1,720,955 research outputs found
Autofiction in contemporary film as a constructing mediumfor the woman author-character-narrator
Get PDFUn total de 59 producciones desde el año 2000 refleja el auge de la autoficción contemporánea dirigida por mujeres y constata el vasto volumen de producción y coproducción francesa. Este trabajo revisa la relevancia de la autoficción en el contexto de subordinación de las cineastas en la industria y en su condición de sujetos de la enunciación. En una contribución a la valoración de la subjetividad femenina ficcionada, se estudia la construcción del yo a través de lo real, los personajes, el tiempo y el espacio en las películas de mayor recaudación: National Theatre Live: Fleabag (2019), de Phoebe Waller-Bridge; Lady Bird (2017), de Greta Gerwig; Aftersun (2022), de Charlotte Wells, y Past Lives (2023), de Celine Song.A total of 59 productions since 2000 reflects the rise of contemporary autofiction directed by women and confirms the vast volume of French production and co-production. This investigation revises the relevance of autofiction for women filmmakers who are subordinated to the industry’s context and for their self-annunciation. The construction of the self in autofiction as a genre and cinematographic technique is addressed through reality, characters, time and space in the films with the highest grossing: National Theatre Live: Fleabag(2019), by Phoebe Waller-Bridge; Lady Bird(2017), by Greta Gerwig; Aftersun(2022), by Charlotte Wells, and Past Lives(2023), by Celine Song, in order to contribute to appreciate the subjective female fictional self in these stories
Universitat Nom de Dona
Get PDFTreball Final de Grau en Periodisme. Codi: PE0932. Curs acadèmic: 2020/2021"Universitat Nom de Dona" refers to the part composed by women of the Valencian
public universities: Universitat Jaume I, Universitat de València, Universitat
Politècnica de València, Universitat d’Alacant i Universitat Miguel Hernández. Issues
have come to be dealt with both in the social sciences and in the natural sciences
and in women's influence in university centers from a position of responsibility within
them or politics. Above all, it is a cyber-media focused on researchers, so it creates
references for teenagers of age to choose specialization.
In this respect, the gender gap that exists in the STEM (science, technology,
engineering and mathematics) area is being combated and the value of scientific
research is being given, an area far removed from the population that is also
concentrated on this unequal situation. Therefore, "Universitat Nom de Dona" can be
considered aligned with the Sustainable Development Goals of Agenda 2030, as the
fifth challenge is intended to achieve gender equality.
We can therefore state that the objectives are, on the one hand, the visibility of
research by women researchers, of management work and of the work of students in
competitions or TFGs. On the other hand, it aims to create references, especially in
the fields of science, technology, engineering and mathematics. Professional profiles
that show the possibilities of university careers in the work of interviews, such as
"Andrea Blanco: 'When I thought about mechanical engineering, I related it only to
cars and motorcycles' and "Regular Norway: 'I have been very interested in social
injustices since I was very young.'
In terms of the design of the cybermedia, it has essentially included the purple color
F8F5CAF in hexadecimal code, preserved the institutional value of the university and
added a more youthful tone. An attempt has been made on social networks to
convey this more modern and accessible view of knowledge, for example, through a
type of scientific outreach in Instagram's "stories". The fonts used have been
"Verdana" for web-based publications and "League Spartan" for social media
publications. In addition, the text of the cybermedia pieces is aligned to the left.
The closest competition to "Universitat Nom de Dona" could be the press notes of
universities, although they do not go into the topics, and the section of the
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"Intermedio" program called "Mujer had to be", saving distances, because this
proposal is based on individual video interviews and not only addresses professions
related to universities.
In addition to the sections intended to place readers in cybermedia, there are those
that have journalistic content: "Socials" presents the specialty of social sciences,
legal sciences, l.art, engineering and architecture; the "Naturals" section is dedicated
to the natural and experimental sciences; the last, "Despatxos" shows the
women's-related pieces held in positions of responsibility within the university, as is
the case of the future vicedegana de Grau in Sciences of Physical Activity and of
LUUJI Sport, or politics, as exemplified by the interview with Amparo Navarro, rector
of the Universidad d.Alacant.
