Peter Kramer – författare

Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer's study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick's previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

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.

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

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].

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.

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.

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.