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Upper Respiratory Tract and Aural Flora of Saturation Divers
J Clin Pathol: first published as 10.1136/jcp.31.8.721 on 1 August 1978. Downloaded from Journal of Clinical Pathology, 1978, 31, 721-723 Upper respiratory tract and aural flora of saturation divers D. M. JONES AND P. DAVIS From the Department ofBacteriology, Withington Hospital, Manchester M20 8LR, UK SUMMARY The conditions of helium saturation diving promote the proliferation of Gram-negative bacterial species in the external auditory meatus of divers. These changes in flora occurred in the absence of operational diving, that is, no contact with water. The colonising bacteria were auto- genous in origin and cross-colonisation was observed between divers. On return to normal atmos- pheric conditions the aural flora became predominantly Gram-positive again within 48 hours. The slow return to normal pressures by deep-sea a high ambient temperature (30°-350C), and the divers, necessary to avoid decompression sickness, relative humidity is high. restricts the period that can be maintained at depth. Underwater exploration is a relatively new indus- This problem is overcome by the saturation diving try and by its nature is extremely dangerous. It is technique whereby the divers are maintained at high important that divers remain fit during the conduct of pressure in their living quarters and are transported a saturation dive because if a diver becomes unwell to the sea bed in a detachable diving bell. The com- the extreme slowness with which decompression can copyright. pression chamber and transfer chamber are anchored be carried out means that immediate medical atten- to the deck of an oil production platform, and the tion is not readily available. -
Notes on Diving in Ancient Egypt
A Brief History of Underwater Enterprise and Exploration The incentives to risk one’s life underwater from the earliest records of diving: 1) Subsistence and general aquatic harvest 2) Commerce/salvage 3) Warfare A sponge diver about to take the plunge, Classical Greece ca. 500 BCE The beginnings: subsistence in Ancient Egypt: skin divers netting fish in the Nile th Tomb of Djar, 11 Dynasty (ca. 2000 BCE) ‘Pull out well! (It is) a Happy day! Measure you, measure you, for you, good great fishes’ Text and image from the tomb of Ankhtifi (ca. 2100 BCE) The beginnings: other kinds of aquatic/underwater harvest: mother of pearl (left) and sponge diving (right) Mesopotamia (southern Iraq, ca. 2500 BCE) Classical Greece (ca. 500 BCE) The so-called ‘Standard of Ur’: a mosaic of lapis lazuli A sponge diver about to take the (from the exotic region of Afghanistan) and mother of plunge with a knife and a sack, the pearl (from the exotic source of a seabed), deposited in jar was also deposited in an elite tomb an elite tomb in Mesopotamia The beginnings: in search of exotic and high value things (things difficult to access/procure) Epic of Gilgamesh (composed in Mesopotamia no later than ca. 2100 BCE) records a heroic dive after a ‘plant of immortality’ on the seabed ‘He tied heavy stones *to his feet+ They pulled him down into the deep [and he saw the plant] He took the plant though it pricked his hands He cut the heavy stones from his feet The sea cast him up upon the shore’ The value of mother of pearl and sea sponge resides, in part, in the process of procuring them The beginnings: salvaging lost cargoes (lost valuable things) Scyllias and his daughter Hydna: the first professional divers known by name, famed for salvaging huge volumes of gold and silver (tribute and booty) from a Persian fleet in the Aegean that lost many ships in a storm (ca. -
Came the Dawn : Memories of a Film Pioneer
