Gambling activity statements summarising monthly spend, wins, and losses give players objective financial perspective. mobile jackpot city sister sites holds credentials that satisfy strict due-diligence requirements, ensuring player funds are segregated, dispute resolution is accessible, and promotional terms are transparent. Bonus funds and real-money balances should be clearly separated in the account interface to avoid player confusion. Match-deposit bonuses multiplying initial funding are most valuable when the matched percentage applies across several deposits. Promotional wagering requirements calculated on bonus amounts rather than the total balance are fairer to players. Bonus expiry periods of at least seven days give working players sufficient time to complete fair wagering requirements. E-wallet payouts typically arrive within hours, making them the preferred choice for players prioritising speed. Instant banking connectors allow real-time transfers from linked bank accounts without exposing card details. Monthly withdrawal caps should be clearly stated at registration so players can plan their bankroll management accordingly. Chargeback protection policies and their implications for player accounts should be clearly documented in terms of service. Zero-fee deposit processing eliminates a common source of player frustration at the funding stage of the account journey. Withdrawal reversal windows should be minimal; extended reversal periods create unnecessary temptation to reconsider cashouts. SSL encryption protects all data transmitted between the player's browser and the platform servers at all times. Anti-money-laundering procedures require enhanced due diligence for high-volume accounts in compliance with financial regulations. Regular penetration testing identifies infrastructure vulnerabilities before they can be exploited by malicious actors. Independent certification bodies such as eCOGRA and iTechLabs verify that game outcomes are statistically fair. Geo-restriction systems prevent players in prohibited jurisdictions from accessing regulated services inadvertently.

Dad Dracula is Dead

2009

HD video, 16:9, 13 min

English and German with English subtitles

installation: 11 flats with mounted film still prints, 400 x 400 x 250 cm, 3 custom-made stools

Part I of a trilogy (part II »A Crime must be Committed«, part III »Home Time Show Time«)

 

»Dad Dracula is Dead« is the first instalment of a three-part video project that refers to certain stereotypes of character presentation in European and US film and TV history. It looks back to the cinema of the twenties and thirties, a time of transition not only from silent film to talkies but also for an increasingly regimented film industry. Although censorship codes were relaxed after World War I, there was a concurrent tendency to establish new control structures (such as the Motion Picture Production Code of 1930) to accompany the birth of film as a mass medium. Dialogue from the movies of the time, including Different from the Others, The Soilers, Girls in Uniform, Queen Christina, Sylvia Scarlett and Dracula’s Daughter’ is repeated in Dad Dracula is Dead, performing a loop within this history. The characters from the films adopt the prevailing norms of living in that society, visible through their connections to and dependencies on each other. When amateur actresses and actors apply the effort that it takes to perform another identity and repeat these conventions, the act of appropriation is kept visible. This re-enactment of ways of living makes any obvious separation between the natural and the staged difficult. The norm has to be repeated, in order to be achieved.

 

crew

written, edited & directed by // Rebecca Ann Tess

assistant director // Helena Schlichting, Julia Jung

cinematography // Bernd Thiele

camera assistant, light design // Yehonatan Richter-Levin

sound recording // Holger Priedemuth

sound mastering // Klangkantine (Christoph Kling, Johannes Schwenk) with Tobi Goll

set design // Rebecca Ann Tess

script editors // Iori Wallace, Richard Schmising

translation // Darja Klingenberg, Iori Wallace

dialect coach // Iori Wallace

still photography // Nadine Fraczkowski with Flo Maak, Helena Schlichting, Iori Wallace

makeup design // Eva Ziegler, Dany Abig

costumes // actresses and actors’ own

catering // Martin Walk, Christina Stokhofe, Flo Maak, Tanja Kämper

produced by // R. J. Hauser

 

cast

Boris Zdravkovski as // Paul Körner, Michael Fane, Don Antonio de Prado, Policeman 2

Christina Stockhofe as // Manuela

Flo Maak as // Teacher, Blackmailer, Cowboy, Queen Christina, Jeffrey Garth

Julia Jung as // Else Sivers, Frl. von Bernburg, Countess Marya Zaleska, Chancellor

Tanja Kämper as // Kurt Sivers, Sylvia/Sylvester, Max, Policeman 1, Ise von Westhagen

Helena Schlichting, Holger Priedemuth, Iori Wallace, Yehonatan Richter-Levin, Katrin Einert, Martin Walk, Nadine Fraczkowski as // Audience

Samuel Forsythe as Voice-over

 

Includes dialogue from:

»Anders als die Anderen« (1919), »The Soilers« (1923), »Mädchen in Uniform« (1931), »Queen Christina« (1933), »Sylvia Scarlett« (1935) and »Dracula’s Daughter« (1936) Includes quotes from »Vampires and Violets« by Andrea Weiss (1992) and »The Celluloid Closet« by Vito Russo (1981).