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monopoly abuse: U.S. Attorney collects evidence against Apple

How iTunes anti-competitive act, the U.S. Justice Department has been investigated for some time, now will be Apple's business practices in terms iPad , Flash and other media more precisely under the microscope. Especially with Apple's stance on Adobe / Flash, the company had drawn the ire of Medienindstrie on, so a Hollywood insider.

The anger is just Apple little disturbing, a number of media partners, which is now the DOJ information relating to possible anti-competitive behavior Apples requests, are more likely. under the magnifying glass next to iTunes, Apple's policy towards iPad developers is taken, the focus should be on the technical limitations, however, the Apple iPad for the content to provide.

"If Apple says, to extend its monopoly with the iPad connection, then it should consider the history of other fenced gardens" , the New York Post quoted an insider. Of a prolonged discussion it is a completely new turn after the content industry has the call came, every day Steve Jobs for iPad and its restrictive (and publishing- and to thank friendly sales) platform.

via macnotes.de

Sun all know the media industry is therefore still not what it wants - open platforms on which she laments the lack of monetization opportunities and potential piracy opportunities, or closed systems, which is subsequently subjected to abuse of monopoly power to the head.

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Vague stars of ... (Sandra) 1965 Luchino Visconti

Content: Sandra (Claudia Cardinale), now with the American Andrew (Michael Craig) married versa, after many years in their home village of Volterra in Tuscany back, because her father, a well-known scientists, will be honored there. She had hardly known him since he was in 1942 died as a Jew in Auschwitz in the gas chamber. In Volterra

take it for a long time and her brother Gianni (Jean Sorel) again, an aspiring writer, with whom she had an intimate relationship. In particular, the conflict with their Mother (Marie Bell), a former concert pianist who had later married the lawyer Gilardini (Renzo Ricci) welded together the siblings. Even now, the greeting of the mother, who was incapacitated due to their mental illness and under medical supervision with her husband, lives more than frosty. Their hatred for the Jewish share in their children break out of it again ...


As Visconti "Vaghe dell'Orsa imagine ..." in 1965 brought in the cinemas, so he came to wonder, for opposing his film would have compared to its last, the two years before appearing "Il Gattopardo" can not fail. His spirit there in colorful panoramas, he attacked again on a strong black - white - back contrast, included it there mentally several epochs full socio-political relevance, he raises here an intimate look at the visit of a young woman in her home town after several years of absence . The only constant seemed to be Claudia Cardinale, who played already in "Rocco and His Brothers" 1960, the female lead, but that impression changed even at the first look on her face. Spotted coarse-grained and one had the beautiful actress had not previously seen.

How aware Luchino Visconti, the black and white technique used, one can already see the first scenes of the film, after Sandra (Claudia Cardinale) and her American husband Andrew (Michael Craig) in the direction of Geneva had left their native Tuscan town of Volterra. The previous evening they had a cocktail party for an international audience, where - a scene that is mainly because of their solidification in playing the piano important - now the imagery, which receives the camera from a subjective point of view of passengers, with low light / dark contrast overexposed. The sky seems cloudy, white, country and city are bathed in a harsh light, and only when they reach their goal and in the old palace of her family enter into it, the brightness returns to its opposite. This underlines the fatality Visconti of an event, from which there is no escape.

precisely this operatic gravity and accompanied only by piano music gloom is spread out with Sandra's family history here, presented the greatest difference to Visconti "Il Gattopardo" is that despite the tragedy and consequences of emotional restraint
was still ruled by the sovereign attitude of the nobles. But ultimately it is the parallel between the two works, which are similar in their intentions more than the external implementation wants to believe. Visconti's own noble origin, he owed thanks to substantial funding and artistic freedom, was a constant source of friction with his Communist stance and his homosexual tendencies, which influenced all his films, here - as in "Il Gattopardo" - addressed specifically. Also in his contribution to "Boccaccio '70" was already out of focus, but implemented more playful.

