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This film presents the anatomy, symptomatology, and clinical picture of disorders of nerves. Shots include: unilateral paralysis of masticatory nerve, paralysis of right masticatory nerve, disorders of the spinal accessory nerve, motor fibers supplying sternomastoid muscle, atrophy of the upper portion of the trapezius muscle, scapula alata in paralysis of serratus anticus muscle, motor fibers leaving medulla between olive and pyramid, bilateral paralysis of hypoglossal nerves, scars of gunshot injury bilateraly, slow response to galvanic stimulation, severe atrophy and immobility of tongue, and bilateral paralysis of glossopharyngeal and vagus nerves.
Presents all the trials and events of the 1971 state track meet. Portrays the individual performers in action. Shows the awarding of medals and the trophy by the Board of Control and the Commissioner.
Shows in detail how a plane is directed to landing by the ground controlled approach team. Illustrates the principles of operation of the system, and shows the members of the GCA team in action.
Piatigorsky plays "Bourees #1 and #2" from Suite in C Major, by Bach; "Slow Movement" from Cello Sonata, by Chopin; "Masques" from Romeo and Juliet, by Prokofief; "Romance," by Anton Rubinstein; "Waltz," by Tschaikowsky; and "Introduction, Theme and Variations," by Schubert-Piatigorsky.
The methods of directing and using aggression in children are demonstrated in studies of the Americans of the continental United States, the Kwoma of New Guinea, and the Alorese of the Dutch East Indies. We move from the creation of frustration in children through the expression of aggressive responses to the various ways the aggressive responses are directed and utilized. Dr. Bullock’s narration is closely linked to dance action and original musical effects. The types of stimuli that frustrate children are explained. As each example is followed to its logical end of aggressive behavior, one can understand the hit-and-run tactics of the Kwoma, the competitive spirit of the American, and the inferior and helpless feeling of the Alorese. The battle scenes presented at the end of the Kwoma and Alorese groups throw our concept of war into a new mental perspective.
Explains the nature and importance of population genetics. Derives the Hardy-Weinberg equilibrium principle for Mendelian (cross-breeding) populations. Points out that though the Hardy-Weinberg law produces a static gene pool when it applies, mutation, selection, random genetic drift, and migration upset this equilibrium and cause gene frequencies to shift-these factors being, therefore, the principal causes of evolution.
Primarily exterior footage of the Indiana University Bloomington campus. Campus buildings, Marching 100 band practicing and performing at a football game against Northwestern, and IU President Elvis J. Stahr Jr., in his office. Ronald Gregory, Marching Hundred director, is also briefly seen.
Edward R. Feil, Mary Feil Hellerstein, Harold S. Feil, Nellie Feil, Leslie Feil, Betsy Feil, Maren Mansberger Feil, Ellen Feil, David Hellerstein, Jonathan Hellerstein, Kathryn Hellerstein, Ann Leslie Jones, Herman Hellerstein, George Feil
Summary:
Begins with Harold and Nellie arriving at the Hellerstein home, where Mary assists the children as they open their presents. Then, a Christmas celebration at the George Feil home. Leslie, dressed as a nurse, and Betsy open presents as the adults watch. The film show close ups of Maren as she holds baby Ellen. The Hellersteins join the party and Ed steps out from behind the camera to give a present to Betsy.
Home movie documenting Ed and Naomi's trip out West in 1966. The couple visits with Ed's aunt and cousins before going to Wayfarers Chapel, visiting a marina, and taking the Universal Studios tour. They also see a stunt performance. Next, they stop at the Hoover Dam. In Las Vegas, where the film captures the neon lights of the Strip and people playing slot machines.
These tapes examine mainly the 19th century history of the Futa Toro. The recordings include more formal traditions, as in discussions with members of the hereditary classes of historians (awlube, ma bube, and wambabe) and more formal memoirs, as in interviews with members of the noble clases (to rodbr, sebbe, jawambe, subalbe). Descriptive information presented here may come from original collection documentation. Please note collections of historical content may contain material that could be offensive to some patrons. As of April 27, 2022, the following original tapes in this collection have not yet been digitized and will be added to this record at that time: EC 3862, EC 3863, and OT 1863.
Professor Woodworth uses this program to introduce some general principles of musical composition, illustrating his remarks by examples from Haydn's Symphony Number 102. He explains how musical ideas are developed, how they are used and recognized in composition, and how they can be transformed and manipulated within the structure of the movement. Diagrams, and rear-screen projections of the score are used in this program.
In this last program Professor Woodworth summarizes the points he has made in the course of the series. Then, as a climax to the study of the symphonic form, Professor Woodworth conducts the Cambridge Festival Orchestra in a performance of the final movement of Mozart's Symphony Number 38, and then in a complete performance of Prokofiev's Classical Symphony, showing the transition from the 18th Century to modern music.
This program is a summation of the first development of the symphony as conceived by Haydn, Mozart and the early Beethoven. The examples used to show this development include the Minuet and Trio of Mozart's 39th Symphony, and the finales of Haydn's Symphony Number 102, Mozart's Symphony Number 41, and Beethoven's Symphony Number 1. Musical ideas and their development are explored in terms of a consistent classical pattern.
The Cambridge Festival Orchestra joins Professor Woodworth in a consideration of the romantic expansion of the orchestra. The brass choir in Beethoven's hands developed tremendously, and this was picked up and carried on by Mendelssohn, Brahms, Mahler and Tchaikovsky. Woodwinds and percussion instruments were also increasingly used to obtain special effects. Examples of this development are played, and at the end Professor Woodworth and the orchestra perform portions of two contrasting 20th Century Symphonies—Sibelius' Symphony Number 5 and Piston's Symphony Number 3—both of which used instrumentation to convey special moods.
Shows how to remove blades from inserted-blade type cutter; how to off-hand grind individual teeth; how to reassemble and align cutter blades; how to circle grind; how to surface grind all tooth-relief angles; how to finish surfaces and edges by honing; and how to inspect resharpened cutters.
Division of Visual Aids, U.S. Office of Education (Producer), Federal Security Agency (Producer), Emerson Yorke Studio (Producer)
Summary:
Shows how to prepare the machine or the job; how to select and set up a back rest; how to adjust the back rest during grinding; how to rough- and finish-grind the long shaft; and how to check and adjust the taper.
