article considers such rituals as performative expressions of cultural meanings rooted in the collective worldview. Analysis reveals that such rituals were grounded in the universal principle of demarcating “one's own” and “other's” space.

Abstract: Nyethriidow is the annual festival celebrated by the Akas, typically following the harvest season, during which the community renews its bonds, offers thanks, and cleanses their environment and spirits. During festival villages are thoroughly cleaned and water sources are purified, symbolising the removal of evil influences. The community gathers to drive out evil spirits, invoke blessings for peace, health, good harvest, prosperity for children, crops, cattle and all members of the society. Traditional dances, music and cultural performances dominate the celebration, strengthening communal identity and passing on cultural memory.

ObjectiveThis review seeks to understand the global trends of contemporary witchcraft accusations and related harms against children and adolescents (0–18 years of age).IntroductionWitchcraft-related violence against children and adolescents (children) reflects an alarming and understudied phenomenon of socio-culturally legitimated harm around the globe, particularly in sub-Saharan Africa. ‘Witchcraft’ explains the unexplainable, such as strokes of luck and/or misfortune. Witchcraft accusations are linked to illness, sudden death, financial misfortune, miscarriages, financial windfall, disability, birth abnormalities, or rare conditions. Religious entities also levy witchcraft accusations, referring to black magic, evil, works or malicious spirits, to profit off families while harming the accused. These accusations result in marginalization, alienation, slandered reputation, communal expulsion, and violence, causing disfiguration, disability, and death. Children are especially vulnerable to witchcraft-related violence, including human trafficking, and ceremonial and cultural sacrifice.Inclusion criteriaThis scoping review will examine witchcraft accusations and related harms against children and adolescents (0–18 years of age) globally from 1946 to 2024.Exclusion criteriaThis scoping review excludes articles that do not report specifics of the accusation, situation, result, age of the accused, or country of origin.MethodsThis scoping review will follow the Joanna Briggs Institute’s Preferred Reporting Items for Systematic Reviews and Meta-Analyses Extension for Scoping Reviews (PRISMA-ScR) Statement. Articles published from January 1, 1946 to December 31, 2024 will be collected across academic, grey literature and web-based databases. A systematic search strategy will be applied in each database, and all search results recorded. A bibliometric analysis will also be undertaken to systematically and rigorously review the extant literature.Findings of this review will identify areas of collaboration and gaps for further exploration. The literature analysis can raise awareness and inform resource development across health care, education, social work, government, and community sectors to better support victims of witchcraft-related harms.

The article is devoted to the analysis of S. A. Yesenin’s poem “The Black Man” and its central figure — the mysterious and infernal visitor. The author examines the diversity of interpretations proposed by scholars, ranging from perceiving the Black Man as an accuser, a double of the poet, or a representative of dark forces, to reading him as a projection of Yesenin’s inner world and a reflection of his psychological crisis. At the same time, the connection between the poem and the poet’s biography and his religious and folkloric worldview is emphasized. The compositional and artistic techniques used by the poet include lexical and ring repetition, ascending and descending gradation, the color spectrum of the work, and expressive means containing folklore and mythological constants of death. Thanatological symbolism, ethnopoetic constants, and infernal imagery together create the poem’s sensus mortis and enhance the perception of the landscape as an omen of impending disaster. The central figure of the Black Man is interpreted not only as a mystical or infernal character but also as a participant in a kind of “black mass” aimed at seizing the hero’s soul, which is emphasized through his behavioral and speech traits. The final symbol of a broken mirror and the folkloric formula of “bluish morning” are interpreted within the framework of folk beliefs about the boundary between worlds, a foreboding of misfortune and an attempt to expel an evil spirit. As a result, the poem is presented as a mythopoetic embodiment of Yesenin’s dark premonitions and a prophetic foreshadowing of the tragic outcome of his life.

The development of the Christian Pastoral Care and Counselling (CPCC) approach aims to support the recovery process of schizophrenia patients, who have not been appropriately handled by the church. A lack of understanding of schizophrenia has led church ministers and congregations in Maluku to consistently identify schizophrenia patients as possessed by evil spirits or ancestral spirits, affected by witchcraft, experiencing original sin, or breaking traditional vows. Consequently, the recovery approach used by pastors is to perform exorcisms, which include prayer, covering schizophrenic patients with priestly robes, or striking them with the Bible. Through descriptive qualitative research using a Focus Group Discussion (FGD) approach and analysed using Clarke & Braun’s six stages, this study proposes a holistic pastoral counselling approach to support the recovery of schizophrenia patients. This pastoral counselling approach is expected to improve the spiritual well-being of schizophrenia patients, reduce anxiety, enable self-management and help them find meaning in life despite their symptoms. The development of this model not only focuses on pastoral-spiritual interventions but also collaborates with medical, psychological, social and cultural approaches to provide holistic support for schizophrenia patients. Contribution: This article contributes to the growing body of holistic pastoral theology studies, caring for and assisting with the recovery processes of patients with schizophrenia. The holistic pastoral theology approach is also interdisciplinary, encompassing the involvement of other disciplines, such as health and psychosocial-cultural studies.

