The co-construction of helping services in the community of Ennerdale is a study that explores men’s reluctance to make use of helping and psychological services. Academic and informal literature informs us that men are often unwilling to seek medical or psychological assistance and that the male stereotypes view these services as utilised only by the weak and powerless. A great part of men’s unwillingness is furthermore related to historical male roles and the perception that the helping, and specifically the psychological services, are for the weak and insane. This research study was conducted in the Community of Ennerdale, a community south of Johannesburg. A focus group was conducted with adult male volunteers from the community and individual interviews were conducted with two psychologists, one medical doctor, and one church minister. The study was conducted from a social constructionist epistemology that falls within the qualitative research framework. The social constructionist epistemology views our (individuals) understanding and views of our world as a uniquely social process that is influenced by our gender, culture, language, and history. A discourse analysis was utilised to analyse the information obtained from both the focus group and individual interviews. The results from this research study indicate that a great part of men’s reluctance is related to the dominant male discourses and male scripts that construct men as superior and proud individuals who are not supposed to display weakness or inability. The helping and psychological services are constructed as services that assist the weak, insane and powerless, constructing an identity of weakness and insanity which men wait to avoid. The most common indicator for men’s reluctance is the historical constructs of the helping services and the historical constructs and discourses related to masculinity and appropriate male behaviour. / Dissertation (MA (Counselling Psychology))--University of Pretoria, 2006. / Psychology / unrestricted

[pt] No ano de 1965, o cineasta Jorge Prelorán deu início a uma vasta série documental, intitulada Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, direcionada à pesquisa e ao registro audiovisual de regiões interioranas do país. O projeto, que contou com o patrocínio de instituições como a Universidad Nacional de Tucumán e o Fondo Nacional de las Artes, foi desenvolvido em meio a um pulsante contexto intelectual e artístico, marcado tanto pela emergência das mais diversas propostas de renovação da linguagem cinematográfica, como pelo amplo fenômeno conhecido como boom do movimento folclórico, ocorrido nos anos 1960, na Argentina. Nesse sentido, o objetivo desta tese foi o de investigar de que maneira Jorge Prelorán teria reelaborado, nas películas por ele realizadas para o Relevamiento (1965-1975), um conjunto de temas, tópicas, metodologias, recursos narrativos e procedimentos discursivos provenientes de três amplos domínios, com os quais o diretor manteve os mais estreitos contatos: a larga tradição de ensaios de interpretação da Argentina, dedicada, ao longo do tempo, à tarefa de figuração da nação; os campos do folclore e da antropologia vigorantes no país, em suas múltiplas vertentes; e as correntes do cinema etnográfico com as quais o diretor chegou a estabelecer longevos vínculos. Os diálogos travados entre a obra de Prelorán e as tradições intelectuais e artísticas mencionadas – diálogos esses que estiveram quase sempre pautados nas estratégias de descrição da natureza, nos diferentes modos de figuração do tempo e do espaço e nos modelos de representação da arte e da cultura manejados pelo documentarista – foram concebidos, ao longo da pesquisa, como variações em torno de quatro grandes temas: a cartografia, a viagem, o compêndio e a metodologia empática de filmagem. / [en] In 1965, the filmmaker Jorge Prelorán began to develop a vast documentary series, entitled Relevamiento Cinematográfico de Expresiones Folklóricas Argentinas, dedicated to the study and filming of inlands regions of the country. The project, which was sponsored by Universidad Nacional de Tucumán and Fondo Nacional de las Artes, took place in the midst of an intellectual and artistic context marked both by the emergence of diverse proposals for the renewal of cinematographic language, and by the cultural phenomenon known as boom of the folk movement, which occurred in the 1960s in Argentina. Therefore, the purpose of this thesis was to investigate how Jorge Prelorán reformulated, in the films he made for the project between 1965 and 1975, a set of themes, topics, methodologies, narrative resources and discursive procedures originated from three broad domains, with which the director maintained close contacts: the long tradition of Argentine essays, dedicated to the interpretation of the nation; the fields of folklore and anthropology prevailing in the country, in its multiple phases; and the modalities of ethnographic cinema with which the director related in those years. The dialogues that were established between Prelorán s work and the intellectual and artistic traditions mentioned previously – dialogues that were almost always based on the strategies of describing nature, on the different modes of representing time and space and on the models of depicting art and culture used by the filmaker – were conceived throughout this research as variations around four major themes: cartography, travel, compendium and empathic filming methodology.