In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit ("New Objectivity"). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of Francois Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumiere and Georges Melies in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production-scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing-imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers' principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.

Mia Patsin kirjoittama Pyhimykset teatterissa, nayttelijat kirkossa, Osa I kartoittaa kirkkodraaman kehityskaarta. Kirjan alussa luodaan katsaus muutamiin varhaisimpiin uskonnollisiin teattereihin. Sen jalkeen kirja kuljettaa lukijan aikamatkalle: alkukristittyjen teatterista 1900-luvun Eurooppaan. Matkalle lahdetaan Jerusalemista, kuljetaan muun muassa Syyrian, Italian, Espanjan, Ranskan, Sveitsin, Alankomaiden ja Englannin kautta Venajalle. Kirjassa kaydaan myos lapi keskeiset katolisen kirkon teatterin kasitteet, ja tuodaan esiin uskonpuhdistuksen vaikutus kristittyjen tekemaan teatteriin. Kristittyjen teatteri ei toki ole ainoa uskonnollinen teatterimuoto maailmassa, mutta se kuuluu eurooppalaisten historiaan, yleissivistykseen ja monen seurakuntalaisten elamaan. Kristittyjen teatterista Pohjoismaissa Mia Patsi kirjoittaa Pyhimykset Teatterissa, Nayttelijat kirkossa, Osa II: ssa, joka ilmestyy kuluvana vuonna

Camera trapping is a powerful and now widely used tool in scientific research on wildlife ecology and management. It provides a unique opportunity for collecting knowledge, investigating the presence of animals, or recording and studying behaviour. Its visual nature makes it easy to successfully convey findings to a wide audience. This book provides a much-needed guide to the sound use of camera trapping for the most common ecological applications to wildlife research. Each phase involved in the use of camera trapping is covered: - Selecting the right camera type - Set-up and field deployment of your camera trap - Defining the sampling design: presence/absence, species inventory, abundance; occupancy at species level; capture-mark-recapture for density estimation; behavioural studies; community-level analysis - Data storage, management and analysis for your research topic, with illustrative examples for using R and Excel - Using camera trapping for monitoring, conservation and public engagement. Each chapter in this edited volume is essential reading for students, scientists, ecologists, educators and professionals involved in wildlife research or management.

Anfangs existieren Travis Bickles Es und Uber-Ich des Freud'schen Modells der Psyche noch nebeneinander. Im Verlauf des Films verschmelzen sie zu Travis' Doppelganger, der gleichzeitig mit dem Subjekt Travis fusioniert. Die nachfolgende Lesart behandelt Taxi Driver als ein Coming of Age-Drama. Travis ist symbolisch auf dem Weg vom Kind zum Manne, hat dabei aber mit seiner symbolischen Impotenz und Kastration zu kampfen. Der Text vereint Freud, Lacan, Gender- und Genre-Betrachtungen und befasst sich mit der Fragestellung, in welchem Verhaltnis Sexualitat und Gewalt in Martin Scorseses Film Noir Taxi Driver stehen.