My central argument is that mainstream British cinema of the 1951 – 1965 period marked the end of the paternalism, as exemplified by a professional ‘officer class’, as consumerism gradually came to be perceived as the norm as opposed to a post-war enemy. The starting point is 1951, the year of the Conservative victory in the General Election and a time which most films were still locally funded. The closing point is 1965, by which point the vast majority of British films were funded by the USA and often featured a youthful and proudly affluent hero. Thus, this fourteen year describes how British cinema moved away from the People as Hero guided by middle class professionals in the face of consumerism. Over the course of this work, I will analyse the creation of the archetypes of post-war films and detail how the impact of consumerism and increased Hollywood involvement in the UK film industry affected their personae. However, parallel with this apparently linear process were those films that questioned or attacked the wartime consensus model. As memories of the war receded, and the Rank/ABPC studio model collapsed, there was an increasing sense of deracination across a variety of popular British cinematic genres. From the beginning of our period there is a number films that infer that the “Myth of the Blitz”, as developed in a cinematic sense, was just that and our period ends with films that convey a sense of a fragmenting society.

This mixed methods study combining a single-subject experimental design with an embedded case study focuses on the impact of a visual treatment on the handwritten and typed output of a struggling male writer during his 5 th through 7 th grades who has undergone a longitudinal remedial phase of two and a half years creating text-only material as well as graphic novels (on paper, on the computer, and online). The purpose of this research was to develop and assess the effectiveness and practicability of a visual treatment in order to help this high-achieving student with excellent comprehension and oral skills but impaired execution of writing tasks to produce cohesive, well-organized stories within a given time. It was hypothesized that by breaking up the assignments into visual chunks (speech bubbles), taking away the threat of a blank page to be filled by text only, exercising his artistic capabilities, and fostering pride of authorship and achievement through (online) sharing, this treatment would improve the participant's written output in quality, quantity, and pace. The 6+1 Trait ® Writing Scoring Continuum (Northwest Regional Educational Laboratory, early 1980s) was employed to assess the participant's writing performance, and the Flanders Interaction Analysis Categories (FIAC) (Flanders, 1970) were used to note his on-task/off-task behavior and the categories of his responses during tutoring sessions. An auditor was employed to confirm the investigator's evaluations; if contradictions occurred, the artifact in question was omitted from the study. The participant underwent extensive educational assessment regarding his reading and writing predilections and habits prior to study begin (quantitative data) in the form of rating scales, such as the Classroom Reading Inventory, the Elementary Writing Attitude Scale, and others. He was further observed during clinical supervision (audio- and videotaping), and underwent qualitative assessment (content analysis of written output) during the study, and post-study performance tests (quantitative and qualitative data). Baseline graphs were employed to establish the traits of his writing behavior during all three experimental stages (pre-treatment, treatment, post-treatment), and tutor logs shed further light on the participant's feelings and behavior under each condition. The interwoven mixed data revealed that the participant enjoyed the tutoring sessions, and even cried twice when he missed one, but that his attention deficit and off-task behavior severely interfered with the organization and quantity of his written output. The Flanders analysis showed that the slightest distraction through his environment (tutor, second tutee, etc.) took his focus off his writing tasks, and that the tiniest thing out of order (e.g., a wrong digital display of the current time of day on his computer screen) could occupy his thoughts for minutes, or trigger an exaggerated outburst after half an hour. Flanders also confirmed, as the higher quality of his output had shown, that the boy was strongly motivated by what interested him (Star Wars), and that he would put extra care in the creation of corresponding tasks. It can be concluded that self-chosen material, and not the format of graphic novels, motivated the participant to work. The content analysis of his post-treatment essay as compared to his pre-treatment essay showed that he was able to finish it, that the length had augmented, that the chronological order of events was maintained thanks to having learned organization through panels, but that the creativity and ideas had declined. Finally, the analysis of The 6+1 Trait ® Writing Scoring Continuum, which examined ideas, organization, voice, word choice, sentence fluency, conventions, and presentation of ten writing samples per stage, showed that the participant had scored 30.2 in the pre-treatment stage, 29.2 in the treatment stage, and 32.8 in the post-treatment stage. Given that the participant had matured during the two and a half years of study, the gain was not important enough to justify a graphic novel intervention to improve the writing of this specific student. The astonishing low score in the easiest stage, the treatment stage itself (where he only had to fill in speech bubbles) was a result of the genre itself (which called for less descriptive written output) and of the fact that the participant thought this stage was “easy” (as per interview from 05/17/2011) and might have felt not sufficiently challenged. It can be concluded that the graphic novel treatment was effective in helping with the chronological organization within the participant's texts, but this goal could maybe also have been achieved by structuring through sub-headings or perhaps voice recordings of a list of steps. Due to the high off-task behavior and time consumption, this treatment would not be feasible in a classroom setting, but might work in a resource room. During the treatment, the participant revealed himself as auditory, not just visual learner, who was motivated by sound and music, especially in combination with his online Star Wars photo story; he was planning on an animated story with movie features. In the future, this highly articulate child would benefit from self-chosen writing tasks that include the creation of online stories with pictures, animation, and sound. His behavior needed more remediation than the quality of his written output. Future studies should investigate the effectiveness of writing workshops using graphic novels within the classroom setting, as proposed by Thompson (2008), and also assess the benefits of digital story-telling (Burke & Kafai, 2012) as an additional motivational factor, while putting special emphasis on students who display autistic and ADHD behavior.

