Variations and Fugue on a Theme by Handel located. In other words, what gives unity to the variation set ... is not the theme as such, but rather a network of 'family resemblances', to use Wittgenstein's term, between the different variations." There are various opinions about the organization of the "Handel Variations". Hans Meyer, for example, sees the divisions as nos. 1–8 ('strict'), 9–12 ('free'), 13 ('synthesis'), 14–17 ('strict') and 18–25 ('free'), culminating, of course, in the fugue. William Horne emphasizes paired variations: nos. 3 and 4, 5 and 6, 7 and 8, 11 and 12, 13 and 14, 23 and 24. This helps him to group the
Standard 8 mm film new filming and projection standard of 18 frames per second was introduced, although many cameras and projectors included a multi-speed facility. The standard 8 mm format was quickly displaced, for the most part, by the Super 8 mm film format - which offers cartridge loading, a 50% larger frame size and electric-powered cameras - from the mid-1960s onwards. Super 8 was criticized that the film gates in some cheaper Super 8 cameras were plastic, as was the pressure plate built into the cartridge; while the standard 8 cameras had a permanent metal film gate that was regarded as more reliable