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Generations of teachers have built their classes around the course syllabus, a semester-long contract that spells out what each class meeting will focus on (readings, problem sets, case studies, experiments), and what the student has to turn in by a given date. But what does that way of thinking about the syllabus leave out--about our teaching and, more importantly, about our students' learning? In Syllabus, William Germano and Kit Nicholls take a fresh look at this essential but almost invisible bureaucratic document and use it as a starting point for rethinking what students--and teachers--do. What if a teacher built a semester's worth of teaching and learning backward--starting from what students need to learn to do by the end of the term, and only then selecting and arranging the material students need to study? Thinking through the lived moments of classroom engagement--what the authors call "coursetime"--becomes a way of striking a balance between improv and order. With fresh insights and concrete suggestions, Syllabus shifts the focus away from the teacher to the work and growth of students, moving the classroom closer to the genuinely collaborative learning community we all want to create.

Why can't I stop my students from being noisy as they leave my classroom? What can I do when a student is texting on their phone in my lesson? How can I stop a student from constantly tapping their pen while I am talking? Sound familiar? Chewing gum, dropping litter, swearing, late homework and disruptive behaviour in class are just a few of the issues that teachers have to face every day in the classroom. How you choose to respond to these incidents, however minor they may first seem, can have a dramatic impact on the overall quality of your lessons. There is no one answer to behaviour and classroom management as different approaches have to be taken depending on the lesson, the groups of students and even the time of day. This highly practical book guides you through the choices that you need to make when confronted with the sorts of issues that you might face in your classroom. Dealing with the nitty gritty reality of behaviour management, it covers the common problems teachers encounter on a day to day basis and provides a series of realistic and practical solutions and their likely outcomes. Placing you at the centre of the decision making process, it allows you to experiment with a range of options in a reflective and engaging manner to see which of your choices may work and why others may not. This scenario based approach not only lets you explore the various options available to you, but also enables you to see the consequence of your actions. Written by an experienced teacher, this fun and interactive book is essential reading for all trainee and qualified teachers who want a fresh approach to behaviour management in their classrooms.

This book considers the present landscape of professional development in higher education in the United Kingdom, exploring the roles and implications of professional development and accreditation and the sometimes conflicting roles of teaching and research. The roles of professional bodies in the formalized staff development and accreditation in the United Kingdom are also reviewed, with a discussion of the Institute of Learning and Teaching (ILT). The chapters are: (1) "The Changing Landscape; (2) "The Demands and Functions of the ILT"; (3) "The Changing Role of Professional Development in Higher Education"; (4) "Assessment, Reflection and Professional Development"; (5) "A New Professionalism for Higher Education?" (Jon Nixon); (6) "Teaching, Research and Scholarship: The Role of Professional Development"; (7) "Ways Forward in Professional Development"; and (8) "Beyond the ILT." (Contains 187 references.) (SLD)

This book reviews key aspects social, psychological, cultural, and contextual of the development of collaborative partnerships between elementary/secondary schools and institutions of higher education, and examines especially the nature of collaboration as part of the framework of professional development. After an introductory chapter, the first chapter focuses on the professional teaching and research communities, suggesting the need for collaboration to improve each other's practice. Chapter 2 examines the nature of working in "partnership" and the role of initial teacher education in formalizing partnership agreements. Chapter 3 addresses issues in the collaboration of schools and higher education institutions. In chapter 4 two case studies, a school-based curriculum development project in England and a school-based professional development project at a California high school illustrate successes and failures of collaborative ventures. Chapter 5 offers some theoretical perspectives on collaborative partnerships in the context of educational change, both internally and externally imposed. Finally, chapter 6 looks at the future of collaboration in suggesting that, despite trends toward greater prescription by external agencies and government legislation, there will also be increased opportunities for collaboration between institutions of higher education and schools. (Contains 175 references.) (CH)

Provides historical background information about multimedia CD-ROM encyclopedias and evaluates 11 recent releases. Discusses access to information, costs, content, technological developments. Rates the text, multimedia, and user interface. A sidebar provides a 10-year chronology of CD-ROM encyclopedias. (AEF)

The term curriculum development is a fairly new one in the educational language, though it is being used with increasing frequency. The purpose of this book is to explain what is meant by curriculum development and what is involved in curriculum planning. It outlines the relationship among the various elements in the curriculum and explains the factors that influence this relationship. Its purpose is not to suggest to teachers either what or how they should be teaching their pupils. This book, hopefully, will help teachers to establish a logical process enabling them to build a curriculum that, at any given time, is the best one they can provide for their pupils. It will also indicate the factors that influence the curriculum and, therefore, need to be taken into account. The chapters focus on situational analysis as well as on the four major stages of the curriculum development process: selection of objectives, selection and organization of content, selection and organization of learning experiences (methods), and evaluation. (Author/IRT)