ICIL M. HEPWORTH a film pioneer The Dawn comes to Flicker Alley Still a familiar figure in Wardour Street, Mr. Cecil Hepworth is a pioneer of British Cinema. In his autobiography he has a fascinating story to tell. They were simpler, sunnier days. Hepworth began in the 'showmanship' period in the late 'nineties, carrying his forty-second films to lecture-halls all over the country, where frenzied audiences demanded their repetition many times at a sitting. From the 'fairground' period he helped nurse the cinema to the time of the great Hepworth Company at its Walton-on- Thames studios. To those studios came famous stage actors, men of mark in many fields, anxious to try the new medium. In those studios many 'stars' of yesterday made world-wide reputations: Alma Taylor, Chrissie White, Gerald Ames, Ronald Colman, Violet Hopson, Stewart Rome, names remembered with deep affection four decades later. From Walton-on-Thames films were dispatched in quantity to the world, even to the United States before the Hollywood era. Conditions, if not primitive, were rudi- mentary in the earlier days; the grandiose notions of the industry today were un- dreamt of; and, most marvellous of all, leading actors and actresses played for as little as half a guinea a day (including fares), and were not averse to doing sorting, filing and running errands in their spare time. [ please turn to back flap MANY 16s ILLUSTRATIONS NET bih'iij II. .niij 37417 NilesBlvd §£g A 510-494-1411 Fremont CA 94536 www.nilesfilmnniseum.org Scanned from the collections of Niles Essanay Silent Film Museum Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Jeff Joseph GAME THE DAWN CECIL M. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
On the History and Ideology of Film Lighting Peter Baxter During The
Downloaded from On the History and Ideology of Film Lighting http://screen.oxfordjournals.org Peter Baxter During the 1880's, the major theatres of Europe and America began to convert their stage lighting systems from the gas which had come into widespread use in the twenty or thirty previous years to electricity. It is true that arc lighting had been installed at the Paris Opera as early as 1846, but the superior efficiency of gas illumination at the time, and the surety of its supply, had brought at Universidade Estadual de Campinas on April 27, 2010 it into prominent use during the third quarter of the century when it attained no small operational sophistication. From a single control board gas light could be selectively brightened or dimmed, even completely shut down and re-started. The theatrical term ' limelight' originally referred to a block of lime heated to incan- descence by a jet of gas, which could throw a brilliant spot of light on the stage to pick out and follow principal actors. Henry Irving so much preferred gas to electric light that he used it for his productions at the Lyceum Theatre, and achieved spectacular results, into the twentieth century, when the rest of theatrical London had been electrified for some years. But despite the mastery that a man like Irving could attain over gas lighting, for most stages it was ' strictly for visibility and to illuminate the scenery. The Victorians painted that scenery to incorporate motivated light meticulously. A window would be painted and the light coming through the window would be painted in. -
Text Pages Layout MCBEAN.Indd
Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Embodying the Rca's Values
WORLD LEADEREMBODYING THE RCA’S VALUES ‘I am thrilled to be Chancellor of the RCA at this pivotal moment. The College has had a profound influence on many generations of artists and designers that I admire. My own team at Apple includes many RCA alumni, all of whom embody the fundamental values of the College. I look forward to being part of this exciting next phase of growth and development and ask you to join me in supporting the RCA’s compelling vision for the future of education, research and innovation in art and design.’ Sir Jony Ive KBE Chancellor, Royal College of Art Chief Design Officer, Apple 33 Annual Report & Accounts 2017/18 34 Annual Report & Accounts 2017/18 ‘At College, I was able to work with artists, animators, sound designers, fashion and graphic designers, to pull them into the world of film and learn from them. Film encompasses all of these disciplines, and it was that unique environment that taught me to make films that were visually compelling. Of the films that I’ve subsequently made, all of them somehow link back to what I learnt at the RCA.’ Asif Kapadia (MA Film & Television, 1997) Asif Kapadia is an Academy Award and four time Bafta-winning writer/director. Following his debut feature The Warrior (2001) and Far North (2007), international box office hit Senna (2012) established Kapadia as a vital name in documentary film. This success was triumphantly surpassed by Amy (2015), the moving documentary about singer Amy Winehouse, which won an Academy Award and is now the highest grossing UK documentary of all time. -
