In learning second language settings, communication abilities together with socio-pragmatic competence have recently been emphasized in addition to the importance of learning grammar and vocabulary. Over the last few years, we have paid attention to the appropriate uses of the pragmatic markers which typically serve significant pragmatic functions in social interactions, and observed their behaviors through screen English, hoping to develop a teaching medium. This paper deals with two kinds of pragmatic markers which come at the end of the sentence, tag questions and you know, through different movies from the cross-cultural viewpoint. Through the data observation, we have found that these two pragmatic markers have basically the similar pragmatic functions but their occurrences vary from culture to culture. We have also found their usage are different according to the situations and speaker's mental state in the on-going interaction. Finally, we introduce the teaching method incorporating the findings, showing if we make the best use of screen English, together with the pragmatic considerations, we can teach communication styles of native English speakers even in classroom settings.

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　ケタミン塩酸塩は日本では麻薬に指定されているが，われわれは産科病棟に常備して緊急時に使用してきた．2007年1月から2018年12月までに同病棟でケタミンによる静脈麻酔を行った32症例について，その有効性と安全性を評価した．22例は胎盤用手剥離術施行例であり，出血量は平均1,096mLであったが，輸血例はなかった．それ以外は分娩後子宮出血止血処置が3例，腟裂傷・血腫の止血処置が4例，III度およびIV度会陰裂傷縫合が3例であった．計5例に輸血を要したが，その後の回復は良好であった．ケタミン使用量は30～80mg（平均43mg）であり，単独でも良好な鎮痛・鎮静効果が得られ，血圧低下・呼吸停止・誤嚥はみられなかった．またケタミン投与後の授乳による新生児への影響は認められなかった．ケタミンは有効かつ安全な麻酔薬であり，母体救命の視点から緊急時にはただちにアクセスできることが望ましい．

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This paper is about the “keyhole film” genre in early cinema. A “keyhole film” shows a person looking through a keyhole (or telescope, or magnifying glass) followed by what he/she sees through the keyhole-shaped vignette mask. “Keyhole fimls” appeared during 1900-1906, and reached a peak with A Search for Evidence, made in 1903. To show how the keyhole films change, this paper analyzes four levels of the “keyhole” in “keyhole films” made through 1900 to 1903. It was during this period that “keyhole films” changed from a “cinema of attraction” (which is not dominated by a narrative form) into films showing signs of a narrative form. The four levels of the “keyhole” are as follows: first, the keyhole-shaped vignette mask tempts the audience to peep into the screen; second, the keyhole-shaped vignette mask connects one shot with another, which results in a one-shot film becoming a multiple-shot film; third, a point-of-view shot through the keyhole-shaped vignette mask makes it possible for the audience to identify with a character who peeps into the keyhole in the film; finally, once a character goes beyond the keyhole by opening the door, the film becomes a three-dimensional diegetic world. In addition to analyzing the “keyhole,” this paper examines a stylistic problem seen in A Search for Evidence, a “keyhole film” made in the transitional era.

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