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Bloodstream infections (BSIs) are a frequent cause of morbidity in patients with acute myeloid leukemia (AML), due in part to the presence of central venous access devices (CVADs) required to deliver therapy.
Objective:
To determine the differential risk of bacterial BSI during neutropenia by CVAD type in pediatric patients with AML.
Methods:
We performed a secondary analysis in a cohort of 560 pediatric patients (1,828 chemotherapy courses) receiving frontline AML chemotherapy at 17 US centers. The exposure was CVAD type at course start: tunneled externalized catheter (TEC), peripherally inserted central catheter (PICC), or totally implanted catheter (TIC). The primary outcome was course-specific incident bacterial BSI; secondary outcomes included mucosal barrier injury (MBI)-BSI and non-MBI BSI. Poisson regression was used to compute adjusted rate ratios comparing BSI occurrence during neutropenia by line type, controlling for demographic, clinical, and hospital-level characteristics.
Results:
The rate of BSI did not differ by CVAD type: 11 BSIs per 1,000 neutropenic days for TECs, 13.7 for PICCs, and 10.7 for TICs. After adjustment, there was no statistically significant association between CVAD type and BSI: PICC incident rate ratio [IRR] = 1.00 (95% confidence interval [CI], 0.75–1.32) and TIC IRR = 0.83 (95% CI, 0.49–1.41) compared to TEC. When MBI and non-MBI were examined separately, results were similar.
Conclusions:
In this large, multicenter cohort of pediatric AML patients, we found no difference in the rate of BSI during neutropenia by CVAD type. This may be due to a risk-profile for BSI that is unique to AML patients.
Traditionally, Weimar cinema has been equated with the work of a handful of auteurist filmmakers and a limited number of canonical films. Often a single, limited phenomenon, "expressionist film," has been taken as synonymous with the cinema of the entire period. But in recent decades, such reductive assessments have been challenged by developments in film theory and archival research that highlight the tremendous richness and diversity of Weimar cinema. This widening of focus has brought attention to issues such as film as commodity; questions of technology and genre; transnational collaborations and national identity; effects of changes in socioeconomics and gender roles on film spectatorship; and connections between film and other arts and media. Such shifts have been accompanied by archival research that has made a cornucopia of new information available, now augmented by the increased availability of films from the period on DVD. This wealth of new source material calls fora re-evaluation of Weimar cinema that considers the legacies of lesser-known directors and producers, popular genres, experiments of the artistic avant-garde, and nonfiction films, all of which are aspects attended to by the essays in this volume.
Contributors: Ofer Ashkenazi, Jaimey Fisher, Veronika Fuechtner, Joseph Garncarz, Barbara Hales, Anjeana Hans, Richard W. McCormick, Nancy P.Nenno, Elizabeth Otto, Mihaela Petrescu, Theodore F. Rippey, Christian Rogowski, Jill Smith, Philipp Stiasny, Chris Wahl, Cynthia Walk, Valerie Weinstein, Joel Westerdale.
Christian Rogowski is Professor of German at Amherst College.
Something apparently in between star and character type. The adoring young girls want to see him as a star; a certain type of mature woman as the above mentioned something in between; but we only want to see him as a character type, for that's where the slim, sinewy ascetic is totally at home. He is the personified spirit of the third dimension, thus the fourth dimension. When he wants to, his eyes look into the fourth realm, his visage becomes transparent and seems as if it has been eaten away by all his passions. His dark soul is visible on his face! And then he even plays upon this soul, as if it were a tortured, screeching violin. He is an indispensable enrichment, a type all his own!
— Heinz Salmon, “Charaktertyp” 1919
Contemporary commentators rhapsodized about Conrad Veidt's unusual appeal to his public, and Erika and Klaus Mann would later write that almost no actor was as popular as Veidt in interwar Germany (95). As we see in the above quotation, as early as 1919 film critic Heinz Salmon emphasized Veidt's multiple attractions for his fans, who saw him as a standard love object, as spiritual and an artist, and as an otherworldly ascetic. Writing three years later, critic Fritz Scharf discussed Veidt as a cultural phenomenon with wide-reaching influence: “Damsels from ages eight through eighty who are even mildly infected by the hysteria have each made HIM an altar in their more or less roomy bosoms; for pale looking lads, HE is their life's goal personified” (43).
In Hinter den Kulissen (Behind the Scenes), a 1927 photomontage by Bauhaus artist Marianne Brandt, Conrad Veidt's face emerges out of an inky darkness to nuzzle the head of a dreaming New Woman (fig. 8.1). Veidt seems both alluring and — with his gaunt features, sleepy eyes, and almost leering smile — somehow sinister. He presents a stark contrast to his pendant figure on the New Woman's right, Douglas Fairbanks as a grinning allegory of Hollywood's superficial appeal. Veidt's face is served up on a crescent-moon strip of white to frame it as a figment of the New Woman's imagination and the subject of her fantasy.