Film Studies

After achieving critical success as one of Germany’s leading contemporary film makers with his Gespenster/Ghosts trilogy (2000, 2005, 2007), Christian Petzold’s subsequent film, Jerichow (2008) has continued his interest in utilizing genre conventions to explore the dynamics between his central characters, lost in the forgotten and empty spaces of post-unification Germany, this “Zwischendeutschland.” A loose adaptation of James M. Cain’s The Postman Always Rings Twice, and thus assuming a position in an enduring series of celebrated film adaptations of the novel in Hollywood and European cinema, Petzold’s film sets the ménage-à-trois in place in the depopulated landscape of northeastern Germany. With the inevitable crime playing out against the “immanent borderscapes that make up the heart of late capitalist Germany” (Abel 2008), Petzold’s use of genre cinema again raises questions about the economic and political settlement of Germany set against the urban and provincial spaces of late capitalism, and about the impossibility of returning home.

Despite growing interest in the last few years among filmmakers in tackling themes and stories related to the world of global finance, finding aesthetic means to depict the forces of contemporary capital has proven exacting. One route to understanding how the moving image makes sense of the current state of finance capital is to look at the way that specific financial hubs – significant banking cities that act as nodal points in the global economy in hosting major financial institutions and in initiating financial transactions – are registered on film. In this paper, I address the difficulties of constituting a financial aesthetic generally before looking at how the financial city plays a key role in allowing European filmmakers working across very different modes to find a material architectural representation for the abstract exchanges of contemporary finance capital. I discuss Isaac Julien’s gallery film, PLAYTIME (2014) that features the financial hubs of the City of London, Rekjavik and Dubai, and also recent films set in Frankfurt, the financial centre of the Eurozone and Germany’s leading financial hub, The City Below (Christoph Hochhäusler, 2010) and the documentary, Master of the Universe (Marc Bauder, 2013).

In this essay we propose a reframing of the Bloomberg Terminal, an interface used to track financial trades and values, by using it as a creative, critical and curatorial device to explore the relationship between the art and finance. To contextualise this approach, we offer a history of the Bloomberg Terminal alongside an analysis of the power of interfaces to shape both the user and the represented information. We use the terminal as a way to critique the relationship between art acquisition and financial trading companies. We then describe some outcomes of a series of workshops themed around the idea of ‘building an alternative Bloomberg’. We conclude by offering some potential applications of a re-framed Bloomberg Terminal as an open and modular interface for engaging with issues around art and finance, both in terms of content and curation.

Koerner und Weber, in cooperation with Bayrischer Rundfunk and ARTE, it opened in German cinemas on January 8, 2009. By the end of the year it hadn't quite hit one hundred thousand viewers (99,357), leaving it in 45th place among the most popular German films of 2009. 1 These viewing figures and the film's overall reception are in line with the filmmaker's previous work, admired by critics and feted on the film festival circuit, without yet achieving a significant popular resonance at the cinema in Germany, despite Petzold's growing reputation as, according to Marco Abel, "arguably the most important German director of the post-wall era." 2 As Petzold argues, "German cinema has become much more interesting of late. It has become really a very rich cinema-but cinema as such doesn't exist anymore. There are films, but there is no public for them. We have to face this without illusions; and you can't change it either." 3 Although Petzold's interviews underline the independent, auteurist, nature of his approach to filmmaking, his decision to eschew the avant-garde and essayistic projects 1 All figures taken from the FFA (Filmförderungsanstalt) website <www.ffa.de>.

Infeksi Saluran Pernapasan Akut (ISPA) termasuk penyakit yang banyak terjadi di Indonesia terutama pada usia anak. Pada populasi anak berisiko mendapatkan peresepan obat off-label dikarenakan terbatasanya data efikasi obat untuk anak. Penggunaan obat off-label meningkatkan risiko efek yang tidak dikehendaki. Penelitian ini bertujuan untuk mengevaluasi penggunaan obat secara off-label pada peresepan pasien ISPA anak. Penelitian ini merupakan penelitian deskriptif observasional dengan menggunakan desain cross-sectional. Pengumpulan data menggunakan peresepan obat dengan diagnosis ISPA pada anak usia 0-18 tahun. Penelitian ini dilakukan pada bulan November 2019 sampai dengan Februari 2020. Pada` penelitian ini didapatkan 124 resep dengan diagnosis ISPA. Penggunaan obat off-label pada peresepan penyakit infeksi saluran pernapasan akut untuk pasien anak sebesar 23% dengan kategori off-label usia (15,67%), off-label dosis (5,70%), off-label rute pemberian (1,22%) dan off-label indikasi (0,40%). Jenis obat off-label paling banyak diresepkan untuk ISPA anak adalah antihistamin klorfeniramin maleat. Berdasarkan hasil penelitian yang telah dilakukan dapat disimpulkan bahwa penggunaan obat off-label pada penyakit ISPA anak cukup tinggi. Farmasis dan dokter dapat berkolaborasi untuk pemantauan penggunaan obat yang tergolong off-label. Penelitian lanjutan diperlukan untuk melihat korelasi atau faktor risiko yang berpotensi meningkatkan penggunaan off-label pada ISPA anak.

The essay introduces the concept of "creative family" in order to identify, thorugh the analysis of specific networks of informal relationships, different styles of organizing creative work in the field of television serial production. In particular, it deals with Italian television screewriters, an artistic profession which has seldom been explored. The study describes five different networks (families) and is based on qualitative data.

The article focuses on the professional realm of Italian television screenwriters. The author seeks to combine Bourdieu’s field theory and Becker’s interactionist approach in order to investigate the contextual specificity of such a sub-field of «specialised» writing. Two dimensions of investigation are outlined. First, the temporal dynamic: four back-to-back generations emerged that differ in the circumstances of «getting in» the television fiction writing and in their entry-level capital, both cultural and social. Second, the spatial dynamic: an adaptation of Bourdieu’s field model is provided with the degree of consecration and the «residential» attitude (mobility versus permanence) as main axes. Lastly, the «rules of this game» are discussed and the peculiar dichotomy between artist-screenwriters and artisan-screenwriters emphasized.

The article focuses on the professional figure of commissioning editor, assessing the relevance of the Bourdieusian idea of ‘cultural intermediary’ for the media and production studies. Commissioning editors have been playing a key part in the British television system since the mid-Nineties; they are responsible for finding, selecting and developing ideas as well as contributing to the editorial line of the channel and they act as critical intermediaries between broadcaster and programme supplier. Based on in-depth interviews and participant observation, this essay compares the concepts of ‘gatekeeper’ and ‘intermediary’ in media studies, provides an overview of the British television commissioning process, and traces the ‘liminality’ of the commissioning role. In particular, the symbolic construction of commissioners’ identity and the cultural mediation both among different production worlds and between production and consumption are analyzed.