Towards “Film Opera”. Kurt Weil’s Musical Experiments In Fritz Lang’s “You and Me”

Towards “Film Opera”. Kurt Weil’s Musical Experiments In Fritz Lang’s “You and Me”Fritz Lang’s film You and Me was billed as a “musical revolution”. But it never became one. Anno Mungen describes Kurt Weill’s struggles to reshape the film as a genre. Both in his theoretical reflections and his (not successful) practical attempts as a film composer, Weill was preoccupied with the idea of music as a crucial element of the film/theatre dramaturgy. This idea – as Mungen tried to show,  analyzing three examples taken from Lang’s film – could direct the artist straight towards the category of film-opera. Fritz Lang’s film You and Me was billed as a “musical revolution”. But it never became one. Anno Mungen describes Kurt Weill’s struggles to reshape the film as a genre. Both in his theoretical reflections and his (not successful) practical attempts as a film composer, Weill was preoccupied with the idea of music as a crucial element of the film/theatre dramaturgy. This idea – as Mungen tried to show,  analyzing three examples taken from Lang’s film – could direct the artist straight towards the category of film-opera

Clinical features of headache associated with mobile phone use: a cross-sectional study in university students

<p>Abstract</p> <p>Background</p> <p>Headache has been reported to be associated with mobile phone (MP) use in some individuals. The causal relationship between headache associated with MP use (HAMP) and MP use is currently undetermined. Identifying the clinical features of HAMP may help in clarifying the pathophysiology of HAMP and in managing symptoms of individuals with HAMP. The aim of the present study is to describe the clinical features of HAMP.</p> <p>Methods</p> <p>A 14-item questionnaire investigating MP use and headache was administered to 247 medical students at Hallym University, Korea. Individual telephone interviews were subsequently conducted with those participants who reported HAMP more than 10 times during the last 1 year on the clinical features of HAMP. We defined HAMP as a headache attack during MP use or within 1 hour after MP use.</p> <p>Results</p> <p>In total, 214 (86.6%) students completed and returned the questionnaire. Forty (18.9%) students experienced HAMP more than 10 times during the last 1 year in the questionnaire survey. In subsequent telephone interviews, 37 (97.4%) interviewed participants reported that HAMP was triggered by prolonged MP use. HAMP was usually dull or pressing in quality (30 of 38, 79.0%), localised ipsilateral to the side of MP use (32 of 38, 84.2%), and associated with a burning sensation (24 of 38, 63.2%).</p> <p>Conclusion</p> <p>We found that HAMP usually showed stereotyped clinical features including mild intensity, a dull or pressing quality, localisation ipsilateral to the side of MP use, provocation by prolonged MP use and often accompanied by a burning sensation.</p

Filmy dla muzyki. Egar Varèse i Bill Viola

Anno Mungen focuses on “films made for music” and on the rare phenomenon of ‘music depicted by picture’ (S. Kracauer). The narration about historical metamorphoses of varied forms of coexistence between music and picture is accompanied by a reflection on the laws of audiovisual perception. The main examples are discussed, these concentrating on the artistic ideas of Walt Disney’s animated film Fantasia and – first of all – on Edgard Varèse’s bold ideal of spatial music, attained post mortem in Bill Viola’s Déserts (1994). After a detailed analysis of Viola’s film the author admits that the movie pictures deduced from music are able to render the latter its own substantial visual power

W drodze do "opery filmowej". Muzyczne eksperymenty Kurta Weilla w "You and Me" Fritza Langa

Fritz Lang’s film You and Me was billed as a “musical revolution”. But it never became one. Anno Mungen describes Kurt Weill’s struggles to reshape the film as a genre. Both in his theoretical reflections and his (not successful) practical attempts as a film composer, Weill was preoccupied with the idea of music as a crucial element of the film/theatre dramaturgy. This idea – as Mungen tried to show, analyzing three examples taken from Lang’s film – could direct the artist straight towards the category of film-opera

Studies on the compounds of sulfur and fluorine : the preparation of S2F10 and works on problems in chemical warfare.

A study of the fluorides of sulfur has revealed that disulfur decafluoride (S2F10) is a toxic material. It is more toxic than phosgene and has special merits as an agent of chemical warfare. The yield of S2F10 is increased by the fluorination of sulfur (by fluorine diluted with nitrogen) in the presence of certain fluorides. At the same time the yield of other lower fluorides of sulfur was increased and the yield of SF6 was decreased. HS solutions thickened with polyvinyl acetate are “stabilized” by the addition of acetic anhydride provided iron is excluded from the solutions. The method of packing the charcoal in the test-cell is an important factor in the determination of volume activity. Nickel carbonyl in the presence of air deposits nickel on a carbon surface which does not improve the service-time against arsine

Films for Music. Edgard Varèse and Bill Viola

Films for Music. Edgard Varèse and Bill ViolaAnno Mungen focuses on “films made for music” and on the rare phenomenon of ‘music depicted by picture’ (S. Kracauer). The narration about historical metamorphoses of varied forms of coexistence between music and picture is accompanied by a reflection on the laws of audiovisual perception. The main examples are discussed, these concentrating on the artistic ideas of Walt Disney’s animated film Fantasia and – first of all – on Edgard Varèse’s bold ideal of spatial music, attained post mortem in Bill Viola’s Déserts (1994). After a detailed analysis of Viola’s film the author admits that the movie pictures deduced from music are able to render the latter its own substantial visual power.Anno Mungen focuses on “films made for music” and on the rare phenomenon of ‘music depicted by picture’ (S. Kracauer). The narration about historical metamorphoses of varied forms of coexistence between music and picture is accompanied by a reflection on the laws of audiovisual perception. The main examples are discussed, these concentrating on the artistic ideas of Walt Disney’s animated film Fantasia and – first of all – on Edgard Varèse’s bold ideal of spatial music, attained post mortem in Bill Viola’s Déserts (1994). After a detailed analysis of Viola’s film the author admits that the movie pictures deduced from music are able to render the latter its own substantial visual power