Coverings are efficient ways to exhaust Euclidean N-space with congruent geometric objects. Discrete quasiperiodic systems are exemplified by the atomic structure of quasicrystals. The subject of coverings of discrete quasiperiodic sets emerged in 1995. The theory of these coverings provides a new and fascinating perspective of order down to the atomic level. The authors develop concepts related to quasiperiodic coverings and describe results. Specific systems in 2 and 3 dimensions are described with many illustrations. The atomic positions in quasicrystals are analyzed.

In December 1967, Time magazine put Bonnie and Clyde on its cover and proudly declared that Hollywood cinema was undergoing a 'renaissance'. For the next few years, a wide range of formally and thematically challenging films were produced at the very centre of the American film industry, often (but by no means always) combining success at the box office with huge critical acclaim, both then and later. This collection brings together acknowledged experts on American cinema to examine thirteen key films from the years 1966 to 1974, starting with Who's Afraid of Virginia Woolf?, a major studio release which was in effect exempted from Hollywood's Production Code and thus helped to liberate American filmmaking from (self-)censorship. Long-standing taboos to do with sex, violence, race relations, drugs, politics, religion and much else could now be broken, often in conjunction with extensive stylistic experimentation. Whereas most previous scholarship has examined these developments through the prism of auteurism, with its tight focus on film directors and their oeuvres, the contributors to this collection also carefully examine production histories and processes. In doing so they pay particular attention to the economic underpinnings and collaborative nature of filmmaking, the influence of European art cinema as well as of exploitation, experimental and underground films, and the connections between cinema and other media (notably publishing, music and theatre). Several chapters show how the innovations of the Hollywood Renaissance relate to further changes in American cinema from the mid-1970s onwards.

A Critical Companion to Christopher Nolan provides a wide-ranging exploration of Christopher Nolan's films, practices, and collaborations. From a range of critical perspectives, this volume examines Nolan's body of work, explores its industrial and economic contexts, and interrogates the director's auteur status. This volume contributes to the scholarly debates on Nolan and includes original essays that examine all his films including his short films. It is structured into three sections that deal broadly with themes of narrative and time; collaborations and relationships; and ideology, politics, and genre. The authors of the sixteen chapters include established Nolan scholars as well as academics with expertise in approaches and perspectives germane to the study of Nolan's body of work. To these ends, the chapters employ intersectional, feminist, political, ideological, narrative, economic, aesthetic, genre, and auteur analysis in addition to perspectives from star theory, short film theory, performance studies, fan studies, adaptation studies, musicology, and media industry studies.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.

While not everyone would agree with Alfred Hitchcock's notorious remark that 'actors are cattle', there is little understanding of the work film actors do. Yet audience enthusiasm for, or dislike of, actors and their style of performance is a crucial part of the film-going experience. Screen Acting discusses the development of film acting, from the stylisation of the silent era, through the naturalism of Lee Strasberg's 'Method', to Mike Leigh's use of improvisation.
The contributors to this innovative volume explore the philosophies which have influenced acting in the movies and analyse the styles and techniques of individual filmmakers and performers, including Bette Davis, James Mason, Susan Sarandon and Morgan Freeman. There are also interviews with working actors: Ian Richardson discusses the relationship between theatre, film and television acting; Claire Rushbrook and Ron Cook discuss theri work with Mike Leigh, and Helen Shaver discusses her work with the critic Susan Knobloch.

Stanley Kubrick's 2001: A Space Odyssey (1968) is widely regarded as one of the best films ever made. It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Kramer's insightful study explores 2001's complex origins, the unique shape it took and the extraordinary impact it made on contemporary audiences, drawing on new research in the Stanley Kubrick Archive to challenges many of the widely-held assumptions about the film. This edition includes a new afterword by the author.

Combining a detailed film analysis with archival research and social science approaches, this book examines how American Graffiti (1973), a low-budget and star-less teen comedy by a filmmaker whose only previous feature had been a box office flop, became one of the highest grossing and most highly acclaimed films of all time in the United States, and one of the key expressions of the nostalgia wave washing over the country in the 1970s. American Graffiti: George Lucas, the New Hollywood and the Baby Boom Generation explores the origins and development of the film, its form and themes as well as its marketing, reception, audiences and impact. It does so by considering the life and career of the film's co-writer and director George Lucas; the development and impact of the baby boom generation to which he, many of his collaborators and the vast majority of the film's audience belonged; the transformation of the American film industry in the late 1960s and 1970s; and broader changes in American society which gave rise to an intense sense of crisis and growing pessimism across the population. This book is ideal for students, scholars and those with an interest in youth cinema, the New Hollywood and George Lucas as well as both Film and American Studies more broadly.

