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Abstract: This chapter presents an overview of the first fifteen years of the Barrandov Studios, from its construction in 1933 until the communist coup in 1948. The chapter highlights some examples of the main genres for closer analysis with special attention to how these films imagined Czech identity, particularly relative to its German-speaking neighbors and with regard to its place on the international, English-oriented stage. A secondary focus is an exploration of the studio's balancing act between promoting the national cinema and cultivating international industrial connections. In addition to considering the studio's efforts to produce films to be marketed to German-speaking audiences, the essay also examines various ways that foreign industries invested in and capitalized on production in Prague.
Keywords: English language; genre; German language; multiple-language version (MLV); national identity; popular film
Although the Barrandov Studios is perhaps most fondly remembered in film scholarship for the high artistic achievements connected with the Czechoslovak New Wave of the 1960s, the studio's first fifteen years must be thought of primarily in terms of popular cinema. Most early English-language scholarly accounts of Czech cinema from the interwar and World War II period frame these films and their makers looking forward to the major developments that came later. The early decades of Czechoslovak cinema are typically treated as merely a preamble foreshadowing the creative boom of the New Wave, as a prehistory that must be briefly established before moving on to the main topic of interest. Given this common frame of reference, many early scholarly assessments invariably highlight and champion those films from the 1930s and early 1940s that were socially or politically engaged and those that were linked with the progressive artistic movements of the period. At the same time, many accounts downplay or outright dismiss the popular films that dominated the industry at the time as purely capitalist endeavors to produce simple entertainment. The latter sentiment is, of course, also echoed in most of the scholarship on the period written in Czechoslovakia during the communist period. The lingering impression of such canonical overviews of the period is that production prior to 1948 was, apart from a few exceptions, overwhelmingly substandard or insignificant and thus hardly worth mentioning. There has yet to be a comprehensive scholarly reassessment of Czech (or Czechoslovak) cinema of the precommunist era.
Hitler's Machtergreifung, or seizure of power, on January 30, 1933, marked the end of the Weimar Republic and the beginning of the Third Reich, and German film scholarship has generally accepted this date as the break between Weimar and Nazi-era film as well. This collection of essays interrogates the continuities and discontinuities in German cinema before and after January 1933 and theirrelationship to the various crises of the years 1928 to 1936 in seven areas: politics, the economy, concepts of race and ethnicity, the making of cinema stars, genre cinema, film technologies and aesthetics, and German-international film relations. Focusing both on canonical and lesser-known works, the essays analyze a representative sample of films and genres from the period. This book will be ofinterest to scholars and students of Weimar and Third Reich cinema and of the sociopolitical, economic, racial, artistic, and technological spheres in both late Weimar and the early Third Reich, as well as to film scholars in general.
Contributors: Paul Flaig, Margrit Frölich, Barbara Hales, Anjeana Hans, Bastian Heinsohn, Brook Henkel, Kevin B. Johnson, Owen Lyons, Richard W. McCormick, Kalani Michell, Mihaela Petrescu, Christian Rogowski, Valerie Weinstein, Wilfried Wilms.
Barbara Hales is Associate Professor of History at the University of Houston-Clear Lake. MihaelaPetrescu is Visiting Lecturer at the University of Pittsburgh. Valerie Weinstein is Assistant Professor of Women's, Gender, and Sexuality Studies and German Studies at the University of Cincinnati.
The Open Access movement has gathered significant momentum over the last couple of years. This has been instigated largely by cOAlition S and those funders which support its aims. Is ‘Read and Publish’ the way forward? Will it work for all publishers? All authors? All subscribers? All readers? This article looks at the history of OA and updates a similar piece from 2013. A detailed glossary of terms is given at the end of the article.
The promises of precision medicine are often heralded in the medical and lay literature, but routine integration of genomics in clinical practice is still limited. While the “last mile” infrastructure to bring genomics to the bedside has been demonstrated in some healthcare settings, a number of challenges remain — both in the receptivity of today's health system and in its technical and educational readiness to respond to this evolution in care. To improve the impact of genomics on health and disease management, we will need to integrate both new knowledge and new care processes into existing workflows. This change will be onerous and time-consuming, but hopefully valuable to the provision of high quality, economically feasible care worldwide.