Background: Mucuna pruriens (Velvet Beans) is a leguminous plant valued in African and Asian ethnomedicine for managing neurological disorders, infertility, wounds, witchcraft, evil spirits, piles, malaria, and oxidative stress-related ailments. However, the scientific understanding of its physicochemical behavior that may underpin these therapeutic attributes remains limited. Objectives: This study integrates ethnomedicinal documentation with advanced biophysical characterization of Mucuna pruriens (Velvet Beans), bridging traditional knowledge with modern biophysical insights by characterizing the structural, optical, and dielectric properties of M. pruriens collected from Nasarawa State, Nigeria. Methods: Eighty (80) traditional healers across four local government areas of Nasarawa State were interviewed to document the ethnomedicinal uses. Matured seeds pods of M. pruriens were harvested, identified by a taxonomist, air-dried, ground into fine powder, and sieved to a uniform mesh size of 150 µm for spectroscopic analyses. The characterization was carried out by spectroscopic and physical analyses using UV-Visible, Fourier Transform Infrared (FTIR), X-ray Diffraction (XRD), Thermogravimetric Analysis (TGA), Differential Scanning Calorimetry (DSC), Photoluminescence (PL), and dielectric spectroscopy. Results: The UV-Vis spectra of the M. pruriens exhibited strong absorption peaks occurred around 280 nm and 330 nm, indicative of transitions in aromatic systems and transitions in amide groups, indicating aromatic and carbonyl chromophores. FTIR confirmed the presence of hydroxyl, amide, and carboxylic functional groups. XRD patterns revealed semi – crystalline structure, while TGA/DSC showed strong thermal stability up to 600 . PL spectra displayed broad emissions in the visible region, suggesting semiconducting properties. Dielectric spectroscopy indicated strong dipolar polarization and frequency–dependent conductivity. Conclusion: The results demonstrate that M. pruriens possesses distinct biophysical features (semiconducting, thermal stability, and functionally diversity), providing a scientific basis that complements its ethnomedicinal significance and potential for pharmacological and bioelectronics applications, bridging traditional medicine with modern biophysics.

The Egyptian civilization began in ancient times and passed through various historical eras. Initially, Egyptian art was simple, consisting of symbolic and pictorial shapes representing the symbols used in daily life. However, over time, this art evolved, and Egyptian artists began carving on polished stones. The skill of this art is evident in several artifacts that still stand today. Among the symbols used by ancient Egyptian artists was the cross, known in its primitive form as the "Ankh," also called the "Key of the Nile." The ancient Egyptians carried the Ankh as an amulet for protection and to ward off evil spirits, similar to how the Assyrians in Mesopotamia wore the cross as an amulet to repel evil spirits and to grant them strength in battles. This symbol appeared on various seals, tablets, and obelisks, alongside images of deities and in sacred scenes, often accompanying other religious symbols. When Christianity emerged in Egypt, Egyptians used the Ankh instead of the cross to avoid persecution. Later, they adopted the cross as a symbol of their Christian faith, representing Jesus Christ, and placed it on their tombs, churches, and the walls of their homes. The cross appeared in ancient Egyptian civilization in various forms, including the equal-armed cross, the cross resembling the Ankh, the Christian cross, the cross with a tuft of hair, and the cross carried by a shell, among other forms of the cross