Turning to the issue of broadcasting, we can talk about three social networks: Twitter,
Instagram, and Facebook. Sonaha has created and used in all promotions the
hashtag #LaDonatambéHiÉs with the dual purpose of distinguishing content (and
"store it") and focusing on the presence of women in the social and scientific
activities represented. It highlights what has been achieved through Twitter, as it
appears to be the most effective social network for the number of users and the
constant interaction.
The focus of the pieces has been good for past, present or future decisions by
women in their responsibility (example: interview with Carmen Bevià, autonomous
secretary of universities and research), professional trajectories and/or specific jobs
(example: interview with Núriaria Reguart, jurist, assistant professor and member of
the Human Rights and Fundamental Rights Research Group of LUUJI) or the
making of masculinized sectors (example: news about the world exhibition of the
comic “Women on the brink of a Vine attack.”
The website's publications can be distinguished in news that visibilizes the
processes or results of some research, such as "Three Researchers in front of a
study that could alert to the beginning of the fourth wave" with the prominence of the
personal source Ana Esplugues, researcher of the Department of Nursery of the UV,
or "A study and the UNAV reveals the differences in behavior between men and
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women in Tinder" which is based on the testimony of Mar.a del Carmen Méndez,
assistant professor doctor of the Department of Spanish Philology, Linguistics
General and the Theory of Literature of the UA.
Other news has focused on decisions by women in positions of responsibility. The
interview with the Director-General of Universities and, previously, Head and
Professor Titular of the Department of Translation and Communication of the UJI,
Pilar Ezpeleta, derives from the piece entitled "Valencian universities will increase
the presence of the public according to the health situation". As regards interviews, it
has been attempted to explain professional trajectories. It is seen in the example of
"Juana Maria Delgado: 'We are certain that women have made great contributions to
science'.
Finally, reports have been made that go into more detail on a subject such as the
audio-visual called "Reival the referents of a feminist science" that mentions some
historical and contemporary scientists in the line of noting references coinciding with
the stage of the EBAU and the choice of university careers of thousands of girls in
the País Valencià.
Documentary sources include the "Cyentifics in Figures 2021" of the Ministry of
Science and Innovation, "AU in Statistics 2019: Statistical year of the Universitat
d’Alacant", "Igualty in MeFP 2021" of the Ministry of Education and Vocational
Training, "The implementation of Agenda 2030 at universities: current situation and
good practices" of the Social Consultative Sphera, "Annuary of Statistical Data from
the Universitat de València", "Annual Memory 2019" of the CSIC at the National
Institute of Statistics", "CSIC Women Investigative Report 2020" from the CSIC and
the study of the Energy Transition Observatory and Climate Action.
As a conclusion and in tecnhical terms, while at first, both the writing of the pieces
and the preparation and execution of interviews have been costly and
time-consuming, a few weeks away from these months of work, an improvement has
been noted. In addition, knowledge about design has been learned by refining
parameters or trying to reach larger audiences on social networks.
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In a more general area, at the end of the project we have become familiar with the
abbreviations PDI and PAS, as well as with different university studies and the main
documentary sources suitable for the subject. In addition, the fluency and use of the
Valencian language has naturally been improved with day-to-day work. In short, we
have known more closely about journalistic routines, relationships with sources and
the university world.
In this vein, the work of the journalist to make the technical knowledge of the
interviewees redundant has been understood over time. Recently, it has been
checked in the news "A physiotherapy program makes a profit from the use of the
Wii in ctus patients". At one point, the UV researcher Elena Marqués makes a
clarification about the "subaccuracies" of a pathology. Language is considered
inaccessible and an explanation is found: these phases correspond to the "most
serious" and are characterized "by the continuity of symptoms and pain". In the
news, the simple explanation replaces the scientific term "subagreed phase".
