bluuebunny/crossref_metadata_2025 huggingface dataset:
Correction of craniodorsal coxofemoral luxation in cats and small breed dogs using a modified Knowles technique with the braided polyblend TightRope™ systems
Authors: Ash K. , Rosselli D. , Danielski A. , Farrell M. , Hamilton M. , Fitzpatrick N.
Published: November 2011

Objectives: To report the surgical technique and short-term radiographic and functional outcome data for a series of client owned, small breed dogs and cats treated for traumatic craniodorsal coxofemoral luxation using open reduction and internal fixation with the Arthrex Mini TightRope (mTR) and TightRope (TR) systems.

Methods: Data were collected retrospectively from the clinical case records, including the initial clinical and radiographic findings, surgical technique, and postoperative short-term clinical and radiographic data. Functional data collected after the six weeks reassessment were obtained via owner questionnaire.

Results: Four cats (mTR = 4) and five small breed dogs (mean weight 15 kg; TR = 4, mTR = 1) were included. Median time to postoperative weight bearing was one day. Median lameness score at six weeks postoperatively was 0 out of 5. Coxofemoral joint congruity was radiographically confirmed at the six weeks postoperative visit. Telephone follow-up (at a median of 16 weeks) revealed all animals had returned to their previous level of activity. Complications were minor, and limited to postoperative swelling (n = 1).

Clinical significance: Clinical use of the Arthrex Mini TightRope™ and TightRope™ systems can be recommended for traumatic craniodorsal coxofemoral luxation in this novel application as short-term results are at least comparable to existing surgical techniques. Long-term follow-up studies are needed.
Isolation and characterization of microsatellite loci in the beach pea, Lathyrus japonicus (Fabaceae), in Japan
Authors: Ohtsuki Tatsuo , Kaneko Yuko , Mitsui Yuki , Setoguchi Hiroaki
Published: November 2011

• Premise of the study: Microsatellite loci were developed for Lathyrus japonicus (Fabaceae) to evaluate genetic diversity, population genetic structure, and demographic patterns of this species in Japan.

• Methods and Results: In total, eight primer sets were identified in Japanese populations of L. japonicus and polymorphisms were evaluated in 83 individuals from three populations, including the northern and southern geographic range in Japan. The number of alleles per locus ranged from four to 20, and gene diversity per locus ranged from 0.636 to 0.935 among three populations. In addition, six of the eight loci could be successfully amplified in L. pratensis.

• Conclusions: These markers will be useful for studies of genetic variations, genetic structure, and gene flow of L. japonicus, which is important to investigate the demographic patterns of this coastal plant. In addition, the primers are useful for further genetic structure analysis of L. pratensis.
Continuing Education for Nurses in the Clinical Management of Autism Spectrum Disorders: Results of a Pilot Evaluation
Authors: Giarelli Ellen , Ruttenberg Jean , Segal Andrea
Published: November 2011

The prevalence of autism spectrum disorders (ASDs) is 1 in 110 in the United States. Nurses encounter patients with ASDs across practice settings. This article describes the results of an evaluation research pilot that assessed the perceived value to nurses of a continuing education program on comprehensive care of people with ASDs. Two 2-day workshops were offered in 2010. Of the 37 participants, 92% were female; 35% worked in pediatrics, 35% worked in adult care, and 30% were administrators; and 33% had practiced for 11 years or more. Six months after the course, 74% shared information with their employers and 94% shared information with coworkers. Although 77% incorporated learning into practice, 23% reported that they had not yet had the opportunity to do so. All participants valued the course content. Future programs can target audiences in specific service areas or those who work with specific populations. This pilot provided useful feedback on the nursing care of people with ASDs that is relevant to a variety of potential audiences. Continuing education programs can target sponsors, donors, client groups, administrators, and staff as they prepare to care for patients with ASDs.
Registered Nurses’ Perspectives on the New Graduate Working in the Emergency Department or Critical Care Unit
Authors: Baumberger-Henry Mary
Published: November 2011

Background:

This qualitative study describes registered nurses’ perspectives on work relationships with new graduates in emergency and critical care settings.

Methods:

Six focus groups of registered nurses (
N
= 31) were interviewed in open and informal discussions lasting approximately 45 to 90 minutes.

Results:

Two themes extracted from the data were lacking confidence and gaining acceptance into the unit’s culture. Registered nurses were disillusioned by the lack of confidence, organization, and skill performance of the new graduate. They agreed that nurses “eat their young.”

