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CONTEXT: Male contraceptive options are limited; however, product development efforts tend to focus on female methods. Research on attitudes toward methods for men-particularly in regions of low contraceptive prevalence, such as Sub-Saharan Africa-could inform the development of new male methods. METHODS: Qualitative data were taken from focus group discussions with 80 men aged 23-67 and 398 women aged 15-50 that were conducted in Burkina Faso and Uganda in 2016. Transcripts were analyzed thematically to explore support among men and women for male contraceptive methods, and to extract suggestions about ideal method characteristics. RESULTS:Male and female participants in both countries expressed support for new male contraceptive options; more positive attitudes were expressed in Uganda than in Burkina Faso. Participants of both sexes recognized that male methods could reduce the family planning burden on women and offer men greater control over their fertility; however, some had concerns about side effects and thought that men would not use contraceptives. Relationship characteristics, such as polygamous unions, were cited as possible challenges. In both countries, various delivery methods (e.g., creams or jellies, the injection and the implant) and durations (from short-acting to permanent) were proposed. CONCLUSIONS:The acceptability of new male methods among most participants in the two countries indicates a potential demand for male contraception. Options should include a variety of method characteristics to maximize choice, engage men, and support men and women's contraceptive needs.

The end of the Soviet era opened a period of financial distress and artistic disorientation in the film industry. The transition to the free market was too abrupt; price liberalization, privatization, the collapse of the centralized system of production and distribution, the deterioration of the studios, inadequate law enforcement to guarantee copyright, rampant video piracy, and the general decline of disposable income among the population combined to push film production down to an alarming low. The films of shock capitalism do not easily fall into a trend or a movement. Many reassess the past, placing different spins on various epochs and figures according to the director's ideological orientation. Others reflect the reality of the present day, either in dramatic or grotesque form. Still others offer escapism into imaginary worlds. About 50 films are surveyed here. They vary in production values and intellectual level, but each is a document of the specific time and place in which it was produced. Each film, therefore, is relevant as a cultural product of this bizarre Russian fin de sicle.

I work in the field of the poetic documentary film. That's why I feel so close to both the folk songs and the poetry of Majakovskij." (Dziga Vertov) Among the masters of Soviet cinema of the 20's, Dziga Vertov played a very important role. During that decade he completed three long series of newsreels, Kinonedelja, Kinopravda, and Goskinokalendar, and some twenty feature films. His theoretical writings (especially his theory of the "cine-eye") as well as his films were avant-garde propositions, which had a long lasting and international influence.1 Vertov's concept of montage is particularly close to certain ideas and techniques which flourished among the Cubo-Futurists and the Formalists, and later in the LEF group. Both in his writings and, implicitly, in his films, Vertov reiterated the fundamental principle that the artistic medium (in this case, the language of cinema) must be autonomous, self-referential and universal. The constant foregrounding in Vertov's films of the two basic structural elements of cinemathe shot and the montageis analogous to the Futurists' foregrounding of the structural elements of versesound and rhythm. In a poem such as, "Dyr bul scyl," by Alexander Kruchenykh, the destruction of the conventional semantic, syntactic, and prosodic elements liberates the words from every kind of causal relationships; they become unmotivated and are therefore perceived as autonomous values. The arrangement of the words in rhythmical segments and by phonetic analogies endows the text with a new and fresh meaning, based on parallelism. Similarly, Vertov in his films destroys both the conventional semantics of the shots (by means of unusual frame compositions and camera angles), and the conventional syntagmatic relationships that would advance a narrative (by means of a striking use of montage). The result is a palpable texture of visual analogies and rhythmic segments, homologous with the texture of a Futurist poem. The kinship between cinema and poetry was emphasized by Vertov when he noted in his diary, after having in vain waited to meet with Majakovskij: "I wanted to

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