“Directing Rebecca Gilman’s Boy Gets Girl…” reviews the process of directing Boy Gets Girl by Rebecca Gilman, presented on October 26-29, 2017, in the Cristian H. Moe Laboratory Theater at Southern Illinois University in Carbondale, Illinois. This document chronologically details the year-long production process for the director, beginning with the preliminary research and discussing the development of a concept, through formulating designs, conducting rehearsals and observing performances, and concluding with a post production evaluation. This document begins with Chapter 1, exploring the preliminary research which developed into the director’s concept and vision for production. Chapter 2 explains the pre-production process, including design and production meetings, dramaturgy, and publicity. Chapter 3 details the production process, including auditions, callbacks, rehearsals, and performances. Chapter 4 is a personal reflection and committee evaluation of the overall production, including the recognition of opportunities for future growth as a director.

Icky Boy is a work of fiction, particularly a collection of short stories. Every story is set in a semi-fictional region of Southern Maine, most of them in the fictional town of Mousam. The collection begins with “Icky Boy,” the story of a shy, insecure young man who falls in love with a woman, Peg, he meets at the grocery store. Their relationship is complicated by the arrival of an unorthodox motivational speaker and by a freak accident that critically affects Peg. The second story, “Cardiac Fridays”, is about a retired professional wrestler, “Big” John Childs who tries to find excitement and purpose in his life (by helping out at a clinic that induces heart attacks in people looking for thrills) after retiring from his job and becoming estranged from his wife and son. “Bone Breaker” tells the story of a debt collector who is experiencing a mid-life crisis. In the process of pursuing a debtor he begins to have a change of heart and reevaluate his life. “Gravy Work” follows a young couple, Cheryl and Thurman, who experience relationship difficulties as a result of their different ambitions. They attempt to reconcile their personalities while also trying to move to a different city and coping with Thurman’s addiction to a new TV program. “Donor” is about half brothers, Arthur and Kevin, who don’t get along (due to Kevin’s rage disorder) and who haven’t found their niche in high school. The two boys begin contacting their respective sperm donors for insights into their past and their future potential. “Win-Win” is about a man’s return to his hometown to help bury an ex lover’s dead ex boyfriend. In his attempt to reconcile with his ex, the narrator reveals himself to be more conflicted and insecure than he previously thought. “Particular Human” is about two men who get a flat tire while driving and so stop at a late night fast food shop managed by a unique and uniquely sad individual. “Chassis” follows the tribulations of a small family as they cope with the matriarch’s failing health.