Conclusion:

Suggestions are offered for preceptors, mentors, and staff. Recommendations for supporting the new graduate in an uncivil environment are also given.
Reduced Lymphocyte Longevity and Homeostatic Proliferation in Lamin B Receptor-Deficient Mice Results in Profound and Progressive Lymphopenia
Authors: Verhagen Anne M. , de Graaf Carolyn A. , Baldwin Tracey M. , Goradia Ankita , Collinge Janelle E. , Kile Benjamin T. , Metcalf Donald , Starr Robyn , Hilton Douglas J.
Published: November 2011

The lamin B receptor (LBR) is a highly unusual inner nuclear membrane protein with multiple functions. Reduced levels are associated with decreased neutrophil lobularity, whereas complete absence of LBR results in severe skeletal dysplasia and in utero/perinatal lethality. We describe a mouse pedigree, Lym3, with normal bone marrow and thymic development but profound and progressive lymphopenia particularly within the T cell compartment. This defect arises from a point mutation within the Lbr gene with only trace mutant protein detectable in homozygotes, albeit sufficient for normal development. Reduced T cell homeostatic proliferative potential and life span in vivo were found to contribute to lymphopenia. To investigate the role of LBR in gene silencing in hematopoietic cells, we examined gene expression in wild-type and mutant lymph node CD8 T cells and bone marrow neutrophils. Although LBR deficiency had a very mild impact on gene expression overall, for common genes differentially expressed in both LBR-deficient CD8 T cells and neutrophils, gene upregulation prevailed, supporting a role for LBR in their suppression. In summary, this study demonstrates that LBR deficiency affects not only nuclear architecture but also proliferation, cell viability, and gene expression of hematopoietic cells.
TLR2 Expression Is Regulated by MicroRNA miR-19 in Rheumatoid Fibroblast-like Synoviocytes
Authors: Philippe Lucas , Alsaleh Ghada , Suffert Guillaume , Meyer Alain , Georgel Philippe , Sibilia Jean , Wachsmann Dominique , Pfeffer Sébastien
Published: November 2011

Resident cells, such as fibroblast-like synoviocytes (FLS), play a crucial role in rheumatoid arthritis (RA). They are implicated in the inflammatory response and play a key role in osteoarticular destruction. Moreover, RA FLS spread RA to unaffected joints. Pathogen-associated molecular patterns and damage-associated molecular patterns have been found to activate RA FLS by interacting with pattern recognition receptors, such as TLR. RA FLS express a large number of TLR, and TLR2 was demonstrated to be involved in RA inflammation. Because microRNA have emerged as important controllers of TLR expression and signaling, the aim of this study was to evaluate their potential involvement in the control of TLR2 expression by RA FLS. We first showed that Tlr2 expression is strongly upregulated in RA FLS in response to TLR2 ligands. Using a microRNA microarray analysis, we identified one miRNA in activated RA FLS, miR-19b, which was downregulated and predicted to target Tlr2 mRNA. Downregulation of miR-19b and miR-19a, which belongs to the same cluster, was confirmed by real-time quantitative PCR. Transfection of RA FLS with miR-19a/b mimics decreased TLR2 protein expression. In parallel, we found that both IL-6 and matrix metalloproteinase 3 secretion was significantly downregulated in activated FLS transfected with either mimic. Moreover, using a luciferase assay, we showed that miR-19a/b directly target Tlr2 mRNA. Taken together, our data point toward an important role for miR-19a/b in the regulation of IL-6 and matrix metalloproteinase 3 release by controlling TLR2 expression, as well as provide evidence that miR-19a/b can act as negative regulators of inflammation in humans.
Functional Diversification of Fungal Glutathione Transferases from the Ure2p Class
Authors: Thuillier Anne , Ngadin Andrew A. , Thion Cécile , Billard Patrick , Jacquot Jean-Pierre , Gelhaye Eric , Morel Mélanie
Published: November 2011

The glutathione-S-transferase (GST) proteins represent an extended family involved in detoxification processes. They are divided into various classes with high diversity in various organisms. The Ure2p class is especially expanded in saprophytic fungi compared to other fungi. This class is subdivided into two subclasses named Ure2pA and Ure2pB, which have rapidly diversified among fungal phyla. We have focused our analysis on Basidiomycetes and used Phanerochaete chrysosporium as a model to correlate the sequence diversity with the functional diversity of these glutathione transferases. The results show that among the nine isoforms found in P. chrysosporium, two belonging to Ure2pA subclass are exclusively expressed at the transcriptional level in presence of polycyclic aromatic compounds. Moreover, we have highlighted differential catalytic activities and substrate specificities between Ure2pA and Ure2pB isoforms. This diversity of sequence and function suggests that fungal Ure2p sequences have evolved rapidly in response to environmental constraints.
Associations of Location and Perceived Environmental Attributes with Walking in Neighborhoods
Authors: Humpel Nancy , Owen Neville , Leslie Eva , Marshall Alison L. , Bauman Adrian E. , Sallis James F.
Published: November 2011

Purpose.

Ecological models highlight the importance of environmental influences. We examined associations of coastal versus noncoastal location and perceived environmental attributes with neighborhood walking, total walking, and total activity.

Methods.

Telephone interviews with 800 faculty and general staff of an Australian university.

Results.

Men were significantly more likely to walk in their neighborhood if they lived in a coastal location (odds ratio [OR] = 1.66), and they highly rated environmental “aesthetics” (OR = 1.91), “convenience” of facilities (OR = 2.20), and “access” to facilities (OR = 1.98). For women, neighborhood walking was associated with high ratings of “convenience” (OR = 3.78) but was significantly less likely if they had high ratings for “access” (OR = 0.48). For total walking and total physical activity, few significant associations emerged.

Conclusions.