OBJECTIVES/SPECIFIC AIMS: To evaluate the ability of various techniques to track changes in body fluid volumes before and after a rapid infusion of saline. METHODS/STUDY POPULATION: Eight healthy participants (5M; 3F) completed baseline measurements of 1) total body water using ethanol dilution and bioelectrical impedance analysis (BIA) and 2) blood volume, plasma volume and red blood cell (RBC) volume using carbon monoxide rebreathe technique and I-131 albumin dilution. Subsequently, 30mL saline/kg body weight was administered intravenously over 20 minutes after which BIA and ethanol dilution were repeated. RESULTS/ANTICIPATED RESULTS: On average, 2.29±0.35 L saline was infused with an average increase in net fluid input-output (I/O) of 1.56±0.29 L. BIA underestimated measured I/O by −3.4±7.9%, while ethanol dilution did not demonstrate a measurable change in total body water. Carbon monoxide rebreathe differed from I-131 albumin dilution measurements of blood, plasma and RBC volumes by +0.6±2.8%, −5.4±3.6%, and +11.0±4.7%, respectively. DISCUSSION/SIGNIFICANCE OF IMPACT: BIA is capable of tracking modest changes in total body water. Carbon monoxide rebreathe appears to be a viable alternative for the I-131 albumin dilution technique to determine blood volume. Together, these two techniques may be useful in monitoring fluid status in patients with impaired fluid regulation.
Auxinic herbicides are widely used for control of broadleaf weeds in cerealcrops and turfgrass. These herbicides are structurally similar to thenatural plant hormone auxin, and induce several of the same physiologicaland biochemical responses at low concentrations. After several decades ofresearch to understand the auxin signal transduction pathway, the receptorsfor auxin binding and resultant biochemical and physiological responses haverecently been discovered in plants. However, the precise mode of action forthe auxinic herbicides is not completely understood despite their extensiveuse in agriculture for over six decades. Auxinic herbicide-resistant weedbiotypes offer excellent model species for uncovering the mode of action aswell as resistance to these compounds. Compared with other herbicidefamilies, the incidence of resistance to auxinic herbicides is relativelylow, with only 29 auxinic herbicide-resistant weed species discovered todate. The relatively low incidence of resistance to auxinic herbicides hasbeen attributed to the presence of rare alleles imparting resistance innatural weed populations, the potential for fitness penalties due tomutations conferring resistance in weeds, and the complex mode of action ofauxinic herbicides in sensitive dicot plants. This review discusses recentadvances in the auxin signal transduction pathway and its relation toauxinic herbicide mode of action. Furthermore, comprehensive informationabout the genetics and inheritance of auxinic herbicide resistance and casestudies examining mechanisms of resistance in auxinic herbicide-resistantbroadleaf weed biotypes are provided. Within the context of recent findingspertaining to auxin biology and mechanisms of resistance to auxinicherbicides, agronomic implications of the evolution of resistance to theseherbicides are discussed in light of new auxinic herbicide-resistant cropsthat will be commercialized in the near future.
ANNY ONDRA AND LÍDA BAAROVÁ were the biggest stars of Czech origin at work in the German film industry of the 1930s. Ondra's star trajectory in German cinema began in the early 1920s and she continued to play lead roles opposite male stars such as Paul Hörbiger and Heinz Rühmann well into the latter years of the Third Reich, for example, in Der Scheidungsgrund (Grounds for Divorce, 1937) and Der Gasmann (The Gasman, 1941). By contrast, although Baarová also received top billing in a number of high-profile features, she was active in German cinema for only a few years. Her career in the Third Reich was cut short, just as it was beginning to take off, when she was banned from German films in the fallout from a scandalous affair with Joseph Goebbels. Ondra's and Baarová's popularity in Germany peaked in the mid-1930s, during which time each played the lead in big-budget Ufa productions. Both circulated heavily through the German star system at this time, appearing regularly in film-industry promotional materials as well as in cinema journals and the popular press. Yet their careers were marked by significant differences in how they were perceived and utilized as foreigners. This disparity in reception was primarily a factor of their physical appearance and performance style, but was also precipitated by the time and manner in which they entered German cinema.
In this essay, I examine the German careers of Ondra and Baarová with specific attention to issues of ethnic performance, masquerade, and racial policy. My analysis shows that Ondra successfully “passed” as German, which endowed her with a relatively high degree of agency, permitting her to engage in types of performances that can be understood as holdovers from Weimar cinema that were otherwise actively suppressed during the Third Reich. This privileged position lasted roughly until the end of the 1930s, when Ondra's image became domesticated, assuming a more ideologically correct role. By contrast, Baarová's position in Germany was always precarious and pushed her to the center of the racial debate in the Reich. Whereas Ondra was fully assimilated into German cinema and public life during the mid-1930s such that her body type and performance style were read as quintessentially German, Baarová's identity as “foreign” persisted throughout her brief German career.