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Temos aktualumas. Dirbant su berniukais, būtina ieškoti būdų, kaip juos įtraukti į chorinę veiklą, kuri turi tapti reikšminga bendruomenei. Tyrimo objektas – Lietuvos berniukų chorų veikla Lietuvoje. Tyrimo tikslas – ištirti berniukų chorų veiklos Lietuvos bendruomenėje socialinį reikšmingumą. Uždaviniai: 1) pateikti meno kolektyvų veikos visuomenėje misijos teorinį pagrindimą; 2) apžvelgti berniukų chorų kūrybinės veiklos sklaidos Lietuvoje ypatumus (visuomeninių funkcijų įžvalgos); 3) ištirti Lietuvos berniukų socializacijos prielaidas. Hipotezė. Berniukų chorai bendruomenėje vaidins reikšmingą vaidmenį, jeigu jiems vadovaus šiai veiklai pasišventę kompetetingai kvalifikuoti vadovai chorvedžiai – pedagogai, suvokiantys pedagoginę ir socialinę savo darbo prasmes, jeigu chorų dalyviai bus motyvuoti, bus ugdomas berniukų aktyvumas, tapatumo įprasminimas, saviraiška, komunikaciniai gebėjimai (bendrauti ir bendradarbiauti), sąveika su aplinka, bendruomene vaidins svarbų vaidmenį paauglių prevencijos procese, jeigu jų kūrimosi procesą, veiklą stimuliuos visuomenė. Tyrimo metodai. Teoriniai: mokslinės, pedagoginės, publicistinės bei informacinės literatūros sisteminė analizė. Empiriniai: respondentų apklausa; autorės praktinės darbo su berniukų choru patirties apibendrinimas. Matematiniai statistiniai: procentinė duomenų analizė, chi kvadrato kriterijaus taikymas, kontingencijos koeficientas (C). Išvados patvirtina, kad muzikinė raiška chore atlieka svarbią vaikų... [toliau žr. visą tekstą] / The relevance of the subject. While working with boys it is important to look for means to involve them into chorus activity which is to become significant to the society. The object of the research – Lithuanian boy chorus practice in Lithuania. The goal of the study – to explore the social impact of boy choruses on Lithuanian society. The tasks: 1) to introduce the theoretical grounding of the mission of the artistic collectives’ influence in the society. 2) to revise the spread peculiarities of boy chorus activities in Lithuania (the social function providence). 3) to study the presumptions of Lithuanian boys’ socialization. The hypothesis. Boy choruses will play an important role in the society if they are managed by dedicated competitively qualified choirmasters – pedagogues realizing both the pedagogical and social meanings of their work, if the chorus participants are motivated, if the activity, the sense of identity, self-expression, communicational abilities (to communicate, to cooperate) of the boys will be developed, the interaction with the surroundings and the society will be important to the process of the teenager prevention if the society stimulate their creation and practice. The methods of the research. Theoretical: the systemic analysis of the scientific, pedagogical, journalistic and informational literature. Empirical: the interview, the generalization of the author’s practical work with a boy chorus. Mathematical statistical: the percentage analysis... [to full text]

<p>Through the collection and analysis of negotiations surrounding the gay magazine Destroyer, the intention of this paper is to identify norms of sexuality within a contemporary sex-radical discourse. These negotiations are collected from interviews with individuals whom, at the time of the inter-view, consider themselves or their politics sex-radical. In order to allow for a more general under-standing of the context in which these negotiations have come about, material about Swedish law is also included in this text, together with the interview material, and serves as a base for analysis through the application of Gayle Rubin’s theory on the hierarchical value system of sexuality.</p><p>Following, are the main themes throughout the paper: The meaning of the context; Sexualized children; The possibility to (not) participate: differences of power; The decision whether or not to sell the publication and The position of the pedophile and crossgenerational love/sexuality within the LGBTQ community.</p><p>Key words: sex radicalism, pornography, boy-love, kiddy porn, pedophilia, Destroyer, Gayle Rubin.</p>

Through the collection and analysis of negotiations surrounding the gay magazine Destroyer, the intention of this paper is to identify norms of sexuality within a contemporary sex-radical discourse. These negotiations are collected from interviews with individuals whom, at the time of the inter-view, consider themselves or their politics sex-radical. In order to allow for a more general under-standing of the context in which these negotiations have come about, material about Swedish law is also included in this text, together with the interview material, and serves as a base for analysis through the application of Gayle Rubin’s theory on the hierarchical value system of sexuality. Following, are the main themes throughout the paper: The meaning of the context; Sexualized children; The possibility to (not) participate: differences of power; The decision whether or not to sell the publication and The position of the pedophile and crossgenerational love/sexuality within the LGBTQ community. Key words: sex radicalism, pornography, boy-love, kiddy porn, pedophilia, Destroyer, Gayle Rubin.

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