Around 1900, French and Belgian Catholics adopted the projection lantern as a means of education and propaganda in reaction to successful initiatives of this kind by secularist organisations. In the ...north of France, near the Belgian border, the dioceses of Arras and Cambrai founded the Œuvre des Conférences et Catéchismes in Robaix, which provided a projection service distributing slides and lanterns. Belgian Catholics followed that example and cooperated in several ways with their French neighbours. This article describes the emergence and organisation of these projection services and their distribution practices. It also looks at the Catholics' efforts to fight the Freemasons, who were considered the worst enemies of the Church. Finally, several slides from the Robert Vrielynck collection in Antwerp will be discussed, which bear witness to the propaganda strategies used by the Catholic Church.
The oxidation of hydrogen sulfide is essential to sulfur cycling in marine habitats. However, the role of microbial sulfur oxidation in marine sediments and the microorganisms involved are largely ...unknown, except for the filamentous, mat-forming bacteria. In this study we explored the diversity, abundance and activity of sulfur-oxidizing prokaryotes (SOP) in sulfidic intertidal sediments using 16S rRNA and functional gene sequence analyses, fluorescence in situ hybridization (FISH) and microautoradiography. The 16S rRNA gene analysis revealed that distinct clades of uncultured Gammaproteobacteria are important SOP in the tidal sediments. This was supported by the dominance of gammaproteobacterial sequences in clone libraries of genes encoding the reverse dissimilatory sulfite reductase (rDSR) and the adenosine phosphosulfate reductase (APR). Numerous sequences of all three genes grouped with uncultured autotrophic SOP. Accordingly, Gammaproteobacteria accounted for 40-70% of all ¹⁴CO₂-incorporating cells in surface sediments as shown by microautoradiography. Furthermore, phylogenetic analysis of all three genes consistently suggested a discrete population of SOP that was most closely related to the sulfur-oxidizing endosymbionts of the tubeworm Oligobrachia spp. FISH showed that members of this population (WS-Gam209 group) were abundant, reaching up to 1.3 × 10⁸ cells ml⁻¹ (4.6% of all cells). Approximately 25% of this population incorporated CO₂, consistent with a chemolithoautotrophic metabolism most likely based on sulfur oxidation. Thus, we hypothesize that novel, gammaproteobacterial SOP attached to sediment particles may play a more important role for sulfide removal and primary production in marine sediments than previously assumed.
The emergence of the magic lantern as a tool for art historical teaching in the second half of the nineteenth century occurs within a larger context of pedagogical reform efforts that promoted visual ...educa-tion. This contribution looks at the infrastructural prerequisites for the large-scale dissemination of magic lantern slides at the time, which made possible the introduction of art historical slides as teaching aids. Subsequently, it presents the larger context of pedagogical debates within the field of art education at the time in Germany, which were at the basis of reform initiatives. In the final part, this article looks at the performance practice of art historical lectures with projected images, and the way they transformed the re-lationship between the teacher, the artwork as object of the teacher’s discourse, and the students.
Dans cet article, les auteurs étudient l'évolution des salles de cinéma dans la ville de Düsseldorf entre 1920 et 1989, en particulier les développements de l'apres-guerre. Entre 1945 et 1959, le ...nombre de salles augmente continuellement; la premiere ferme en 1960, inaugurant un développement dégressif. En 1969, une nouvelle stratégie se manifeste: la partition d'un cinéma en plusieurs salles, ce qui deviendra une pratique dominante au cours des années 1970, selon un développement toutefois non linéaire ni homogene. L'article cherche a retracer la complexité de ce processus en tenant compte, entre autres, des phénomenes de croissance antérieurs entre 1920 et 1945, ainsi que des conséquences de changements sociaux pour le mode d'exploitation de salles. Il y retrace l'évolution adaptative des exploitants de cinémas qui sont passés de la formule ?un bâtiment = une salle? a celle du cinema centre.
Dans cet article, les auteurs étudient l’évolution des salles de cinéma dans la ville de Düsseldorf entre 1920 et 1989, en particulier les développements de l’après-guerre. Entre 1945 et 1959, le ...nombre de salles augmente continuellement ; la première ferme en 1960, inaugurant un développement dégressif. En 1969, une nouvelle stratégie se manifeste : la partition d’un cinéma en plusieurs salles, ce qui deviendra une pratique dominante au cours des années 1970, selon un développement toutefois non linéaire ni homogène. L’article cherche à retracer la complexité de ce processus en tenant compte, entre autres, des phénomènes de croissance antérieurs entre 1920 et 1945, ainsi que des conséquences de changements sociaux pour le mode d’exploitation de salles. Il y retrace l’évolution adaptative des exploitants de cinémas qui sont passés de la formule « un bâtiment = une salle » à celle du cinema centre.
Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have ...recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.
Today about 30,000 hours of broadcast generated files per annum stream directly into its digital vaults.7 According to the planning of 'Images for the Future', archives must collectively conserve and ...digitise the following until 2014: about 22,500 hours of film and magnetic sound track (of which 17,500 belong to Sound and Vision); 137,000 hours of video of all tape formats; 124,000 hours of audio (mainly radio programmes); and 2.9 million photographs.8 Sound and Vision on its own will make 17,500 hours of digitised film available to users. Since 1 March 2006, potential customers are able to browse through its database, iMMix, offering content in the form of low-resolution files in mxf- wrappers.9 Who Might Access the Output of 'Images for the Future'? First of all, 'Images for the Future' is supported by public subsidies and therefore should in principle serve everyone. ...former director, Edwin van Huis, promised after the merger of the four archives that the TV- archive, which up until that time had restrictive access, would henceforth be open to everyone, including students.15 In some way Sound and Vision - knowingly or not - has already started campaigning in this direction. ...not least, Sound and Vision uses several social media to offer access to film sequences:
During the First World War, the town of Düsseldorf, with its rapidly expanding local cinema industry, became the headquarters of military film censorship in the west of Germany. Unique documents held ...by the municipal archive show the practical side of this laborious work as well as the close collaboration between army and film industry. Before 1914, the German military were hardly interested in cinema. This changed radically during wartime, which (among other reasons) may be a consequence of some high-ranking generals' personal experience of what a serious lack of motion picture prints meant for the morale of the population.
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