Environmental attributes were related to walking in the neighborhood but not to more general activity indices. Understanding gender-specific environmental correlates of physical activity should be a priority.
Risks and Precautions of Genetically Modified Organisms
Authors: Prakash Dhan , Verma Sonika , Bhatia Ranjana , Tiwary B. N.
Published: November 2011

Commercial potential of biotechnology is immense since the scope of its activity covers the entire spectrum of human life. The most potent biotechnological approach is the transfer of specifically constructed gene assemblies through various techniques. However, this deliberate modification and the resulting entities thereof have become the bone of contention all over the world. Benefits aside, genetically modified organisms (GMOs) have always been considered a threat to environment and human health. In view of this, it has been considered necessary by biosafety regulations of individual countries to test the feasibility of GMOs in contained and controlled environments for any potential risks they may pose. This paper describes the various aspects of risk, its assessment, and management which are imperative in decision making regarding the safe use of GMOs. Efficient efforts are necessary for implementation of regulations. Importance of the risk assessment, management, and precautionary approach in environmental agreements and activism is also discussed.
The Traditionally Amputated Uvula amongst Nigerians: Still an Ongoing Practice
Authors: Adoga Adeyi A. , Nimkur Tonga L.
Published: November 2011

Traditional healers in Nigeria continue to perform uvulectomy for all throat problems despite the severe complications they present to physicians.
It is a hospital-based prospective study done at the outpatient unit of the Department of Otolaryngology, Jos University Teaching Hospital, Jos, Nigeria to determine the prevalence of traditional uvulectomy, highlighting the dangers it portends with suggested ways of providing improved health outcomes for our people. We saw 517 new cases of which 165 (32%) patients aged 2 years to 53 years had their uvulae amputated consisting of 108 (65.5%) males and 57 (34.5%) females giving a male to female ratio of 2 : 1. One hundred and forty two (86.1%) patients had uvulectomy at childhood and 23 (13.9%) in adulthood. The commonest indication was throat pain (, 21.8%). The commonest complication was hemorrhage (, 17.6%). Forty six (27.9%) patients required hospital admission.
Writing American Film History
Authors: Sklar Robert
Published: November 2011

Writing the history of history writing. It could almost be a palindrome, but it's also a fundamental way that historians assess and advance their work. The technical term is historiography, which, as practiced predominantly among British and European philosophers, theorizes the principles and rhetoric of history writing. In the United States, however, with several prominent exceptions, historiography has largely taken the form of historians critiquing books and articles written by their peers and predecessors. American historiography emphasizes the biographical and genealogical, the careers of historians and the schools of thought that they may represent.
The Imagined Audience in the Nickelodeon Era
Authors: Butsch Richard
Published: November 2011

The nickelodeon era press described movies as the “poor man's amusement.” Early film histories wove this image into their historical fabric. Pioneering cinema historian Terry Ramsaye reasoned that, due to the nickelodeon's cheap admission, “the motion picture theatre rose in the foreign labor centers of the great cities.” Only after this did movies spread “into the hinterlands,” as he phrased it (1926, 431). In the 1970s, a few young film historians, pursuing a new social history of the working class, reinvigorated this conception of nickelodeon audiences, seeing in them evidence of the lower classes as actors in and agents of history, rather than “dupes” of ruling‐class ideology. However, other film historians argued for a more diverse audience that they saw in middle‐class neighborhoods and outside urban areas. The differences sparked an intensive debate. After a few years of quiescence, the debate was revived by an article inCinema Journal.1
Pink‐Slipped
Authors: Gaines Jane M.
Published: November 2011

“Why did she ever leave the pictures!” laments Epes Winthrop Sargent upon seeing a photograph of actress Gene Gauntier. Quoted in the introduction to Gauntier's 1928 memoir “Blazing the Trail,” Sargent cries out on behalf of a generation of audiences (“Gene Gauntier Again” 1928, 4). Four years earlier, in the same vein, aPhotoplayarticle titled “Unwept, Unhonored, and Unfilmed” bemoans the disappearance of Gauntier as well as of Marion Leonard, Florence Lawrence, Florence Turner, Cleo Madison, Flora Finch, and Helen Holmes. Such a complaint is nothing new to motion picture historiography. “Unwept,” in the best fan magazine tradition, is nostalgia for the forgotten glory of the fading actress and today it could be easily dismissed as nothing more. But buried within the 1924 article are motion picture industry history details seldom found in fan magazine puff pieces. And, as intriguing for film scholars, outbursts of feeling from the womenPhotoplayinterviewed suggest another story, one for a new feminist film moment.
The Devil in the Details
Authors: Liepa Torey
Published: November 2011

The “modern miracle” of the unceasing production of the large‐scale, consolidated culture industry Wing admired remains a mystery in many respects. Wing's mechanistic metaphors, or that of the often referenced “Dream Factory” designed to churn out visual delights of magic and wonder, are popularly employed to explain the complexities of the relationship between film production and film style. Yet such language tends to obscure rather than explain the relationship. A close study of Thomas Ince and his work, however — an early case of industrialized commercial film production — offers an example of how industrial production radically redefined film style. Immediately preceding the establishment of Hollywood, producer/director Ince played a significant role in initiating a method of film production that would influence filmmaking for decades to come. Ince pioneered the adoption of both scriptwriting and character dialogue in the silent cinema, and in so doing created a space in silent films for the audible dialogue that would emerge by the end of the 1920s. By examining this aspect of how industrial production affected the development of film style in the 1910s, this chapter will attempt to shed light on the connections that exist between film texts, methods of film production, and the overall organization of the film industry. These larger phenomena reinscribe their constitutive logic on the surface of the celluloid they create, and a close analysis can reveal their presence in the symptomatic nuances and details of cinematic style.
American Modern
Authors: Gerstner David A.
Published: November 2011

