Formation Of The Ambiguous Heroic Archetype: Three Jewish-American Film Actors And The United States’ Film System, 1929-1948

As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.

Interface induced diffusion

Interface induced diffusion had been identified in a thin film system damaged by electron bombardment. This new phenomenon was observed in Al2O3 (some nm thick)/Si substrate system, which was subjected to low energy (5 keV) electron bombardment producing defects in the Al2O3 layer. The defects produced partially relaxed. The rate of relaxation is, however, was different in the vicinity of the interface and in the "bulk" parts of the Al2O3 layer. This difference creates an oxygen concentration gradient and consequently oxygen diffusion, resulting in an altered layer which grows from the Al2O3/Si substrate interface. The relative rate of the diffusion and relaxation is strongly temperature dependent, resulting in various altered layer compositions, SiO2 (at room temperature), Al2O3 + AlOx + Si (at 500 °C), Al2O3 + Si (at 700 °C), as the temperature during irradiation varies. Utilizing this finding it is possible to produce area selective interface patterning.

FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN

The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.