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Since its 1975 release, One Flew Over the Cuckoo's Nest (dir. Milos Forman) has maintained an intertextual relationship with the psychiatric discipline, serving as an icon of anti-authoritarianism and a barometer of the state of the field. The film's popularity in the 1970s drew on a context of youth protest on one hand and anti-psychiatry mobilization on the other, both of which it also spurred. Yet how might One Flew read in a different historical moment? Here, in dialogue with my students' reactions and analysis, I argue that the aftermath of dehospitalization and contemporary gender and racial politics have rendered One Flew a more ambivalent cultural artifact. Changing responses to the film in turn reflect the ways in which we draw on the discipline's past in confronting our psychiatric present.

Marek Hendrykowski carries out a reassessment of “Taking Off” (1971) by Miloš Forman, and argues that the film belongs among the top films of American cinematography of the 1960s and 1970s. According to the author the film situates itself in a circle of unjustly underrated phenomena of the history of American cinema. The box office failure of the “Taking Off” meant that for years the film was set as an example of alleged mismatch of prominent European filmmaker and the New World – America and Hollywood. Hendrykowski notes that from today’s perspective Forman’s work is astounding in terms of workshop and the director’s insistence at transferring his creative character from Czechoslovakia and Europe to America. He also points out to the importance of cognitive irony present throughout “Taking Off”, which is characteristic to Forman and other members of the Czech school of film. The author concludes: “by <> Forman initiated a new direction in research, which was to become a new signpost and aim for many other filmmakers on the other side of the ocean. It is not a question of similarities, references or stylistic borrowings, but an original model of feature film and the image of reality contained within”.

On the eve of the Republican National Convention the magazine dedicated a 4,000-word investigative piece to the conspiracy theory that the would-be President of the United States of America was nothing but an elaborate prank by comedian Andy Kaufman. When Jim Carrey was cast in the role of Kaufman in Milos Forman’s 1999 biographical drama Man on the Moon it seemed like a match made in heaven – one comedy giant in the shoes of another. How do we then come to terms with behaviour that has no semblance of professionalism and endangers the physical and mental health of cast and crew?

Approaching Ken Kesey's One Flew Over the Cuckoo's Nest with a focus on Bromden and his relationship to Celilo Falls reveals a deeper portrait of Bromden's identity and motivations. Milos Forman's adaptation of Cuckoo's Nest, however, eliminates Celilo and its role in Bromden's identity, leaving viewers without context for his silence.

Most egalitarians are distributive egalitarians. They assume that the point of equality is that everyone enjoy equal amounts of some good. Rejecting this assumption, there is a small but growing body of literature defending a relational conception of equality. On this view, the point of equality is that people stand in relationships that are equal in some respect. This view has intuitive appeal. But it faces several significant challenges. It's not clear whether, and in what sense, relational equality is distinct from distributive equality. Nor is it clear that relational egalitarianism is a substantive alternative to distributive egalitarianism for first-order assessments of social justice. Relating as Equals develops a new conception of the relational view that, if successful, meets these challenges. By treating the concept of face-to-face relating as basic, while showing how there can be collective accountability for relating as unequals, this account of relational egalitarianism yields substantive conditions on the justice of social practices and institutions. One upshot is that freedom of expression, respect for persons, and epistemic injustice are linked in ways that have not been made explicit before.

In 2014 and 2015, barrier-free theater, Barka, in Brno, Czech Republic, produced Dale Wasserman's stage adaptation of Ken Kesey's One Flew Over the Cuckoo's Nest in translation into several languages and also mediated through a variety of channels to accommodate actors and audiences with various types of impairment: spoken Czech, Czech Sign Language (\"CSL\"), written Czech, and a voiceover for the blind. The combination of communication channels in the production was based on a concept of Universal Design, which aims at a universal accessibility to persons with a wide range of impairment, such as the deaf, the blind, and wheelchair users. Brno, a city of about 400,000 inhabitants, has a thriving disability theater culture. Besides activities around the Barka, there is also a university-level study program in acting for the deaf at Janácek Academy of Performing Arts.

