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Svyatoslav Teterin
Svyatoslav Teterin

Whole Body Little Finger 2005 Dvdrip ((BETTER))


In this adaptation of Constantine, he is destined to go to hell because he attempted to commit suicide. In the comic book "Hellblazer," he is sent to hell due to summoning a demon into his body, the demon rebels against Constantine's control and drags a little girl back with him to hell.




Whole body little finger 2005 dvdrip



BMD should be assessed in all young women with a history of hypoestrogenism (ie, amenorrhea), disordered eating, and/or a history of stress fractures or a fracture from minimal trauma.66 There are several imaging modalities available for analysis of bone structure. Dual-energy x-ray absorptiometry (DXA) is most commonly used to assess BMD because of its speed, precision, safety, low cost, and widespread availability.9,10,49 DXA is one of the few imaging techniques with reference to pediatric data.10 It can measure bone mass and areal BMD for the whole body as well as specific regions such as the lumbar spine, hip, and distal radius.10 Measurement of spine and hip are standard for young adult women.54,65 Measurement of the spine and whole body is preferred in adolescents because of the lack of precision in the hip region in identifying anatomic landmarks.9 If symptoms of the triad persist, low DXA BMD results should be reevaluated every 12 months, ideally with the same machine to ensure comparison with accuracy and precision.


The next step leads us much further. Inthe fall of 1832 Stampfer in Germany andPlateau in France, independent of each other,at the same time designed a device by whichpictures of objects in various phases of movementgive the impression of continued motion.Both secured the effect by cutting fineslits in a black disk in the direction of theradius. When the disk is revolved aroundits center, these slits pass the eye of the observer.If he holds it before a mirror and onthe rear side of the disk pictures are drawncorresponding to the various slits, the eyewill see one picture after another in rapidsuccession at the same place. If these littlepictures give us the various stages of a movement,for instance a wheel with its spokes indifferent positions, the whole series of impressionswill be combined into the perceptionof a revolving wheel. Stampfer calledthem the stroboscopic disks, Plateau thephenakistoscope. The smaller the slits, thesharper the pictures. Uchatius in Viennaconstructed an apparatus as early as 1853 tothrow these pictures of the stroboscopic diskson the wall. Horner followed with the daedaleum,in which the disk was replaced by ahollow cylinder which had the pictures on theinside and holes to watch them from withoutwhile the cylinder was in rotation. Fromthis was developed the popular toy which asthe zoötrope or bioscope became familiareverywhere. It was a revolving black cylinderwith vertical slits, on the inside of whichpaper strips with pictures of moving objectsin successive phases were placed. The clownssprang through the hoop and repeated thiswhole movement with every new revolutionof the cylinder. In more complex instrumentsthree sets of slits were arranged aboveone another. One set corresponded exactlyto the distances of the pictures and the resultwas that the moving object appeared to remainon the same spot. The second broughtthe slits nearer together; then the picturesnecessarily produced an effect as if the manwere really moving forward while he performedhis tricks. In the third set the slitswere further distant from one another thanthe pictures, and the result was that the picturemoved backward.


The scientific principle which controls themoving picture world of today was establishedwith these early devices. Isolated picturespresented to the eye in rapid successionbut separated by interruptions are perceivednot as single impressions of different positions,but as a continuous movement. Butthe pictures of movements used so far weredrawn by the pen of the artist. Life showedto him everywhere continuous movements;his imagination had to resolve them into variousinstantaneous positions. He drew thehorse race for the zoötrope, but while thehorses moved forward, nobody was able tosay whether the various pictures of their legsreally corresponded to the stages of the actualmovements. Thus a true developmentof the stroboscopic effects appeared dependentupon the fixation of the successivestages. This was secured in the early seventies,but to make this progress possible thewhole wonderful unfolding of the photographer'sart was needed, from the early daguerreotype,which presupposed hours of exposure,to the instantaneous photographwhich fixes the picture of the outer world in asmall fraction of a second. We are not concernedhere with this technical advance, withthe perfection of the sensitive surface of thephotographic plate. In 1872 the photographer'scamera had reached a stage at which itwas possible to take snapshot pictures. Butthis alone would not have allowed the photographingof a real movement with onecamera, as the plates could not have beenexchanged quickly enough to catch the variousphases of a short motion.