In his 1928 filmThe Crowd, King Vidor richly visualizes the strain on the modern individual. The film expresses anxieties that fall squarely within the Zeitgeist of the late 1920s, centered on the uncertain effects inflicted on humanity by the intersecting relationship of nature and machine. Vidor's treatment of two specific locations in the film — the tenement and the beach — an interior (machine) and an exterior (nature) — relay the director's understanding of the trappings that inform early twentieth‐century culture. The tenement and beach are crucial to Vidor's philosophical thoughts on modernity, since they pointedly express a consistent theme thatThe Crowdis at pains to explore: loss of humanity at the expense of industrial and corporate progress. Vidor's treatment of these two locations illustrates, through mise‐en‐scène, the poignant, modernist tensions as they heavily weigh upon the family, in particular. As family‐specific places, the tenement — as home — and the beach — as outlet for escapist recreation — mark the delimited spheres in which the individual (the man) and his family hope to seek refuge from modernity's high pace and chilling indifference. As one of the film's sobering titles proclaims, “The crowd laughs with you always but it will cry with you for only a day.”1
Self‐Reflection in American Silent Film
Authors: Warren Charles
Published: November 2011

“Reflexivity” is a term some film scholars use for a tendency in films, mostly from the 1960s and later, of calling attention to the fact that they are films and to the machinery and processes of staging, photographing, and editing — in short, constructing — a film. An example from the silent era is Dziga Vertov'sMan with a Movie Camera(1929), and films of Jean‐Luc Godard typify the later period, when such films proliferate. The idea is to put a distance between viewer and film, in a Brechtian spirit — to make the viewer more conscious and thoughtful about what is being presented and about how it is being presented. “Reflexivity” pits itself against a cinema of “illusion” — so the argument goes — typified by Hollywood, where the viewer is swept away and thought is suppressed.1
Era of the Moguls
Authors: Bernstein Matthew H.
Published: November 2011

Since Hollywood has long been a vehicle for mythmaking about America, it should not surprise us that American popular culture is rife with mythologizing of the film industry itself. If America is allegedly the place where anyone can become rich and famous (see Horatio Alger orAmerican Idol), Hollywood is a special setting for that transformation (the myth holds that Lana Turner, a glamorous star from the late 1930s through the 1960s, was discovered at a lunch counter; she was not).
Mapping
Why We Fight
Authors: Wolfe Charles
Published: November 2011

In a “fireside chat” delivered over national radio on Washington's Birthday, February 23, 1942, President Franklin Delano Roosevelt offered an expansive account of the conflict in which the United States was now engaged, the scope of which extended far beyond Pearl Harbor and the events that had propelled US entry into the war 11 weeks before. The oceans of the world, Roosevelt stressed, were no longer buffers but battlefields and vital thoroughfares for communication and logistical supplies. “It is warfare in terms of every continent, every island, every sea, every air lane in the world,” he explained. “That is the reason why I have asked you to take out and spread before you the map of the whole earth, and to follow with me in the references which I shall make to the world‐encircling battle lines of this war.” Referring repeatedly to the listener's map — “I ask you to look at your map again …” — Roosevelt identified various continents, subcontinents, and nations where America's Allies were embattled: China and Russia, the British Isles, Australia and New Zealand, the Dutch Indies, India, the Near East, and Africa. “Look too at North America, Central America, and South America,” he advised, and contemplate the consequences “if all these great reservoirs of power were cut off from each other either by enemy action or self‐imposed isolation.” Taking pains to dispel rumors that the US Pacific fleet had been completely destroyed at Pearl Harbor, Roosevelt insisted that topography was of greater consequence than surprise in the success of Japan's attack. Here, too, a world map revealed the true source of the challenge the Allies faced — Japan's complete domination of the islands between Hawaii and the Philippines. Yet the Axis Powers should take no comfort in this advantage, Roosevelt assured his listeners, for “Germany, Italy, and Japan are very close to the maximum output of planes, guns, tanks, and ships.” The task for Americans now was to build up production “so that the United Nations can maintain control of the seas and attain control of the air.”
Hollywood Unions and Hollywood Blacklists
Authors: Ceplair Larry
Published: November 2011

The history of blacklisting in the Hollywood motion picture industry is inseparable from the history of union activity there. To understand the connection, three types of labor struggles must be delineated: (1) those with studio heads for recognition and for better conditions and benefits; (2) those with other unions for jurisdiction over jobs; and (3) those between union federations on the issue of democratic unionism or local autonomy. As will be evident, studio executives regularly inserted themselves into types 2 and 3. The main player in all these struggles was the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada (IATSE).
Truthmovies Are Just Beginning
Authors: Barron Ted
Published: November 2011

