Visual Studies Commons^™

Cinematherapy As A Clinical Intervention: Theoretical Rationale And Empirical Credibility, Michael Powell

Graduate Theses and Dissertations

Two problems must be addressed before cinematherapy can advance as a credible therapeutic intervention: (a) a solid theoretical rationale must exist supporting its use in mental health counseling, and (b) quantifiable data must exist promoting its treatment efficacy, and these data need to extend to various clinical populations representing a range of mental health conditions. This study intends to address both problems by critiquing the theoretical and experimental literature on cinematherapy and measuring the relative effectiveness of a structured, nondirective cinematherapy intervention at improving the hope and optimism of an adult diagnosed with Major Depression. One person (JV= 1) was …

Pathos, Fall 2008, Portland State University. Student Publications Board

Pathos

Editor: Nataliya Pirumova

Issue 7

Studio Practice Course, Visual Studies Programme, Department Of Philosophy, Lingnan University

Visual Studies Programme : Students’ Monographs

Wordings from Klaus

The word document (from Latin "docere", to teach) first describes something that holds clues or provides proof, usually as written evidence. Much of the document remained in the realm of words until the mid-19th century invention of photography. Daguerre's contemporaries' amazement over the fact that the camera would depict reality quasi automatically made photography and film the quintessential documentary media throughout the 20th and early 21 st century.

Learning to question this automatic trust the technological media have been invested with from early implementations to the time of digital manipulation was a trip the students of Lingnan …

Pathos, Spring 2008, Portland State University. Student Publications Board

Pathos

Editor: Laura Pieroni

Issue 6

Baroque Glances At Society: The Appropriation Of Decoupage, The Long Take And Depth Of Field Photography In The Early Films By J.A. Bardem., Jesús Urda

Conference Papers

Bardem is often described as a Spanish Neorealist, as a director who followed closely the cinema of Italian directors like Fellini, Pietro Germi, Visconti and of course the early Antonioni. Except for Cómicos (1954), inspired by the reading of Joseph L. Mankievicz’s All About Eve (1950) all the films he made during the 1950s are inspired by an Italian source: Death of a Cyclist (1955) was inspired by Antonioni’s Cronnica di un Amore/Story of a Love Affair (1951); Calle Mayor (1956), shares similarities in plot and concept with Fellini’s I Vitelloni (1953); La Venganza (1957) with Pietro Germi’s Il Camino …

Pathos, Winter 2008, Portland State University. Student Publications Board

Pathos

Editor: Laura Pieroni

Issue 5

Floating World Projects : Two Views, Delicacies, Inside Out = 浮世, Klaus Peter Knoll, Cella

Artists-in-Residence Programme : Exhibition Catalogues

Floating World Projects photographs and exhibition were realized through the Visual Studies Artist-in-Residence Programm and the generous support of the Department of Philosophy.