Suchergebnisse

Although Jean Renoir's oeuvre has been extensively debated since the emergence of the politique des auteurs in the pages of Cahiers du cinéma, his representation of gender relations has sustained less discussion than his signature formal style. This article posits that Renoir's films provide a valuable means of identifying how gender, specifically female identity, affects temporal trajectories in cinema. First, it illustrates Gilles Deleuze's understanding of crystallisation and situates it in relation to current scholarship on gender representation in the director's work. Second, it conducts a close analysis of the relationship between female identity and crystallisation based on the central female characters of La Règle du jeu (1939) and The Golden Coach (1952). This article ultimately argues that whether these characters belong to an upper-or lower-class stratum, they are subordinated to male power, which plays a determining role in the range of potential futures available to them.

Jacques Feyder's L'Atlantide (1921) is widely considered not only cinéma colonial's first major representative example but also one of the genre's most emblematic narratives. However, ambiguities in the film's portrayal of the mission civilisatrice have received comparatively little analysis. This article aims to expand on our understanding of L'Atlantide and the mirror it held up to interwar France in three main stages. First, it situates the film's discourses of gender and colonialism within present post-colonial scholarship. Second, it analyses the aesthetic and political contexts of L'Atlantide, paying particular attention to how the film offered a remedy to France's ailing postwar film industry and, albeit superficially, discovered a way to address a country undergoing a crisis of masculinity. Third, through a discussion of the sexually ambiguous relationships that structure the narrative's central erotic triangle, this analysis posits that Feyder's film registered France's postwar trauma and the fallibility of French colonial rule. This article ultimately argues that although L'Atlantide played a foundational role in perpetuating certain monolithic stereotypes, it also established a subversive tradition in cinéma colonial which would flourish during the interwar period in films such as Julien Duvivier's Pépé le Moko (1937) and Jean Grémillon's Gueule d'amour (1937).

WOS: 000536043600017 ; The aim of this study was to determine the level of compliance with food safety criteria in the dairy farms which are members of Cattle Breeders Association (CBA) in Menemen District which is one of the milk production regions of Izmir. the data of the study were obtained from the dairy farms through face-to-face surveys. Data were analyzed using by one-way ANOVA and Kruskal Wallis Test. A 5-point Likert Scale was used to determine the level of compliance with food safety criteria. the results of the research indicated that the food safety knowledge level of the farmers was low and the compliance of the small scale farms with the food safety criteria was not sufficient. It is recommended that CBA and other agricultural organizations in the region should take more active role in informing producers about food safety criteria and practices.

The risky limits of fossil fuel reserves are increasingly increasing the importance of energy in sustainable development. Global energy consumption is expected to increase by 28% by 2040. High economic growth rates of developing countries increase their energy consumption. The changing geographical and economic balances in energy reveal the necessity of producing long-term solutions to the changes in energy markets. Energy policies, green energy and new technologies are emerging as priority issues in the energy market. In the case of predictions, renewable energy will stand out as the fastest growing energy source in the world. The solar energy sector is considered as one of the most important investment in renewable energy resources invested together with government incentives. Intelligent technologies, including the connection of objects to the Internet, storage of big data, cloud computing systems, artificial intelligence (AI) development, virtual reality, and other forms of advanced communication, fundamentally change the operation of businesses and societies. Digitalization of solar energy is an important issue for especially smart cities.

Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné's Le Jour se lève (1939) and Jean Renoir's La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with reference to the writings of André Bazin and Gilles Deleuze; second, it situates Carné and Renoir's greenhouses within their respective dramatic, aesthetic and political contexts. In both cases, the narrative inscribes specific socio-economic associations and a related conceptualisation of temporality in the image of the greenhouse rather than merely reducing it to an inert, physically circumscribed space. Furthermore, whereas the mise en scène of Carné's greenhouse concretises the dialectics of memory and recollection manifested through his film's flashbacks, Renoir's greenhouse provides a meta-filmic commentary on his own obsolete efforts to immerse himself in the foibles of the haute bourgeoisie and to liberate his country's ruling class from its outmoded modus operandi.

In its September 13th 2017 decision,1 the Court of Justice of the European Union (CJEU) decided on a request for a preliminary ruling by the Supreme Court of Poland (Sąd Najwyższy) in proceedings between ENEA S.A. (ENEA) and the president of the Urzędu Regulacji Energetyki (Office for the regulation of energy, URE) on the imposition by the latter of a financial penalty on ENEA for breach of its obligation to supply electricity produced by cogeneration. The judgment of the Court of Justice follows many decisions of the European Commission and judgments of the EU courts assessing the involvement of State resources in support schemes in energy, particularly with the aim of switching towards more environmentally friendly sources. This case reaffirms that support schemes may, in certain circumstances, fall outside the scope of the EU State aid rules.

Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné's Le Jour se lève (1939) and Jean Renoir's La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with reference to the writings of André Bazin and Gilles Deleuze; second, it situates Carné and Renoir's greenhouses within their respective dramatic, aesthetic and political contexts. In both cases, the narrative inscribes specific socio-economic associations and a related conceptualisation of temporality in the image of the greenhouse rather than merely reducing it to an inert, physically circumscribed space. Furthermore, whereas the mise en scène of Carné's greenhouse concretises the dialectics of memory and recollection manifested through his film's flashbacks, Renoir's greenhouse provides a meta-filmic commentary on his own obsolete efforts to immerse himself in the foibles of the haute bourgeoisie and to liberate his country's ruling class from its outmoded modus operandi.

Abstract
In Cinéma 2: l'image-temps (1985), Gilles Deleuze remarks that Jean Renoir's pioneering use of deep space makes manifest a cracked crystal of time that structures the director's oeuvre. Deleuze states that within Renoir's crystal, characters constantly negotiate a tension between the 'dead roles' of the past and the possibility for the creation of a genuinely new future. Deleuze's analysis, although insightful, suggests that Renoir's mise-en-scène articulates the cracked crystal's temporal properties regardless of the narrative setting. Drawing on Renoir's photography of Paris in La Chienne (1931), this article demonstrates the import of setting, specifically urban topography, towards Renoir's dialectic of imprisonment and escape. In La Chienne, formal tensions between Renoir's mise-en-scène of the theatre and Paris foreground the city's role as an active catalyst of the characters' individual trajectories in a world where social identity remains crucially unfixed. Central to this analysis is the motif of the frame, which is appropriated in conjunction with deep space and off-screen space in the city in order to emphasize the impossibility of confining urban narrative to the rigid confines of the proscenium arches that bookend the protagonist's drama. This article ultimately argues that Renoir's crystalline image is not only the product of camera techniques and characterization, but also of the mutually affective relationship between urban physical and social space.

What is the perception of Turkish migrants in elderly care? The increasing number of elder migrants within the German and Austrian population is causing the challenge of including them in an adequate (culturally sensitive) way into the German/Austrian health care system. Here I introduce the perception of elder Turkish migrants within the predominant paradigm of intercultural opening of health care in Germany as well as within the concept of diversity management of health care in Vienna (Austria). The qualitative investigation follows a field research in different German and Austrian cities within the last four years and an analysis based on the Grounded Theory Methodology. The meaning of intercultural opening on the one hand, and diversity management on the other hand with respect to elderly care will be evaluated. Whereas the intercultural opening directly demands a reduction of barriers to access institutional elderly care the concept of diversity is hardly successful in the inclusion of migrants into elderly care assistance – concerning both, migrants as care-givers and migrants as care-receivers. Despite the similarities between the health care systems of Germany and Austria there are decisive differences in the perception and inclusion of migrants in elderly care that is largely based on an 'individual care' concept of the responsible institutions. Finally, this investigation demonstrates how elderly care in Germany and Austria prepares to encounter the demand of 'individual care' in a diverse society.