Bu tez, Kırmızı Oda dizisi özelinde, psikolojik temaları konu alan televizyon yapımlarının izleyici tarafından nasıl alımlandığını incelemektedir. Çalışma, televizyon ve psikoloji ilişkisini tarihsel ve sosyolojik bir bağlamda ele alarak, psikoterapinin dizi içeriklerindeki temsiline ve izleyicinin psikolojik içerikleri nasıl alımladığına odaklanmaktadır. Çalışmada, öncelikle sinemada ve televizyonda psikolojik temaların tarihsel gelişimi incelenmiş, Batı sinemasındaki örnekler ve bunların toplumsal bağlamla ilişkisi ortaya konulmuştur. Daha sonra, Türk televizyon tarihinde psikolojik içerikli dizilerin artışı ve bu trendin pandeminin etkisiyle nasıl hızlandığı analiz edilmiştir. Kırmızı Oda dizisi, bu bağlamda özellikle psikolojik danışma ve psikoterapi süreçlerini merkeze alan bir yapım olarak incelenmiştir. Araştırmada, izleyici deneyimlerini anlamak için derinlemesine görüşme yöntemi kullanılmış ve farklı izleyici profillerinden 19 kişiyle görüşülmüştür. Bunun yanı sıra, uzman görüşleri de ele alınarak, psikiyatrist ve psikologların diziye bakış açıları değerlendirilmiştir. Elde edilen bulgular, izleyicilerin diziyi genellikle gerçek hikâyeden yola çıkması sebebiyle ve dizinin içerdiği temaların gerçekçi olduğunu düşünerek izlediklerini göstermiştir. Bununla birlikte, etik tartışmalar da öne çıkmış ve diziye dair eleştiriler getiren izleyicilerin, psikoterapi pratiğinin gerçek hayattaki işleyişi konusunda yanıltıcı mesajlar alınabileceği üzerine görüşlerinin olduğu tespit edilmiştir. Çalışmada psikolojik temalı dizilere olan ilginin artmasının pandemi dönemi ile bir ilişkisini olup olmadığı da araştırılmıştır. Kırmızı Oda' nın, izleyicilerin psikolojik rahatsızlıklar konusunda farkındalık kazanmasını sağladığı saptanmıştır. Kırmızı Oda dizisinin izleyici alımlamasındaki çeşitlilikler ve bu çeşitlenmelere neden olabilecek unsurlar kuramsal literatür eşliğinde tartışılmıştır.

Marek Hendrykowski przeprowadza historyczną rewizję oceny Odlotu (1971) Miloša Formana, wskazując, że dzieło to należy do czołówki najwybitniejszych osiągnięć kinematografii amerykańskiej przełomu lat 60. i 70. Według autora film ten sytuuje się w kręgu krzywdząco niedocenionych zjawisk historii kina amerykańskiego. Kasowa porażka Odlotu sprawiła, że na długie lata stał się on przykładem rzekomego niedopasowania wybitnego filmowca z Europy do Nowego Świata – Ameryki i Hollywood. Hendrykowski zauważa m.in., że z dzisiejszej perspektywy dzieło Formana zdumiewa mistrzostwem warsztatowym oraz konsekwencją reżysera w przenoszeniu do nowych warunków bagażu twórczego, z którym opuścił Czechy i Europę. Podkreśla również, że niezwykłą wartością Odlotu jest nieustanna obecność w nim ironii poznawczej, charakterystycznej nie tylko dla samego Formana, ale poniekąd także dla filmów szkoły czeskiej. Autor konkluduje: Forman zainicjował „Odlotem” pewien nurt poszukiwań, który miał się stać wskazówką i dążeniem dla szeregu innych filmowców za Oceanem. Nie chodzi o takie czy inne podobieństwa, nawiązania czy zapożyczenia stylistyczne, lecz o nowatorski model niebanalnego kina fikcji i wpisany weń makroobraz rzeczywistości.