1/1/2024 0 Comments Vimr ostravaThe aim of this study was to assess Croatian health care providers’ knowledge of exposure to BFRs and their attitudes towards the responsibility to inform the public about the possible negative effects on human health. ![]() The exposure of pregnant and lactating women and their children to environmental contaminants such as brominated flame retardants (BFRs) is a subject of international concern, but the perception of these contaminants by health providers has not been extensively investigated. We conclude with options for how governments and industry can apply the class-based approach, emphasizing the importance of eliminating non-essential uses of PFAS, and further developing safer alternatives and methods to remove existing PFAS from the environment. Examples are provided of how some PFAS are being regulated and how some businesses are avoiding all PFAS in their products and purchasing decisions. Specifically, the high persistence, accumulation potential, and/or hazards (known and potential) of PFAS studied to date warrant treating all PFAS as a single class. The basis for the class approach is presented in relation to their physicochemical, environmental, and toxicological properties. The class includes perfluoroalkyl acids, perfluoroalkylether acids, and their precursors fluoropolymers and perfluoropolyethers and other PFAS. Moreover, it vividly outlines some of the attributes of creative and mainstream filmmaking in socialist Czechoslovakia.This commentary presents a scientific basis for managing as one chemical class the thousands of chemicals known as PFAS (per- and polyfluoroalkyl substances). This study is the first step in examining theoretical issues surrounding cinematography. In a more general way, it focuses on the shifting nature of archives from modern to postmodern times, professional aspects of amateur film, and different ways of experimentation with the space of an image and within the image. It examines the little researched perspective of a cinematographer along with the basic media practices – collecting, looking. While exploring these new modes of Kučera’s creative universe, this monograph also opens up a variety of theoretical concerns. ![]() This material allows for a more comprehensive approach to Kučera’s perspective and his way of thinking through images, and to investigate connections between his personal photography and home videos and his professional film career. This so far solitary study of the cinematographer has become somewhat complicated with the discovery of Kučera’s extensive archive that contains images, photographs, negatives, transparencies, home movies and unpublished dailies, test shots, as well as other 16 mm and 35 mm footage. His body of work is still much more diverse and includes ideologically tainted films (e.g., Circus in the Circus), genre movies (e.g., Joachim, Put It in the Machine) and made-for-TV movies (e.g., What a Wedding, Uncle!). He is known as a progressive cinematographer who defined the visual style of a number of Czech films (e.g., Diamonds of the Night, Daisies, Fruit of Paradise, All My Compatriots and Dinner for Adele), Laterna Magika performances (e.g., Odysseus), and as the director of the documentary film Prague Castle. This monograph provides a systematic examination of the recently discovered archive of the cinematographer Jaroslav Kučera who undeniably belongs among the most renowned Czech film professionals of the second half of the twentieth century. ![]() The article concludes with a brief commentary on contemporary adaptations of the opera. It demonstrates the ways in which scenography may serve as a reminder of normality for children dealing with issues that cannot otherwise be confronted. The aim is to underscore the power in creating and reading scenographic images under coercive conditions, with Brundibár as a paradigmatic example. This article analyses Zelenka’s scenography by focusing on the visual metaphors embedded in the stage images he created, and offers an insight on the multiple roles of Brundibár’s original scenography and its impact. The staging of Brundibár consisted of visual statements that were an integral part of the scenography and acquired meaning in the context of the ghetto. ![]() Despite the harsh living conditions, 55 performances are known to have been held in Theresienstadt between 19. Brundibár was originally created in 1938 by the Czech Jewish composer Hans Krása and the librettist Adolf Hoffmeister in Prague. Among his works in the ghetto, the children’s opera Brundibár, designed and directed by Zelenka, stands out. Czech architect-scenographer František Zelenka was a well-known pre-war designer for the National Theatre in Prague, deported by the Nazis to the Theresienstadt ghetto, a concentration camp in Czechoslovakia, where he participated extensively in the inmates’ theatrical activity.
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