In its most common contemporary use, independent or “indie” film refers to works produced or distributed by a company without ties to the major Hollywood studio system or via a subsidiary of one of the larger conglomerates (e.g., Fox Searchlight, Sony Pictures Classics). Historically, independent productions shared some broad parameters with studio films — they were feature‐length films produced for theatrical distribution; they had a narrative with a beginning, a middle, and an end; and they featured a cast of characters who often, though not always, were played by professional actors. As Yanni Tzioumakis acknowledges, independent film is a “notoriously difficult concept to define” (2006, 1). On the most general level, however, the business model most independent films have traditionally employed has allowed filmmakers to shift creative and commercial interests away from the hands of industry workers and executives. What is privileged instead is the notion of film as a form of personal expression controlled by individuals who see themselves primarily as artists, regardless of whether they are actors, directors, cinematographers, or writers.
“Got‐to‐See”
Authors: Stanfield Peter
Published: November 2011

In a December 1956 edition of
Variety
a full page advertisement for a United Artists distributed double bill of
The Wild Party
and
Four Boys and a Gun
— a “Sensational Package” — was sold as “The Shock Stories Behind The Rock 'n' Roll Generation.”
The Wild Party
starred Anthony Quinn and promised to reveal “The New Sin That Is Sweeping America!” A Louella Parsons quote tagged the film as being as “modern as next month.” With no featured starring roles,
Four Boys and a Gun
carried the tag line “THESE KIDS ARE GOING STRAIGHT … to the electric chair!” The Quinn vehicle is a kidnap drama; the film it was double‐billed with centers around the question concerning which of four young hoodlums will take responsibility for a murder committed during the robbery of a boxing arena. Neither film has anything to do with rock 'n' roll — the claim was no more than an expedient exploitation of the latest musical fad, a means toward hyping the idea that the films were intimately tied to the here‐and‐now. The marketing of the films hangs on the promise of topicality — the stories behind today's headlines that are “as modern as next month” — coupled with shocking revelations — the new sin — producing a compact of public issues, topicality, sensation, and commercial exploitation, or a compact of the social problem picture and the teenpic.
The New Hollywood
Authors: Nystrom Derek
Published: November 2011

There have been, of course, many New Hollywoods. In an industry whose only constant has been change — technological, economic, and aesthetic — there is an almost perennial invocation of a New Hollywood emerging from the Old. Most obviously, the introduction of sound created a new Hollywood that replaced the old silent cinema. Many film historians would argue that 1948 marked the beginning of another new Hollywood, as that year's Supreme Court Paramount decision required the studios to sell off their theaters and stop other practices that had guaranteed them a near‐monopoly over exhibition. Furthermore, as Peter Krämer (1998) has illustrated, various film critics and theorists have announced different, yet by their terms definitive, breaks in Hollywood's narrational and stylistic modes. For example, André Bazin declared that 1939–1940 marked the turning point during which Hollywood filmmaking superseded its “classical” period and underwent various “baroque” developments, while critics like Parker Tyler and Gilbert Seldes cited 1952–1953 as the moment when Hollywood radically reconfigured the cinematic experience via widescreen and 3‐D processes in order to differentiate itself from television. A New Hollywood, it seems, never ceases to be in the process of being born.
The Rise and Fall of Blaxploitation
Authors: Guerrero Ed
Published: November 2011

More than a bit of irony figures in the use of the termBlaxploitation. The epithet is usually associated with the production of the 60 or so Hollywood films that centered on black narratives, featured black casts playing out various action‐adventures in the ghetto, and were released roughly between 1969 and 1974. But Blaxploitation might as easily and accurately describe the cruel injustice of slavery, or, for that matter, much of the historical sojourn of black folk in America. Nevertheless, in this essay I confine the rubric to its narrowest contemporary understanding, which arises from the film industry's targeting the black audience with a specific product line of cheaply made, black‐cast films shaped with the “exploitation” strategies Hollywood routinely uses to make the majority of its films (Monaco 1984, 63–64; Cagin & Dray 1984, 52). These concoctions were marketed to a basically inner‐city, black youth audience in anticipation of substantial box office profits. My discussion is guided by the argument that the Blaxploitation genre emerged out of the dialectical interactions of three broad, overdetermining conditions of possibility. First and most obvious to observers of the late 1960s scene is that these films were made possible by the rising political and social consciousness of black people (taking the form of a broadly expressed black nationalist impulse at the end of the civil rights movement), which translated into a large black audience thirsting to see their full humanity depicted on the commercial cinema screen. This surge in African‐American identity and revolutionary politics led also to an outspoken, critical dissatisfaction with Hollywood's persistent degradation of African‐Americans in films among black leaders, entertainers, and intellectuals. Ultimately, the mounting pressure of these conditions coincided with the near economic collapse of the film industry at the end of the 1960s. In turn, this forced Hollywood to respond to the rising expectations of African‐Americans by making black‐oriented features in order to help solve the film industry's political and financial problems.
“One Big Lousy X”
Authors: Simon Art
Published: November 2011