Established in 1919 by Hollywood's top talent United Artists has had an illustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives - ranging from Joseph Schenck to Paula Wagner and Tom Cruise - and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven's Gate, Cruising, and Hot Tub Time Machine). The second volume in the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm's history and legacy, perfect for students and researchers of cinema and film history, media industries, and Hollywood.

Established in 1919 by Hollywood's top talent United Artists has had an illustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives - ranging from Joseph Schenck to Paula Wagner and Tom Cruise - and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven's Gate, Cruising, and Hot Tub Time Machine). The second volume in the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm's history and legacy, perfect for students and researchers of cinema and film history, media industries, and Hollywood.

Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) has long been recognised as one of the key artistic expressions of the nuclear age. Made at a time when nuclear war between the United States and the Soviet Union was a real possibility, the film is menacing, exhilarating, thrilling, insightful and very funny. Combining a scene-by-scene analysis of Dr. Strangelove with new research in the Stanley Kubrick Archive, Peter Kramer's study foregrounds the connections the film establishes between the Cold War and World War II, and between sixties America and Nazi Germany. How did the film come to be named after a character who only appears in it very briefly? Why does he turn out to be a Nazi? And how are his ideas for post-apocalyptic survival in mineshafts connected to the sexual fantasies of the military men who destroy life on the surface of the Earth? This special edition features original cover artwork by Marian Bantjes.

Discovery and Relative Importance of Continuous Arteriovenous HemofIltration Lee W. Henderson Continuous arteriovenous hemofiltration (CAVH) has seen a brisk upswing in popularity in Europe since its introduction by Dr. Kramer and colleagues from Gottingen, West Germany in 1977 [1]. In the United States, the technique re- ceived approval as a clinical tool from the Food and Drug Administration in April 1982. This approval flowed, in no small measure, from the extensive expe- rience reported from Europe and in particular West Germany [e. g. , 2, 3]. Reports of its clinical utility now have begun to appear in the United States [4]. Removal of excess total body water using synthetic membranes in an extracor- poreal circuit dates back to the work of Alwall and the artificial kidney that he designed which permitted utilization of a hydrostatic pressure gradient to moti- vate water flow across the membrane [5]. Kolffs original rotating drum with its unencased membrane required an osmotic driving force [6]. Hemofiltration, the use of the filtration process to remove uremic solutes with the artificial kidney, in analogy with the glomerulus, was reported in 1967 [7]. This was made possible by the availability of synthetic membranes with far higher hydraulic permeability (approximately 10 times higher) than conventionally used cellulosic hemodialysis membrane. Specific applications of these "high flux" membranes to the removal primarily of excess total body water followed shortly thereafter [8].

The study which fonns the second volume of this series deals with the interplay of groups and composite particle theory in nuclei. Three main branches of ideas are de- veloped and linked with composite particle theory: the pennutational structure of the nuclear fermion system, the classification scheme based on the orbital partition and the associated supennuitiplets, and the representation in state space of geometric trans- fonnations in classical phase space. One of the authors (p. K.) had the opportunity to present some of the ideas under- lying this work at the 15th Solvay Conference on Symmetry Properties of Nuclei in 1970. Since this time, the authors continued their joint effort to decipher the conceptual struc- ture of composite particle theory in tenns of groups and their representations. The pattern of connections is fully developed in the present study. The applications are carried to the points where the impact of group theory may be recognized. The range of applications in our opinion goes far beyond these points.

Offering a fresh perspective on The General, arguably one of the most successful American films of the silent era, this insightful text analyses its initial critical reception and the thematic and stylistic characteristics of the film that made it difficult for critics to appreciate at the time, but led to its celebration by later generations.

The Silent Cinema Reader is a comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late nineteenth century to the coming of sound in the late 1920s. The Reader covers international developments in film aesthetics, the growth of the American film industry and its relationship with foreign competitors at home and abroad, and the broader cultural, social and political contexts of film production and consumption in the United States as well as Britain, France, Russia and Germany. The Reader includes in-depth case studies of major directors and stars of the silent era, including Cecil B. DeMille, Eisenstein, D. W. Griffith, Buster Keaton, Charlie Chaplin and Rudolph Valentino. Articles are grouped into thematic sections, each with an introduction by the editors, which focus on: * Film projection and variety shows * Storytelling and the nickelodeon * Cinema and reform * Feature films and cinema programmes * Classical Hollywood cinema * European national cinemas

This essential review of knife- and axe-throwing basics presents and analyzes the best throwing knives and axes on the current market, different throwing techniques, the basics of competition rules, legal issues to understand, and the general care of throwing knives and axes. The budding knife and axe thrower will also receive valuable tips for getting started in throwing and how to prepare physically and mentally for training, as well as your first competition.