Similar to the history in "Il Gattopardo" , he describes in "Vaghe dell'Orsa imagine ..." the demise of a noble family, reminiscent of their former glory, only the large palace and surrounding gardens. If we understand the consequences "Il Gattopardo" as outlook on the future policy of Italy to the seizure of power by the fascists is to "put Vaghe dell'Orsa ..." the logical continuation of this theme. Although the film is set in the then present, the decisive event is for the plot more than 20 years back. The occasion for Sandra's return to her hometown is honoring her father with a bust in the garden of the Palazzo, which will allow the public to be transferred. 1942, the famous Jewish scientist at Auschwitz had died in the gas chamber.

only slow down the film on the consequences thereof, which are manifested mainly in the scene where her mother Sandra (Mary Bell) is reunited. The former concert pianist showered her with their hatred of everything Jewish, insult them and would also have the garden for the ceremony of her former husband not be given out if they would not have been disenfranchised because of their mental illness. She lives under medical supervision in the home of lawyer Gilardini (Renzo Ricci), whom she married after the war. Visconti leaves open whether they delivered up even her husband to the fascists, but makes no secret of the moral situation in which their children were growing up, were the death of her father's still very small.

In this context, the role of Sandra's brother Gianni (Jean Sorel) is clearly not the artistic, mentally fragile soul of this confrontation has grown. Only the proximity to his sister and the secret location where they were met, survive him this situation. When he now meets Sandy for the first time, he has first established, are on their way to a career as a writer, but his internal instability at the site of his childhood is increasingly revealed. In his slender figure Visconti handles the situation of an outsider who does not the sexual norm - the incestuous relationship with his sister is a synonym of Visconti's homosexuality and experiences here just disgust - especially by the mother and stepfather.

misunderstood Accordingly, if not offensive at all from the historical context, are former German Film Title such as "The instinctive" or summaries that speak of family decadence. On the contrary, according to Sandra is in their self-control and confidence in the Prince Nothing in "Il Gattopardo" . self loses her husband, overwhelmed by the high swinging events, the control, it remains a model of control, without having to suppress their emotions. In her Visconti refers again to the previously prevailing spirit in the family, but can save them to anyone.


Obviously, this is his intention for the choice of artistic means, the direct in their Opposition to the colors in "Il Gattopardo" that are similar again. The piano symbolizes the constant presence of the mother and gives, like the dramatic look, only an outward emotion, while the interaction of the protagonists is characterized by cold. This external force only makes the tension evident in the Sandra and her brother were growing up, and thus its strength and its weakness.

Visconti's attitude toward the sisters speaks in the movie, which regrettably was not translated into German. "Beautiful Star the sign of the big bears ... "- the same title by Giannis's first book - attest to its beauty, but also of their being lost in infinity.

"Vaghe dell'Orsa imagine ..." Italy 1965, Director: Luchino Visconti , writer: Luchino Visconti, Suso Cecchi d'Amico , Actor: Claudia Cardinale, Jean Sorel, Michael Craig, Renzo Ricci, Marie Bell, Runtime: 100 minutes


- further discussed in the blog films of Luchino Visconti :

"Ossessione" (1942)
"Boccaccio '70" (1962)
"Il Gattopardo" (1963)
"Lo Straniero" (1967)
"Morte a Venezia (1971)

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data volumes under control with SurplusMeter

SurplusMeter retains the data volume of Internet connection in the eye. Mac users monitor data limit with the freeware to upload and download.

After installation the user selects one SurplusMeter the internet connection used. Then software measures the monthly amount of incoming and outgoing data. Any one you put fixed download limit , SurplusMeter displays the remaining volume of data. Via a reset button to set the statistics to zero.

Manufacturer: website
file size: 246 KB

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Genoa at gunpoint 1976 Mario Lanfranchi

Content: The "Americans" (Tony Lo Bianco) has trouble - until he is beaten in the hall together, then tried to push him a car before a machine gun salvo fired at him. The police does not intervene. On the contrary, will Commissario Logallo (Adolfo Celi), who knows him from before, when the "American" itself was still a policeman, know of him, to which case he is working in Genoa as a private investigator. And he'd love to return it immediately to the U.S..

only after long resistance, he said the "Americans" that he was asked by Marta Mayer (Maud Adams), find out who her father was kidnapped and murdered. She also wants the high ransom have back what apparently some do not like ...


If early man (Tony Lo Bianco) casual stroll through the streets of Genoa, this impression is misleading. Commissario Logallo (Adolfo Celi) know him a long time and can watch it. He calls it the only "Americans" - An ex-cop with Italian ancestors, with whom he used to work together and whose presence in Genoa, he would like to know more.