In the years between 1968 and 1976, the American cinema reacquainted itself with New York City and found there a compelling image of a society appearing to unravel. It brought some of its best‐known genre figures, such as the cowboy and the police detective, and some of the culture's richest tropes, like the struggling immigrant and life on the road, to confront a city on the brink of collapse. But the cowboy who had tamed the West was now no match for the frontier of night and the city's brand of bureaucratic justice. The policeman's badge now identified someone who broke the law as often as, and frequently in the name of, enforcing it. The child of immigrants, for whom New York had always meant economic and artistic opportunity, as well as a patchwork of supportive ethnic neighborhoods, now found himself a crippled lonely man, hustling the streets of a most unglamorous Times Square. And the road, that symbol of mythical freedom for the Beats as well as bikers, and the path by which the counterculture had imagined an escape from middle‐class conformity, would become, in the city, a dense circuitry of streets, home to mad car chases and round‐the‐clock crimes.
Nashville: Putting on the Show
Authors: Elsaesser Thomas
Published: November 2011

Robert Altman's career can stand as the epitome of the direction the American Cinema in the 1970s might have taken — but did not. After an especially “long march” from industrial filmmaking in Kansas City toBonanza‐type television work, a break onAlfred Hitchcock Presentsand a worthy but unappreciated attempt at making an “outside the box” Hollywood film (That Cold Day in the Park, 1969), the enormous success ofM*A*S*H(1970) promised Altman a degree of control that until then was barely thinkable within the American film industry. It seemed to predestine him to play a leading role in transforming the moribund studio system into a leaner, more dynamic and more responsive “New Hollywood” for the post‐Vietnam era and generation.
Reclaiming the Black Family
Authors: Cutler Janet K.
Published: November 2011

In the mid‐1970s, a loosely knit group of black graduate students at the University of California at Los Angeles (UCLA) produced a body of films designed to challenge Hollywood cinema thematically and stylistically. Working individually and collectively, members of what Clyde Taylor labels the “L.A. Rebellion”
1
and some others call the “L.A. School” crafted an alternative cinema in the shadows of nearby Hollywood studios, often focusing on working‐class and poor blacks in the inner city.
2
Despite their differing concerns and approaches, these filmmakers shared an urgent desire to counter mainstream cinema's misconceptions and distortions and to adopt modes of expression uniquely suited to representing the rich diversity of black life. Chief among these student filmmakers were Charles Burnett (
Killer of Sheep
, 1977), Larry Clark (
Passing Through
, 1977), Ben Caldwell (
I and I: An African Allegory
, 1977), Haile Gerima (
Bush Mama
, 1979), and later Alile Sharon Larkin (
A Different Image
, 1982), Julie Dash (
Illusions
, 1983)
3
and Billy Woodberry (
Bless Their Little Hearts
, 1984). In the decades that followed, many continued to produce provocative works, including Burnett's
To Sleep with Anger
(1990), Dash's
Daughters of the Dust
(1991), and Gerima's
Sankofa
(1993).
Feminism, Cinema, and Film Criticism
Authors: Fischer Lucy
Published: November 2011

Before it is possible to discuss American feminist film criticism and film practice between 1976 and 1988, it is necessary briefly to trace the social/historical context in which such activities took place — “second wave” feminism in the United States. The “first wave,” of course, refers to events that transpired in the nineteenth and early twentieth centuries that were focused largely on women's property rights, opposition to chattel marriage, and the quest for suffrage. The “second wave,” on the other hand, marks occurrences that took place from the 1960s to the 1980s, drawing upon the gains of the prior women's movement.
A Reintroduction to the American Horror Film
Authors: Lowenstein Adam
Published: November 2011

One of the most important innovations affecting the American horror film during the years 1976–1988 belongs not to any one particular film, but to a film festival. In 1979, the critic Robin Wood (collaborating with Richard Lippe) organized The American Nightmare, a special retrospective at the Toronto International Film Festival (then the Festival of Festivals) highlighting what he saw as evidence that “the true subject of the horror genre is the struggle for recognition of all that our civilizationrepresses oroppresses” (Wood 1979, 10). By arranging screenings of films by, and discussions with, directors such as Wes Craven, Brian De Palma, George A. Romero, Stephanie Rothman, and David Cronenberg (the lone Canadian), Wood set out to locate the contemporary American horror film at the center of American culture. The American Nightmare bravely sought to move beyond the conventional associations attached to the horror genre: heartless exploitation, slipshod filmmaking, gratuitous violence, unrelieved misogyny, and an inherent silliness that precludes any substantial aesthetic or political ambitions. Against all odds, Wood wanted to take the horror film seriously. In fact, he titled his wide‐ranging essay that opens the program notes “An Introduction to the American Horror Film,” with its unmistakable connotations of wiping the slate clean, of showing us anew something we thought we understood perfectly well (or never deigned to understand at all).
OliverStone
Authors: Rosenstone Robert A.
Published: November 2011