BULLETIN Vol 50 No 1 January / February 2016
CINEMA THEATRE ASSOCIATION BULLETIN www.cta-uk.org Vol 50 No 1 January / February 2016 The Regent / Gaumont / Odeon Bournemouth, visited by the CTA last October – see report p8 An audience watching Nosferatu at the Abbeydale Sheffield – see Newsreel p28 – photo courtesy Scott Hukins FROM YOUR EDITOR CINEMA THEATRE ASSOCIATION (founded 1967) You will have noticed that the Bulletin has reached volume 50. How- promoting serious interest in all aspects of cinema buildings —————————— ever, this doesn’t mean that the CTA is 50 years old. We were found- Company limited by guarantee. Reg. No. 04428776. ed in 1967 so our 50th birthday will be next year. Special events are Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. planned to mark the occasion – watch this space! Registered Charity No. 1100702. Directors are marked ‡ in list below. A jigsaw we bought recently from a charity shop was entitled Road —————————— PATRONS: Carol Gibbons Glenda Jackson CBE Meets Rail. It wasn’t until I got it home that I realised it had the As- Sir Gerald Kaufman PC MP Lucinda Lambton toria/Odeon Southend in the background. Davis Simpson tells me —————————— that the dome actually belonged to Luker’s Brewery; the Odeon be- ANNUAL MEMBERSHIP SUBSCRIPTIONS ing built on part of the brewery site. There are two domes, marking Full Membership (UK) ................................................................ £29 the corners of the site and they are there to this day. The cinema Full Membership (UK under 25s) .............................................. £15 Overseas (Europe Standard & World Economy) ........................ £37 entrance was flanked by shops and then the two towers. Those Overseas (World Standard) ........................................................ £49 flanking shops are also still there: the Odeon was demolished about Associate Membership (UK & Worldwide) ................................ -
Camera Operator/ Steadicam Operator
PRINCESTONE ( +44 (0) 208 883 1616 8 [email protected] SIMON BAKER Assoc. BSC / GBCT / ACO Camera Operator/ Steadicam Operator FEATURES: Title Director / DOP Production Co BLITHE SPIRIT Edward Hall / Fred Films / Powderkeg Pictures / B Camera operator / Steadicam Ed Wilde Align Cast: Emilia Fox, Isla Fisher, Judy Dench, Dan Stevens DOWNTON ABBEY Michael Engler / Carnival Films / Focus Features / B Camera operator / Steadicam Ben Smithard Perfect World Pictures Cast: Hugh Bonneville, Matthew Goode, Maggie Smith, Michelle Dockerty,Tuppence Middleton PETER RABBIT 2 (UK Unit) Will Gluck / Sony Pictures / B Camera Operator Peter Menzies Jnr Rose Line Productions Cast: Domhnall Gleeson, Rose Byrne, James Corden HIS HOUSE Remi Weekes / New Regency / BBC Films Camera operator / Steadicam Jo Willems Cast: Sope Dirisu, Munmi Mosaku, Matt Smith FANTASTIC BEASTS: CRIMES OF GRINDLEWALD Stephen Woolfenden / Warner Bros 2nd Unit B camera /Steadicam Jean-Phillippe Gossart A&B camera/ Steadicam on Main Unit David Yates / Phillipe Rousselot Cast: Eddie Redmayne, Johnny Depp ALL THE MONEY IN THE WORLD Ridley Scott / Sony / Tristar / Imperative / B camera operator (2wks reshoots) Darius Wolski Scott Free Productions Cast: Christopher Plummer, Michelle Williams PETER RABBIT (UK Unit) Will Gluck / Columbia Pictures / B camera operator Peter Menzies Jnr Animal Logic Ent. Cast: Domhnall Gleeson, Rose Byrne, James Corden THE MAN WHO INVENTED CHRISTMAS Bharat Nalluri / Thunderbird / Bleeker Street B camera operator / Steadicam Ben Smithard Cast: Dan Stevens, -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
British Society of Cinematographers
Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC -
The Emergence of Digital Documentary Filmmaking in the United States
Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods.