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Cover -- Half-Title -- Title -- Copyright -- Dedication -- Contents -- Teil 1 Einleitung -- A. Einführung in das Thema -- I. Mediaagenturen -- II. Vorgehensweise der Mediaagentur -- III. Problementwicklung -- B. Problemaufriss -- I. Rabattgewährung -- 1. Tarifliche Rabatte -- 2. Kundenbezogene Rabatte -- II. Mediaagenturbonus -- 1. Terminologie -- 2. Ausgestaltung -- III. Interessenkonflikt -- C. Gang der Darstellung -- Teil 2 Grundlagen -- A. Geschichte der Mediaagentur -- I. Annoncenexpeditionen als Ursprung -- II. Von der Werbeagentur zur Mediaagentur

Jeffrey Dahmer. Ted Bundy. John Wayne Gacy. Over the past thirty years, serial killers have become iconic figures in America, the subject of made-for-TV movies and mass-market paperbacks alike. But why do we find such luridly transgressive and horrific individuals so fascinating? What compels us to look more closely at these figures when we really want to look away? Natural Born Celebrities considers how serial killers have become lionized in American culture and explores the consequences of their fame.David Schmid provides a historical account of how serial killers became

According to Stephen Prince in his 2009 book, Firestorm: American Film in the Age of Terrorism, 'For filmmakers concerned about any aspect of 9/11 or its aftermath, the attacks and their legacy offer a tremendously rich and challenging body of material'. It is very difficult to generalize
about the response to 9/11 in American film, ranging as it does from its egregious use as a plot twist at the conclusion of the recent romantic drama Remember Me (Allen Coulter, 2010) to more substantive examinations such as In the Valley of Elah (Paul Haggis, 2007) or Jarhead (Sam Mendes,
2005). One might think, however, despite this range, that the most effective way of anatomizing how American film has responded to 9/11, and especially the issue of whether the medium has turned inward in a gesture of self-absorption or outward to engage the world outside the United States,
would be to study films that engage directly and explicitly with the events of September 11, 2001. This article takes a different tack by arguing that the most symptomatic American films of the post-9/11 era are the Saw series (beginning with Saw, directed by James Wan in 2004), some of the
most financially successful films of recent years, and films that nowhere reference the events of 9/11 explicitly. The article analyses the reasons for the popularity of the Saw films in a post-9/11 context, concentrating in particular on the perverse pleasure American audiences derive from
the franchise's suggestion that terror is a self-imposed punishment that takes place in highly scripted situations designed to reveal moral strength, rather than a threatening force imposed from the outside, seemingly at random and with no warning. This emphasis reveals that post-9/11 American
film prefers to focus on threats regarded as internal to the United States than to engage with an outside world that is seen in terms of an otherness perceived as more threatening and destabilizing than ever.

Cover -- Volume 1: American History and Violent Popular Culture -- Title -- Copyright -- Contents -- Acknowledgments -- Foreword: American Popular Culture-There Will Be Blood -- Notes -- Bibliography -- Introduction: Recovering American Violence -- Notes -- Bibliography -- Chapter One: The Vanishing Trace of Violence in Native American Literature and Film -- Ritualism -- Minimalism -- Ironism -- Conclusion -- Notes -- Bibliography -- Chapter Two: The Politics of Pain: Representing the Violence of Slavery in American Popular Culture -- The Strange Career of Uncle Tom's Cabin -- The Eroticization of Interracial Violence -- Reconceptualizing the Violence of Slavery in the Post-Civil Rights Era -- Conclusion: Representing the Violence of Slavery in the "Post-Racial" Era -- Notes -- Bibliography -- Chapter Three: Natural Laws, Unnatural Violence, and the Psychophysical Experience of the Civil War Generation in America -- Violence in Antebellum America -- Simply Murder: Unfathomable Killing and the Civil War -- Psychophysical Coping with a Bloody Past -- Conclusion -- Notes -- Bibliography -- Chapter Four: World War II in American Popular Culture, 1945-Present -- Early Postwar, 1945-1948 -- Cold War, 1948-1962 -- The Vietnam War Era, 1962-1978 -- Post Vietnam, 1978-2001 -- Post-9/11 -- Notes -- Bibliography -- Chapter Five: American Dreams and Nightmares: Remembering the Civil Rights Movement -- American Dreams -- American Nightmares -- A Change Is Gonna Come -- Marching Forward: Fifty Years Later -- Final Thoughts -- Notes -- Bibliography -- Chapter Six: Exploring Popular Cultural Narratives of Gender Violence -- Domestic Violence -- Rape -- Sexual Harassment -- Hate Crimes -- Conclusion -- Notes -- Bibliography -- Chapter Seven: Vigilant Citizens and Horrific Heroes: Perpetuating the Positive Portrayal of Vigilantes -- Notes -- Bibliography.

Während sich Anwendungen der künstlichen Intelligenz (KI) bereits in vielen Technologiefeldern etabliert haben und die Verfügbarkeit sowie der Support der ihnen zugrunde liegenden KI-Frameworks hoch ist, verbleiben bei der Nutzung im produktionstechnischen Bereich noch offene Potenziale. Von der initialen Entwicklung, dem nutzerorientierten Einsatz im Feld bis hin zur langfristigen Unterstützung einer KI-Anwendung ist eine Vielzahl an Arbeitsschritten notwendig, wodurch der Einsatz insbesondere für KMUs mit Einstiegshürden verbunden ist.

While artificial intelligence (AI) applications are well-established in many technology sectors and the availability and support of the underlying frameworks is high, there remain untapped potentials for their use in manufacturing systems. From the initial development of an AI application and the user-centered deployment to the shop floor unto its long-term support numerous steps are necessary, which especially for SMEs, represent entry barriers.