Both Lumière and Paul overcame this difficultyand secured an intermittent pushing forwardof the pictures for three-quarters of aninch, that is for the length of the single photograph.In the spring of 1895 Paul's theatrographor animatograph was completed,and in the following year he began his engagementat the Alhambra Theater, where the noveltywas planned as a vaudeville show fora few days but stayed for many a year,since it proved at once an unprecedented success.The American field was conquered bythe Lumière camera. The Eden Musée was thefirst place where this French kinematographwas installed. The enjoyment which todayone hundred and twenty-five thousand movingpicture theaters all over the globe bring tothirty million people daily is dependentupon Lumière's and Paul's invention. Theimprovements in the technique of taking thepictures and of projecting them on the screenare legion, but the fundamental features havenot been changed. Yes; on the whole the developmentof the last two decades has beena conservative one. The fact that every producertries to distribute his films to everycountry forces a far-reaching standardizationon the entire moving picture world. The littlepictures on the film are still today exactly thesame size as those which Edison used for hiskinetoscope and the long strips of film are stillgauged by four round perforations at the sideof each to catch the sprockets which guide thefilm.


It was indeed not an external technical advanceonly which led from Edison's half aminute show of the little boy who turns onthe hose to the "Daughter of Neptune," or"Quo Vadis," or "Cabiria," and many anotherperformance which fills an evening.The advance was first of all internal; it wasan esthetic idea. Yet even this does not tellthe whole story of the inner growth of themoving pictures, as it points only to the progressof the photoplay. It leaves out of accountthe fact that the moving pictures appealnot merely to the imagination, but thatthey bring their message also to the intellect.They aim toward instruction and information.Just as between the two covers of amagazine artistic stories stand side by sidewith instructive essays, scientific articles, ordiscussions of the events of the day, the photoplayis accompanied by a kinematoscopicrendering of reality in all its aspects. Whateverin nature or in social life interests thehuman understanding or human curiositycomes to the mind of the spectator with anincomparable intensity when not a lifelessphotograph but a moving picture brings itto the screen.


Yet that power of the moving pictures tosupplement the school room and the newspaperand the library by spreading informationand knowledge is, after all, secondary totheir general task, to bring entertainmentand amusement to the masses. This is thechief road on which the forward march ofthe last twenty years has been most rapid.The theater and the vaudeville and the novelhad to yield room and ample room to the playof the flitting pictures. What was the realprinciple of the inner development on thisartistic side? The little scenes which thefirst pictures offered could hardly have beencalled plays. They would have been unableto hold the attention by their own contents.Their only charm was really the pleasure inthe perfection with which the apparatus renderedthe actual movements. But soon touchingepisodes were staged, little humorousscenes or melodramatic actions were playedbefore the camera, and the same emotionsstirred which up to that time only the truetheater play had awakened. The aim seemedto be to have a real substitute for the stage.The most evident gain of this new scheme wasthe reduction of expenses. One actor is nowable to entertain many thousand audiencesat the same time, one stage setting issufficient to give pleasure to millions. Thetheater can thus be democratized. Everybody'spurse allows him to see the greatestartists and in every village a stage can be setup and the joy of a true theater performancecan be spread to the remotest corner of thelands. Just as the graphophone can multiplywithout limit the music of the concert hall, thesinger, and the orchestra, so, it seemed, wouldthe photoplay reproduce the theater performancewithout end.


But with the quick change of backgroundthe photoartists also gained a rapidity ofmotion which leaves actual men behind. Heneeds only to turn the crank of the apparatusmore quickly and the whole rhythm of theperformance can be brought to a speed whichmay strikingly aid the farcical humor of thescene. And from here it was only a step tothe performance of actions which could notbe carried out in nature at all. At first thisidea was made serviceable to rather roughcomic effects. The policeman climbed upthe solid stone front of a high building. Thecamera man had no difficulty in securing theeffects, as it was only necessary to have theactor creep over a flat picture of the buildingspread on the floor. Every day brought usnew tricks. We see how the magician breaksone egg after another and takes out of eachegg a little fairy and puts one after anotheron his hand where they begin to dance a minuet.No theater could ever try to match suchwonders, but for the camera they are not difficult;the little dancers were simply at amuch further distance from the camera andtherefore appeared in their Lilliputian size.Rich artistic effects have been secured, andwhile on the stage every fairy play is clumsyand hardly able to create an illusion, in thefilm we really see the man transformed intoa beast and the flower into a girl. There isno limit to the trick pictures which the skillof the experts invent. The divers jump, feetfirst, out of the water to the springboard. Itlooks magical, and yet the camera man hassimply to reverse his film and to run it fromthe end to the beginning of the action. Everydream becomes real, uncanny ghosts appearfrom nothing and disappear into nothing,mermaids swim through the waves and littleelves climb out of the Easter lilies.


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