On December 8, 1967 "Time" magazine put "Bonnie and Clyde" on its cover and announced, "The New Cinema: Violence ... Sex ... Art." The following decade has long been celebrated as a golden age in American film history. In this innovative study, Peter Kr?mer offers a systematic discussion of the biggest hits of the period (including "The Graduate" [1967], "The Exorcist" [1973] and "Jaws" [1975]). He relates the distinctive features of these hits to changes in the film industry, in its audiences and in American society at large.

In December 1967, Time magazine put Bonnie and Clyde on its cover and proudly declared that Hollywood cinema was undergoing a 'renaissance'. For the next few years, a wide range of formally and thematically challenging films were produced at the very centre of the American film industry, often (but by no means always) combining success at the box office with huge critical acclaim, both then and later. This collection brings together acknowledged experts on American cinema to examine thirteen key films from the years 1966 to 1974, starting with Who's Afraid of Virginia Woolf?, a major studio release which was in effect exempted from Hollywood's Production Code and thus helped to liberate American filmmaking from (self-)censorship. Long-standing taboos to do with sex, violence, race relations, drugs, politics, religion and much else could now be broken, often in conjunction with extensive stylistic experimentation. Whereas most previous scholarship has examined these developments through the prism of auteurism, with its tight focus on film directors and their oeuvres, the contributors to this collection also carefully examine production histories and processes. In doing so they pay particular attention to the economic underpinnings and collaborative nature of filmmaking, the influence of European art cinema as well as of exploitation, experimental and underground films, and the connections between cinema and other media (notably publishing, music and theatre). Several chapters show how the innovations of the Hollywood Renaissance relate to further changes in American cinema from the mid-1970s onwards.

Diplomarbeit aus dem Jahr 2007 im Fachbereich Medien / Kommunikation - Medien und Politik, Pol. Kommunikation, Note: 1,3, Hochschule fur Technik und Wirtschaft Berlin, 90 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Zu Beginn verschaffen wir uns ein gemeinsames, fur den Fortgang der Arbeit grundlegendes Politikverstandnis. Es geht uns hier vor allem darum, das Wesen von Politik in der Demokratie zu erschliessen. Hier wird der Begriff der politischen Legitimitat uns die Unumganglichkeit von politischer Kommunikation in der Demokratie vor Augen fuhren. Diesem Thema widmen sich entsprechend auch die weiteren Ausfuhrungen, um das hieruber erworbene Wissen sodann im dritten Punkt dieser Arbeit auf die Regierungskommunikation - als Teilbereich der politischen Kommunikation - in Deutschland ubertragen zu konnen. Unser besonderes Augenmerk fallt dabei auf das zur Verfugung stehende Instrumentarium, um daraufhin den Gegenstand der symbolischen Politik als Mittel der Regierungskommunikation zu beleuchten. Anschliessend verschaffen wir uns einen detaillierten Einblick in die Hintergrunde der Kampagne Deutschland bewegt sich - als zentralem Gegenstand der Untersuchung. In diesem Kontext werden wir fur die Beantwortung der wissenschaftlichen Frage zu untersuchende Hypothesen entwickeln und vorstellen, die schlussendlich im funften Punkt der Arbeit auf ihre Gultigkeit hin mittels einer eigens dafur durchgefuhrten Befragung uberpruft werden. Mit dem Fazit des sechsten Punktes wird sich der Kreis unserer Betrachtungen sodann schliessen, indem wir aus den Untersuchungsergebnissen Ruckschlusse hinsichtlich der genannten zentralen Fragestellung dieser Arbeit ziehen: Spiegeln die auf den Plakaten uber Bilder und Slogans vermittelten Inhalte auch die tatsachlichen Inhalte der politischen Reformen wider? Oder dienen sie vielmehr dazu, von diesen abzulenk

Full Contributors:
Richard Abel, David Bordwell, Ben Brewster, Joseph Garcarnz, Frank Gray, Lee Grieveson, Tom Gunning, Sumiko Higashi, Peter Krämer, Charles Maland, Charles Musser, Roberta E. Pearson, Ben Singer, Shelley Stamp, Gaylyn Studlar, Kristin Thompson, Yuri Tsivian, William Uricchio, Ruth Vasey, Linda Williams