scholarly journals Peripheral Silent Period In Cervical and Generalized Dystonia

2021 ◽  
pp. 205-211
Author(s):  
Melih TUTUNCU
Keyword(s):  
Silent Period ◽  
Generalized Dystonia

Severity and DYT1 status predict outcome after chronic bilateral pallidal stimulation in children and adolescents with primary generalized dystonia

2008 ◽  
Vol 39 (05) ◽  
Author(s):  
I Borggraefe ◽  
JH Mehrkens ◽  
M Telegravciska ◽  
S Berweck ◽  
K Bötzel ◽  
...  
Keyword(s):  
Children And Adolescents ◽  
Pallidal Stimulation ◽  
Generalized Dystonia

Modulation der kortikalen Silent Period durch Vibration

2007 ◽  
Vol 38 (01) ◽  
Author(s):  
C Binder ◽  
J Liepert
Keyword(s):  
Silent Period

‘A war film with a difference’: Adrian Brunel's Blighty and Negotiation within the British Studio System of the Late Silent Period

2015 ◽  
Vol 12 (2) ◽  
pp. 151-171 ◽  
Author(s):  
Josephine Botting
Keyword(s):  
Silent Period ◽  
Home Front ◽  
World War ◽  
War Films ◽  
Box Office ◽  
The First World War ◽  
Studio System ◽  
To Come ◽  
First World ◽  
War Film

The creation and viewing of war films was one of the elements in the process by which Britain attempted to come to terms with the horrors of the First World War. During the interwar period, war films took two main forms: those which reconstructed famous battles and melodramas set against a wartime backdrop. However, the film Blighty, directed by Adrian Brunel in 1927, took a slightly different approach, focusing not on military action but on those who stayed behind on the Home Front. As a director during the silent period, Brunel trod a stony path, operating largely on the fringes of the industry and never really getting a firm foothold in the developing studio structure. He remains well regarded for his independent productions yet also directed five features for Gainsborough at the end of the silent period. Of these film, his first, Blighty, is perhaps his most successful production within the studio system in terms of managing a compromise between his desire to maintain control while also fulfilling the studio's aims and requirement for box office success. Brunel's aversion to the war film as a genre meant that from the start of the project, he was engaged in a process of negotiation with the studio in order to preserve as far as possible what he regarded as a certain creative and moral imperative.

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