On the basis of a project that aims to resolve as far as possible the question of
ignorance of the names and surnames of scientists in our country, classical
references such as the biochemical margarita Salas, but also contemporary and
local ones such as the chemistry Pilar Mateo, the epidemiologist Juana Maria
Delgado, and the climatologist Verónica Nieves are recognised. In addition, we have
been familiar with the policies implemented by local and national governments to
attract scientific talent, such as the PlaGenT of the Generalitat Valenciana or the aids
Beatriz Galindo Ministry of Science, Innovation and Universities.
The project's closure is with the same author as it was started, because the difficulty
of working on research and getting promoted in the university's career from maternity
has been noted, as expressed by Alexandra Kollontai. The feminist activist assumes
that "capitalism has loaded on the shoulders of the working woman a weight that
crushes her; it has made her a worker, without alleviating her care of housewives
and mother." It is shocking that an early 20th-century book still has complaints about
women's difficulties: "The solution to the family problem is no less important than the
conquest of political equality and the establishment of its full economic
independence." That is why we support feminist projects that put the value of the
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work of those that also build the foundations of the science of our societies at the
heart of it
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
La autoficción cinematográfica contemporánea como vehículo para la construcción de la autora-personaje-narradora
No full textA total of 59 productions since 2000 reflects the rise of contemporary autofiction directed by women and confirms the vast volume of French production and co-production. This investigation revises the relevance of autofiction for women filmmakers who are subordinated to the industry’s context and for their self-annunciation. The construction of the self in autofiction as a genre and cinematographic technique is addressed through reality, characters, time and space in the films with the highest grossing: National Theatre Live: Fleabag (2019), by Phoebe Waller-Bridge; Lady Bird (2017), by Greta Gerwig; Aftersun (2022), by Charlotte Wells, and Past Lives (2023), by Celine Song, in order to contribute to appreciate the subjective female fictional self in these stories.Un total de 59 producciones desde el año 2000 refleja el auge de la autoficción contemporánea dirigida por mujeres y constata el vasto volumen de producción y coproducción francesa. Este trabajo revisa la relevancia de la autoficción en el contexto de subordinación de las cineastas en la industria y en su condición de sujetos de la enunciación. En una contribución a la valoración de la subjetividad femenina ficcionada, se estudia la construcción del yo a través de lo real, los personajes, el tiempo y el espacio en las películas de mayor recaudación: National Theatre Live: Fleabag (2019), de Phoebe Waller-Bridge; Lady Bird (2017), de Greta Gerwig; Aftersun (2022), de Charlotte Wells, y Past Lives (2023), de Celine Song
La autoficción cinematográfica contemporánea como vehículo para la construcción de la autora-personaje-narradora
Get PDFA total of 59 productions since 2000 reflects the rise of contemporary autofiction directed by women and confirms the vast volume of French production and co-production. This investigation revises the relevance of autofiction for women filmmakers who are subordinated to the industry’s context and for their self-annunciation. The construction of the self in autofiction as a genre and cinematographic technique is addressed through reality, characters, time and space in the films with the highest grossing: National Theatre Live: Fleabag (2019), by Phoebe Waller-Bridge; Lady Bird (2017), by Greta Gerwig; Aftersun (2022), by Charlotte Wells, and Past Lives (2023), by Celine Song, in order to contribute to appreciate the subjective female fictional self in these stories.Un total de 59 producciones desde el año 2000 refleja el auge de la autoficción contemporánea dirigida por mujeres y constata el vasto volumen de producción y coproducción francesa. Este trabajo revisa la relevancia de la autoficción en el contexto de subordinación de las cineastas en la industria y en su condición de sujetos de la enunciación. En una contribución a la valoración de la subjetividad femenina ficcionada, se estudia la construcción del yo a través de lo real, los personajes, el tiempo y el espacio en las películas de mayor recaudación: National Theatre Live: Fleabag (2019), de Phoebe Waller-Bridge; Lady Bird (2017), de Greta Gerwig; Aftersun (2022), de Charlotte Wells, y Past Lives (2023), de Celine Song
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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