This review seeks to understand the global trends of contemporary witchcraft accusations and related harms against children and adolescents (0-18 years of age). Witchcraft-related violence against children and adolescents (children) reflects an alarming and understudied phenomenon of socio-culturally legitimated harm around the globe, particularly in sub-Saharan Africa. 'Witchcraft' explains the unexplainable, such as strokes of luck and/or misfortune. Witchcraft accusations are linked to illness, sudden death, financial misfortune, miscarriages, financial windfall, disability, birth abnormalities, or rare conditions. Religious entities also levy witchcraft accusations, referring to black magic, evil, works or malicious spirits, to profit off families while harming the accused. These accusations result in marginalization, alienation, slandered reputation, communal expulsion, and violence, causing disfiguration, disability, and death. Children are especially vulnerable to witchcraft-related violence, including human trafficking, and ceremonial and cultural sacrifice. This scoping review will examine witchcraft accusations and related harms against children and adolescents (0-18 years of age) globally from 1946 to 2024. This scoping review excludes articles that do not report specifics of the accusation, situation, result, age of the accused, or country of origin. This scoping review will follow the Joanna Briggs Institute's Preferred Reporting Items for Systematic Reviews and Meta-Analyses Extension for Scoping Reviews (PRISMA-ScR) Statement. Articles published from January 1, 1946 to December 31, 2024 will be collected across academic, grey literature and web-based databases. A systematic search strategy will be applied in each database, and all search results recorded. A bibliometric analysis will also be undertaken to systematically and rigorously review the extant literature. Findings of this review will identify areas of collaboration and gaps for further exploration. The literature analysis can raise awareness and inform resource development across health care, education, social work, government, and community sectors to better support victims of witchcraft-related harms.

The words borrowed from Tibetan have an essential place in the vocabulary of the Yellow Uyghurs, who adopted Tibetan Buddhism (Lamaism) under the influence of their Tibetan neighbors and the Mongols. In particular, it is seen that the names of Buddhas, religious rituals, or ritual objects are borrowed from Tibetan. This study focuses on two Tibetan words in the Yellow Uyghur vocabulary: čam (< Tib. cham) and chöhrten (< Tib. mcod rten). The paper aims to contribute to the vocabulary of Yellow Uyghurs and the studies conducted on the subject. Some of the inferences obtained are as follows: 1. Čam means ‘religious ceremony, pantomime dance of monks’ in Yellow Uyghur. It forms a compound verb: čam pokïr- ‘to perform the cam dance, to participate in the religious Buddhist (cham) ceremony’. Čam is listed in Mongur, Kalmuck, Khalkha, Oyrot, Ordos, and Buryat Mongolian with meanings such as ‘masked dance of lamas, religious dance, pantomime of a monk; a religious celebration with dancing and masquerade; religious dance with mask’. The Chinese equivalent of the word cham is 跳神 tiàoshén. Tiàoshén means ‘to exorcise evil spirits, as when a child is very ill, with a view to save its life, to leap before the gods, to practice exorcism’. 2. Chöhrten means ‘stupa, place or object of worship, mausoleum; a large tomb decorated with art reliquary, pagoda’ in Yellow Uyghur. The Chinese equivalent of the Tibetan word chörten is 藪抖波 sŏu dŏu bō, which is the phonetic equivalent of the Sanskrit word stupa.

Beliefs in evil spirits and the practice of deliverance from supernatural forces have been widespread throughout history. Many psychological and physical afflictions have been attributed to involuntary demonic possession. Traditional remedies, for those reporting inhabitation by evil spirits, can involve exorcism believed to expel such forces. Similar beliefs may be symptomatic of major mental illness and treatments namely medication and psychotherapy, are frequently recommended. An increasingly secular western world is also seeing growth in non-denominational Christian churches and other faiths, who accept spirit possession and exorcism. Culturally competent mental health professionals, seeking to understand their patients' world view, may struggle with exorcism, seeing it as an interference to conventional treatment. They may be being unwilling thus to attempt differentiation between possession and mental illness. This paper explores the diversity of views on this topic and points of contention and overlap. The risks and cautions necessary in approaching this issue are stressed.