As the "American" returns to his apartment, the film is the same in all the stops - he is expected by some men who together beat him brutally before her boss, a gangster of French origin, the ash of his cigarette on the ground fall man lying leaves. Director and writer Mario Lanfranchi leaves no doubt whatsoever from the beginning because a low blow after another will follow, but the "Americans" will never again be on the ground. As of now, it determines the action and his good humor it is not more leave.

Although until the end of 40, turned Mario Lanfranchi with "Genova a mano armata" in 1977 and his second last film was the last time as an actor. He became known already in the 50s as a producer and director who promoted the career of opera singer Anna Moffo, his future wife. With her in the lead role, he directed numerous operas for television or film, but in parallel, he played minor roles in several action movies and spaghetti westerns, before he "Sentenza di morte" self-realized by such. This experimentation, he remained loyal, and concerned more with a drama ("Il bacio") and a frivolous comedy ("La padrona è servita") before he took his first Poliziesco addressed.

this pleasure in every moment of the film genre is to be noted, for Lanfranchi does not keep up with a complex story, but focuses on constant action and witty dialogue. Leave, he can draw on his two protagonists, as if to meet the Commissario and the "Americans" to each other, will laugh, no matter how tricky the situation is even. Both seem to be fond in deep aversion, to save themselves sometimes each other's lives to the next moment to let go of disrespectful remarks. While Adolfo Celi it makes a normal stable figure, Tony Lo Bianco convinced by high speed, which never loses its permeability.

his side joined by Maud Adams as mysterious mandates, their role from the beginning applied to it is that you believe not a word, but like to be watching. With it, make the "American" frivolous dialogue that are always enriched with enough cynicism with which the character of the film is well characterized. Lanfranchi makes accordingly not before vigilante wait, what, given the high mortality rate, however, is negligible and only the intention Lanfranchis underlines possible to omit any genre element. The lack of seriousness of the events is particularly clear when the "American" a shot of heroin is in order to reach addicts than in a hospital, where he believed the people behind the kidnapping, which he hopes to elucidate. Once there, it has nothing on it, just go back to being active, as if he had previously taken a light sleep.

about such logic weaknesses you can ignore safely, as well as the constant presence of the police the right place at almost the right time somewhat contrived acts as a crucial new element is the port city of Genoa, the way around the track mentioned. Lanfranchi succeeds in convincing the city in its pursuit and shootings involve, giving that crazy event a real reference point. Genoa acts dusty and gray, conveying an impressive 70's atmosphere with its high roads, industrial plants and concrete buildings.

"Genova a mano armata" is not a cleverly narrated police thriller, as it lacks any socially critical importance but is using its stringent and not entitled to the logic told storyline for series of constant action that has all the elements one by a Poliziesco expected. Lanfranchi director lives here in full and can rely on his good mood actors, who provide an overall entertaining experience.

"Genova a mano armata" Italy 1976 Director: Mario Lanfranchi, writer: Mario Lanfranchi, Starring: Tony Lo Bianco , Adolfo Celi, Maud Adams, Barbara Vittoria Calori, Howard Ross, Running time: 83 minutes

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MiFi - mobile hotspot for iPad WiFi + iPod touch (+ video)

The differences between fall iPod touch and iPhone for me for personal marginal . Since I almost never fall back on the phone function, stings just the "UMTS-difference" considered. And exactly when I'm on my way to the tram or train me in friendly apartments resident, the 'live' (from abstruse reasons) without a separate Wi-Fi network (can).

Anyone with a moved between its iPod touch WiFi habitats and from work, could confuse the proclaimed as a music player device with an iPhone, plain and simple. Even if the mobile drive automatically dial into known networks, the "all-time on-line" component, of course, weighs heavily. Has exacerbated this situation with the iPad. For some außerhäusigen visits could be a iPad prevent the transportation of my laptop. Without the Internet connection (for me) but just make sense, like any other computer without a net.

are present, but only the "iPad Wi-Fi" models available in the U.S.. Only at the end of May, you can (in Germany) is a MicroSim insert into a "Wi-Fi 3G" model, in order to leave behind all traces of its network.

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