Do Registered Nurses on long term non palliative units experience compression fatigue, burnout and secondary traumatic stress?
In 1927, Russian filmmaker Vsevolod Pudovkin completed production on The End of St. Petersburg, his second in a trilogy of films centering on revolution in the Motherland. The End of St. Petersburg tells the story of a politically naïve peasant farmer who, enter-ing St. Petersburg in search of work, finds himself caught up in and ultimately transformed by the rebellion of the proletariat. While perhaps less influential in the world of cinema than its pre-decessor, Mother (1926), The End of St. Petersburg remains a testament to Pu-dovkin's directorial brilliance, exemplifying both his technical prowess and his ability to trans-form reality on film. Of particular import to the realization of his unique vision is his inventive use of montage and parallel editing for symbolic effect. Manifesting in several instances throughout the film, such symbolic imagery lends The End of St. Petersburg the intellec-tual depth characteristic of Pudovkin's greatest films. Perhaps the most pervasive symbolism in the work of Pudovkin appears in his use of images of nature, often carefully sequenced to reflect the narrative structure of the film. The End of St. Petersburg opens, as Amy Sargeant notes in Vsevolod Pudovkin: Classic Films of the Soviet Avant-Garde, with "a calm, stratified picture of a sunrise; the day breaks and the blades of a windmill slice vertically, chopping regularly through the sky; winds blow left to right across the plains and the tide passes over the estuary" (Sargeant, 95). Here Pudovkin establishes a state of calm, his cuts slow and rhythmic, emphasizing a world that is, for the time being, at peace. Almost immediately, however, the violence of childbirth breaks through the calm, and as the central peasant character departs for St. Petersburg, clouds mar the once clear skies, symbolic of a peace disrupted and foreshadowing of things to come. Pudovkin employs the recurrence of cloud imagery throughout the film to suggest the gathering of a storm. This is echoed in St. Pe-tersburg, where dense black clouds of smoke rise in and from the factories, surrounding the workers and obscuring the sky-moving quickly, as if carried by a heavy wind. Water, too, re-flects the coming storm-the peaceful waters of the estuary in the opening scene give way in St. Petersburg to the dark ripples of the Baltic Sea. Pudovkin's montage of this imagery is carefully placed throughout the film so as to mirro>GET ANSWER