The subject of the scientific research of the article is non-fairytale folklore prose, associated with the narrative tradition of modern Ukrainian funerals, namely demonological legend, true story, folklore novel. The object includes zoomorphic and anthropomorphic personifications of death, preserved in the prose folklore of the Podillia-Volhynia border region, the problem of creation and transmission of folklore texts within the family as the smallest folklore center. The authoress’s own records and observations made in the late 20th – early 20th centuries have become the source base. The purpose of the research is to trace the principles of folklore creation, translation and transmission of prose narratives within a small folklore center, to reveal the archaic and symbolism of zoomorphic and anthropomorphic images of death, to clarify their common Slavic roots. The focus of attention precisely on the material that existed in a very narrow environment – within one family, on its translation and transmission determines the scientific novelty of the work. The following research methods are used in the article: the method of included observation, self-recording, interviewing, descriptive-analytical, comparative-historical and comparative-typological methods. The family is the smallest folklore center where the process of creation, translation and transmission of prose texts takes place. From there folklore text transmits to other, larger centers, such as a street, village (city), region. The emergence of new variants is caused by the process of folklorization of individual texts. Different plot variants are generated by the distance in time between the event and the story about it. The peculiarities of the new variant are influenced by the long time distance between the active existence of the narrative and its recollection, a long storage of the text in the passive memory of the narrator, the secondary origin of the text, that is, the number of implicit narrators, the temporal and ideological separation of the narrator from the narrative tradition of the center. But with all this, the plot remains recognizable due to the preservation of its main elements. The variants and different-time records from a certain person or several people enable the detection of the individual characteristics of each performer. The themes of the created legends may be closely related to the life of this small community, but during a story creation each narrator uses motifs, images, plot schemes, and formulas that he draws from the oral tradition not only of his narrow community, but also of a much wider region. The more archaic the image and its function are, the greater is its presence in various folklore genres, worldviews, beliefs and rituals. That is why the legends about death as a zoomorphic and anthropomorphic creature recorded by me in local folklore centers (family, street), represent not only individual carriers of folklore, but the entire archaic layer of Ukrainian folklore. The archaic nature of these plots is evidenced by the presence of a number of borderline loci around which the stories are constructed. These are house’s porch, a window, a door, a roof, a barn, a stable, a stall, a gate, a road, a street, crossroads, a mountain, a cemetery, a garden, a pond. These are spatial and temporal boundaries through which an exit to the other world is opened. Therefore, a person should not cross them. Just those characters of legends who have dared to violate these boundaries, managed to see personified zoomorphic and anthropomorphic images of death in the form of a gray / white horse, a goat, a bride with her bridesmaids. There isn’t a clear differentiation between death, illness and evil spirits in the legends I have recorded. A horse, a goat in the local tradition of this center can personify various demonic creatures. Nevertheless, white color, muteness, the ringing of bells and the appearance at border loci, which has become the cause of people’s death, are considered as the main signs of death in the studied texts. The recorded texts and their concentration in the oral tradition of the folklore center of the village, the family, indicate that the Podillia-Volhynia border region could be one of the main areas of the emergence and existence of prose narratives where the personified image of death appears. They reflect archaic worldviews and beliefs inherent not only to Slavic, but also to other European peoples.

Verbs are important component of syntax and play a crucial role on how learners express meaning, both orally and in writing. This study explores how Daouda’s song La femme de mon patron can be used as a practical tool for teaching French verbal structures to foreign language learners. The song was chosen because it contains a wide range of verbs, presented in clear and standard French, free from slang or dialectal forms that might confuse beginners. Through its simple yet culturally engaging lyrics, the song provides repeated exposure to verbs in declarative, conditional, and interrogative forms. The study demonstrates how teachers can use songs to enhance oral and written competence. Orally, students practice pronunciation, rhythm, and prosody in a natural context. In writing, the song enables activities such as verb identification, conjugation drills, and sentence transformation. The findings show that learners improved in verb identification with 80% accuracy and exhibited greater confidence in oral and written tasks. The study underscores the potential of integrating songs as structured grammar tools rather than supplementary activities. This study demonstrates that when carefully selected, songs can serve as instructional support for teaching verbs in foreign language classrooms compared to traditional grammar instruction. It concludes by proposing methodological guidelines for integrating songs into the teaching of verbal structures in French.