For anyone who lived through the 1960s on a campus, there has to be a shock of recognition on seeing the antiwar demonstration inBorn on the Fourth of July, Oliver Stone's film based on the life of Vietnam veteran Ron Kovic. A feeling that you were once present at this very scene, saw these very students on the steps of a university hall, with their long hair, Afros, beards, Levi's, bandannas; witnessed these very gestures, the clenched fists, heard this speechifying by blacks and whites, the denunciations of war, the shouted words “Nixon, On strike, Shut it down, right on.” Even that middle‐aged figure on the steps, wearing a dashiki and calling for a March on Washington, looks strangely familiar — but at the same time somehow too old and out of place. Before the tear gas bombs explode and the cops descend with swinging clubs we (who were around in the sixties) may realize: That is Abbie Hoffman, King of the Yippies, saying precisely the kind of things he had said at such demonstrations 35 years before.
The Coen Brothers and the Post–Hollywood Studio Era
Authors: Luhr William
Published: November 2011

Joel and Ethan Coen are among the post–studio era American filmmakers whose careers followed the collapse of the Hollywood studio system around 1960 but whose work reveals nostalgia for films, genres, and production practices of that system's “Golden Age” (the 1930s–1950s). Many of these filmmakers learned their craft not as their predecessors had done, by working their way up from within the industry, but instead in university film schools. The first generation of such directors includes Francis Ford Coppola, Martin Scorsese, George Lucas, and Steven Spielberg; the Coens are among the second generation. Members of the first generation often allied themselves with major studios or production enterprises, produced films in the classical style, and welcomed opportunities to make big‐budget films that evoked nostalgia for popular Hollywood genres. Some of them sought production power comparable to that held by studio moguls of the past, such as Jack L. Warner, Samuel Goldwyn, Louis B. Mayer, Harry Cohn, and Daryl F. Zanuck, and even established their own studios or production facilities, like American Zoetrope (Coppola and Lucas), Industrial Light and Magic (Lucas), and DreamWorks (Spielberg).
Truthiness Is Stranger than Fictition
Authors: Sicinski Michael
Published: November 2011

Before turning to a consideration of the odd prevalence of “biopics” (or biographical films about well‐known historical or cultural figures) among recent Hollywood and Indiewood prestige pictures, it may be useful to consider some aspects of the larger cultural landscape into which they insert themselves. Filmmaker Michael Moore, who in many ways has revitalized the documentary form precisely by adopting the stylistic mannerisms of sketch comedy and specious reasoning by montage one finds in every bit of propaganda from Eisenstein to Fox News, took the podium at the 2002 Academy Awards to loudly declare that “we are living in fictitious times.” In some sense this contention is fairly obvious, although whether the period from 1999 to the present represents some unique nadir of deceit is highly debatable. Still, from Bill Clinton's minor obstructions of justice through the fraudulent 2000 election and the seemingly limitless, deadly prevarications of the Bush forty‐third presidency, one can easily say that the public sphere is one governed by falsehood and fabrication (or, as Moore misspoke that night, “fictition”).
Cinema and the Age of Television, 1946–1975
Authors: Hilmes Michele
Published: November 2011

Hollywood's relationship with broadcasting goes deep, back to the days of the 1920s, before radio networks had yet established themselves. Far‐sighted entrepreneurs like Harry Warner of Warner Bros. set up radio stations as publicity vehicles for films and film stars, and advertisers turned to the glamour of Hollywood to promote their products on air. Indeed, American broadcasting could not have developed as it did without the influence of the movie industry, nor would Hollywood be what it is today without its considerable connection to broadcasting. Unlike Britain, where film producers regarded the public monopoly British Broadcasting Corporation (BBC) as purely a competitor, likely to use up film properties and celebrities without adequate compensation, Hollywood studios and stars eagerly teamed up with radio in the early 1930s in the mutual pursuit of profit, not only as a medium of publicity but in the development of sound technology and practices and as a vibrant venue of mutual creative interaction. This continued and intensified as television debuted in the late 1940s, bringing visual aesthetics and techniques of film production to the serial forms of broadcasting. By the late 1970s, it had become impossible to speak of the film and television industries as separate entities: television networks both produced and aired movies; film studios originated the vast majority of prime‐time programs on the networks; and cable television had begun to transform both industries as a new site of hybrid creativity.
Thermal, hydrolytic, anticorrosive, and tribological properties of alkyd‐silicone hyperbranched resins with high solid content
Authors: Murillo Edwin A. , López Betty L. , Brostow Witold
Published: November 2011

Novel alkyd hyperbranched resins (AHBRs) modified with a Z‐6018 silicone (a polysiloxane intermediate) and with high solid content were synthesized by etherification reaction using an acid catalyst. Different molar ratios of AHBR to silicone were used. Structural, thermal, hydrolytic, anticorrosive, and tribological properties were studied using infrared (IR) analysis, nuclear magnetic resonance (NMR), vapor pressure osmometry (VPO), thermogravimetric analysis (TGA), acid value, electrochemical impedance spectroscopy (EIS), and pin‐on‐disk friction. IR and NMR provide evidence of grafting of the silicone on AHBR; the efficiency of grafting was quantified by TGA. Thermal stability was studied also by acid value analysis. Grafting increases the number average molecular mass, enhances thermal stability, and improves significantly hydrolytic stability. Corrosion resistance on steel is improved by two orders of magnitude, hence our modified materials can be used as highly effective anticorrosion coatings. Grafting lowers dynamic friction dramatically, more so at higher concentrations of silicone. © 2011 Wiley Periodicals, Inc. J Appl Polym Sci, 2012
Biodegradable poly(glycerin citrate) and its application to controlled release of theophylline
Authors: Liu Shixin , Jiang Man , Ye Sai , Xu Xiaohong , Lu Ping , Dong Jian
Published: November 2011

