"Robert Montgomery drehte 'Lady in the Lake' 1947 nach einem Plot, das Raymond Chandlers gleichnamigen Roman adaptierte. In diesem Spielfilm verfolgen Beobachter die Handlung aus der Perspektive des Detektivs Philip Marlowe: Personen, die sich Marlowe zuwenden und mit ihm sprechen, wenden sich der Kamera zu. Das wirkt in Filmvorführungen im Kino, als wenden sie sich in den Projektionsraum und sprechen die Zuschauer an. Der Beobachter wird zugleich ins Bildgeschehen durch die szenische Konstellation hineingezogen (Immersion), wie auf die Grenze zwischen Filmraum und Projektionsraum verwiesen, da er im Filmraum nicht selbst handeln kann, sich aber wie Marlowe im Bildraum verortet. Marlowe bleibt ein anderer, meist unsichtbarer Körper, der aber sieht und den Anschluss des Beobachters an seine Wahrnehmung einfordert: Die Kamera verleiht ihren Beobachtern einen szenischen Kontext, in den Kinozuschauer sich versetzen können. Sie stossen dabei sowohl auf Vorgaben (wie Marlowe spricht) wie auf Fehlstellen (das Sichtbare von Marlowes Auftreten, wenn er nicht in einen Spiegel schaut)."
(Thomas Dreher, IASLonline)
"The judgment by the war crimes tribunal at Nuremberg laid down 10 standards to which physicians must conform when carrying out experiments on human subjects in a new code that is now accepted worldwide.
This judgment established a new standard of ethical medical behavior for the post World War II human rights era. Amongst other requirements, this document enunciates the requirement of voluntary informed consent of the human subject. The principle of voluntary informed consent protects the right of the individual to control his own body.
This code also recognizes that the risk must be weighed against the expected benefit, and that unnecessary pain and suffering must be avoided.
This code recognizes that doctors should avoid actions that injure human patients.
The principles established by this code for medical practice now have been extened into general codes of medical ethics."
(Circumcision Reference Library, 7 December 1996)
"On the 22nd July 1942, 75 prisoners from our transport that came from Lublin were called, summoned to the chief of the camp. We stood before the camp office, and present Kogel, Mandel and one person which I later recognized Dr. Fischer. We were afterwards sent back to the block and we were told to wait for further instructions. On the 25th of July, all the women from the transport of Lublin were summoned by Mendel, who told us that we were not allowed to work outside of the camp. Also, five women from the transport that came from Warsaw were summoned with us at the same time. We were not allowed to work outside the camp. The next day 75 women were summoned again and we had to stand before the hospital in the camp. Present were Schiedlauski, Oberhauser, Rosenthal, Kogel and the man in when I recognized afterwards Dr. Fischer."
(Vladislava Karolewska, 1946)
fig.1 Herta Oberheuser, physician on trial for having conducted medical experiments on concentration camp prisoners. Nuremberg Medical Trial, Germany, August 1947. NARA
Fig.2 Vladislava Karolewska, a victim of medical experiments, who appeared as a prosecution witness at the Doctors Trial. Nuremberg Medical Trial, Germany, December 22, 1946. NARA
"Berlin–born Hans Richter – Dadaist, painter, film theorist and filmmaker – was for four decades one of the most influential members of the cinematic avant–garde. Richter assembled some of the century's liveliest artists as co–creators of Dreams That Money Can Buy, his most ambitious attempt to bring the work of the European avant–garde to a wider cinema audience. Among its admirers is film director David Lynch.
Joe, a young man down on his luck, discovers he has the power to create dreams, and sets up a business selling them to others. The 'dreams' he gives to his clients are the creations of Max Ernst, Fernand Lger, Man Ray, Marcel Duchamp, Alexander Calder and Richter himself, and the result is by turns playful, hypnotic, satirical, charming and nightmarish."
Dreams That Money Can Buy is a film in seven segments namely:
"Desire" Director, Writer – Max Ernst; "The Girl with the Prefabricated Heart" Director, Writer – Fernand Léger; "Ruth, Roses and Revolvers" Director, Writer – Man Ray; "Discs" Director, Writer – Marcel Duchamp; "Ballet" Director, Writer – Alexander Calder; "Circus" Director, Writer – Alexander Calder; "Narcissus" Director, Writer – Hans Richter.