The article delves into the use of verigi (chains) as a symbol in L. N. Tolstoy’s autobiographical short novel “Childhood,” F. M. Dostoevsky’s novel “The Brothers Karamazov,” and A. P. Chekhov’s short story “The Murder.” The act of wearing chainsis traditionally understood as a feat performed by Christian ascetics.In 19th-century Russian literature, this motif is actualized in texts through the depiction of characters endowed with traits of foolishness for Christ and/or on a pilgrimage. The interpretation of this hagiographic motif varies among different authors.Maman and Princess Mary, two deeply religious characters in Leo Tolstoy’s “Childhood” and “War and Peace,” realize the spiritual value of chains worn by their pilgrim guests (Grisha and Fedosyushka). In this context, chains symbolize the renunciation of worldly desires by the fool for Christ or the pilgrim, who represent a heightened spiritual feat intertwined with love for God. In contrast, in Fyodor Dostoevsky’s The Brothers Karamazov, chainsbecome a sign of purely external asceticism, devoid of its spiritual content: although Father Therapont’s humility and love for his neighbors resemble certain features of a holy fool, he is endowed with pride.This interpretation of the chains imagery in Dostoevsky’s works is linked, in our view, to the tradition of the holy fathers, particularly to the practices of spiritual guidance at Optina Monastery, which the writer visited in 1878. For example, in the life of Elder Leonid (Lev) of Optina, there is an episode about demon-possessed people who, while wearing heavy chains, fail to engage in the internal spiritual struggle required to cleanse their hearts of passions, eventually succumbing to demonic possession. Father Therapont in “The Brothers Karamazov” sees evil spirits everywhere. Despite wearing chains, fasting dutifully, and walking barefoot, he is unaware that he is consumed byvanity, envy, and judgement. Wearing chains without blessing exceeds the character’s spiritual strength. As shown in the life of Elder Leonid (Lev) of Optina, true humility and repentance, rather than wearing chains, are the only means of returning to a proper spiritual state, which the protagonist fails to choose. In Anton Chekhov’s “The Murder,” the thematic thread of the imagery of chains initiated by Dostoevsky continues. Matvey Terekhov veers into sectarianism, condemning the clergy of the Orthodox Church. Meanwhile, he wears chains, prays a lot, and fasts rigorously, attempting to conduct his own liturgy. The character’s rejection of his delusions is accompanied by his unwillingness to wear chains, which, according to his master, are “from the devil.” In the analyzed works of L. N. Tolstoy, F. M. Dostoevsky and A. P. Chekhov, it is the Orthodox faith that turns out to be valuable and saving for the soul, the faith from which the hero must not retreat, neither by deviating exclusively into external asceticism, nor by leaving the Orthodox Church.

This study aims to describe the symbolic meanings of the Molelase (belly rubbing) tradition among the Tialo ethnic group in Tomini, Parigi Moutong Regency. This tradition serves as a ritual of prayer and protection for pregnant women and their fetuses at seven months of gestation to ensure a smooth delivery process. The research utilizes a qualitative method, with data collected through observation, interviews, and documentation. Data analysis follows an interactive model consisting of data reduction, data display, and conclusion drawing. The results identify eleven primary symbols in the Molelase procession: (1) awar-awar leaves, (2) turmeric leaves, (3) green ti leaves, (4) red ti leaves, (5) kalanchoe leaves, (6) palmyra palm leaf string, (7) black hen, (8) coins, (9) candles and matches, (10) knife, and (11) white rice. Those elements represent pleas for protection against evil spirits, physical strength during childbirth, and the hope for prosperity for the child.

In the article analyzed artistic images in modern Ukrainian mystical stories based on the material of the collective collection "Ukrainian Mysticism-2023". It was established that mystical images very often have their origins in folklore and mythology, and modern authors transform and supplement traditional ideas about them, give them a new color in order to prescribe familiar plots from a new angle, to endow them with broader meanings and motives. It was noted that in modern mystical stories, folklore symbolism has a semantic meaning, which is widely used in the field of objective dimensions of the characters' environment (a hat made of sand-ocher fox fur, a grasshopper-amulet, a stone Cossack cross with a sunburst). The origins and modifications of the images of the main characters of modern Ukrainian mystical stories are analyzed. The focus is on the specifics of the interpretation of traditional images by contemporary writers, as well as on the features of the poetics of image formation. The analyzed stories contain both transformed images (a murdered girl who returned to life in the guise of a vampire and became the protector of the Ukrainian people; a mythical sandy-ocher fox; witches; evil spirits; devils; a forest ranger and a snake; a mavka), and original ones (the centurion-character Ivan Vochrolys; Pylyavynka). Quite often, there is a character who is the embodiment of the archetype of a wise old man according to K. Jung – he acts as a mentor to the main characters or a catalyst that encourages them to action. It was found that with the help of psychologism, modern authors in short prose transform and deepen established folklore images, for example, the image of a ruined maiden soul, which after death turns into a vengeful protector of the Ukrainian people. In addition, with the modification of folklore images, the artistic space of stories often acquires intertextuality and connection with the mythological representations of other countries.

ABSTRACT This article explores the representations of evil spirits in popular feature films, shedding light on perceptions of those entities in different cultures. The article analyzes two movies: Under the Shadow (2016), which explicitly focuses on a Middle Eastern evil entity, the djinn, and The Exorcist (1973), which translates a different type of evil into the djinn. In Islam, the djinn can be either good or bad, while Western cultures often portray them as malevolent spirits. This analysis contributes to ongoing discussions in cultural studies by addressing the complexities of cultural adaptation in cinema.