This study reports properties of a class of biodegradable polyesters based on citric acid and glycerin, both of which are safe ingredients in food, and their usefulness for drug control release applications. Transparent thin films of poly(glycerin citrate) (PGC) prepared by condensation polymerization were characterized by dynamic mechanical analysis, tensile testing, and FTIR spectroscopy. Depending on the acid‐to‐glycerin molar ratios, the crosslinked films could have glass transition temperatures varying from 30 to 81°C as shown by dynamic mechanical analysis. The ductile PGC films were more prone to hydrolytic degradation than poly(lactic acid). The controlled release properties of the PGC films were evaluated by a permeation study of an exemplary drug theophylline. The diffusion of theophylline in PGC film follows a Super Case II mechanism, but in PGC film modified with PEG4000, the diffusion follows approximately a Case II mechanism (near zero‐order release mechanism). © 2011 Wiley Periodicals, Inc. J Appl Polym Sci, 2012
The posterior meniscofemoral ligament: Morphologic study and anatomic classification
Authors: Han Seung‐Ho , Kim Deog‐Im , Choi Seung‐Gyu , Lee Jun‐Hee , Kim Yi‐Suk
Published: November 2011

The meniscofemoral ligaments (MFLs) run from the medial femoral condyle to the posterior horn of the lateral meniscus and consist of anterior MFL (aMFL) and/or posterior MFL (pMFL) components according to whether it passes anterior or posterior to the posterior cruciate ligament (PCL). The purpose of this study was to analyze the incidence and morphologic features of the MFLs in Koreans and formulate an anatomic classification system of MFLs to aid the detailed interpretation of medical imaging or biomechanical data. One hundred knees from 52 cadavers were studied. Eighty‐seven knees had pMFLs, whereas an aMFL was only found in one knee from a male cadaver. The pMFLs and PCLs were longer in males than in females (P < 0.05). The most common type of MFL was the high crossing of a typical pMFL against the PCL in both genders. Regarding other types, the incidence of absent pMFLs was higher in males than in females and the oblique bundle of the PCL was easily confused with the pMFL in several cases in both genders. These results provide the basis for the classification system of the MFL and will contribute to better outcomes for evaluating the MFL and PCL when using medical imaging such as arthro‐CT scan or MRI through a better understanding of the anatomy of the MFL and PCL. Clin. Anat. 25:634–640, 2012. © 2011 Wiley‐Liss, Inc.
Closure of multiple fenestrations in an aneurismal atrial septum using overlapping GORE® HELEX septal occluders
Authors: Lockhart C.J. , Magee Alan G.
Published: November 2011

Complex atrial septal anatomy can continue to present a challenge for transcatheter closure. We present the successful use of overlapping GORE® HELEX atrial septal defect occluders in an adult patient with five distinct fenestrations in an aneurismal septum and how 3D echo can aid device positioning. © 2011 Wiley Periodicals, Inc.
Reproducibility of intravascular ultrasound iMAP for radiofrequency data analysis: Implications for design of longitudinal studies
Authors: Heo Jung Ho , Brugaletta Salvatore , Garcia‐Garcia Hector M. , Gomez‐Lara Josep , Ligthart Jurgen M.R. , Witberg Karen , Magro Michael , Shin Eun‐Seok , Serruys Patrick W.
Published: November 2011

Background: iMAP is a new intravascular ultrasound (IVUS) derived technique for tissue characterization using spectral analysis. Since there is a need for reproducibility data to design longitudinal studies, we sought to assess the in vivo reproducibility of this imaging technique. Methods: iMAP (40 MHz, Boston Scientific Corporation) was performed in patients referred for elective percutaneous intervention and in whom a nonintervened vessel was judged suitable for a safe IVUS analysis. Overall 20 patients with 20 non‐angiographically significant lesions were assessed by two independent observers. Five of these 20 patients received an additional iMAP analysis using a new IVUS catheter and using the same catheter after its engagement and reengagement. Results: The interobserver relative difference in plaque area was 2.5%. Limits of agreement for lumen, vessel, and plaque area measurements were 1.62, −2.47 mm2; 2.09, −3.71 mm2; 2.80, −3.72 mm2; respectively. Limits of agreement for fibrotic, lipidic, necrotic, and calcified measurements were 1.32, −1.44 mm2; 0.24, −0.36 mm2; 1.50, −2.26 mm2; 0.09, −0.11 mm2; respectively. The intercatheter and intracatheter relative difference in plaque area were 0.9% and 4.1%, respectively. Although the variability for compositional measurements increased using two different catheters or using the same catheter twice, the variability for compositional measurements keeps always below 10%. Conclusions: Our analysis demonstrates that the geometrical and compositional iMAP analysis is acceptably reproducible. © 2011 Wiley Periodicals, Inc.