This 12-chapter book discusses the scientific facts behind the ideas included in the novels of Robert Heinlein, Isaac Asimov, Frederik Pohl, Arthur C. Clark and other science fiction writers. Areas explored in the first 11 chapters include: exploration of deep space; energy and exotic power sources; likelihood of extra-terrestrial life and the forms it may take; imaginary science (such as alternative universes, antigravity, speeds faster than light, instantaneous communications); time travel and other universes; warfare; intelligent machines; men and supermen (biological engineering); mechanisms of artificial intelligence; unidentified flying objects (UFOs); powers of the mind; and future societies (considering machines and the leisure society, conditioning and brainwashing, psychotropic drugs, crime and punishment). The final chapter is devoted to the places where science fiction writers have gotten their science all wrong as well as some famous bad predictions. (A list of stories and novels cited along with a brief list of non-fiction books for further background reading are included.) (JN)

A Wetland Change Model has been developed to identify the vulnerability of coastal wetlands at broad spatial (regional to global (mean spatial resolution of 85 km)) and temporal scales (modelling period of 100 years). The model provides a dynamic and integrated assessment of wetland loss, and a means of estimating the transitions between different vegetated wetland types and open water under a range of scenarios of sea-level rise and changes in accommodation space from human intervention. This paper is an overview of key issues raised in the process of quantifying broad-scale vulnerabilities of coastal wetlands to forcing from sea-level rise discussing controlling factors of tidal range, sediment availability and accommodation space, identification of response lags and defining the threshold for wetland loss and transition. [ABSTRACT FROM AUTHOR]

The gene therapy dream started well over a decade ago. Despite its wide and successful application in research, it still has not reached the clinics in a meaningful way. No doubt that successful gene therapy has a lot to offer to patients with inherited, benign or malignant diseases [ABSTRACT FROM AUTHOR]

Chapter Five of the book "Tourism Management Dynamics: Trends, Management and Tools" is presented. It provides an overview of climate change, its causes and implications for international tourism. It assesses the climate change using scenarios such as population, economy, environment, equity, technology, globalization and climate.

Charaterization of a variety of genomic defects in malignant cells (1) has led to attempts to treat cancer by gene therapy. Gene therapy is a therapeutic approach in which therapeutic nucleic acids are transferred into the affected organs. Although the ideal concept would be the replacement of the abnormal gene by a copy of the functional gene, currently there have not been reliable and safe techniques to allow the site-specific integration of DNA into the human genome (2). Thus, almost all gene therapies are developed by simply transferring the therapeutic gene into somatic cells without replacing the abnormal gene. The goal is to identify and correct genetic abnormalities interfering with the cell cycle and to correct them in all cells. Technically, there are two methods amenable for gene transfer: reintroduction of in vitro transferred gene into the body and direct transfer of gene into the target cells in vivo. [ABSTRACT FROM AUTHOR]

Chapter 25 of the book "Evidence-Based Otitis Media" is presented. It analyzes how quality of life affects child behavior especially with the occurrence of otitis media (OM). It defines the term "quality of life" and discusses the major issues related to patient-centered health outcomes, such as a child's difficulty to give systematic verbal responses to a situation. It provides clarification on the principles and concepts related to the quality of life.

Information on the genera of the haptophyte algae from Chapter 13 of the book "Freshwater Algae of North America: Ecology and Classification" is presented. It offers a description of the cells of the Chrysochromulina Lackey. The four freshwater species of Chrysochromulina (C) are C. parva, C. breviturrita, C. inornata and C. laurentiana.

A guide to literature for chrysophycean algae species identification, from chapter 12 of the book "Freshwater Algae of North America: Ecology & Classification," is presented. Literature cited includes "Studies on variability in the genus Dinobryon (Mastigophora)," "Microtubules of the flagellar apparatus are active during prey capture in the chrysophycean alga Epipyxis pulchra" and "Phylogenetic analysis of the SSU rRNA from members of the Chrysophyceae."

Information on the key and descriptions of chrysophyte genera, from chapter 12 of the book "Freshwater Algae of North America: Ecology & Classification," is presented. The structure of the vegetative stages are stressed by the elements of this key, and are based as much as possible on features seen with a light microscope. Genera described her include amphichrysis, anthophysa and chromophyton, among others.

Information on the ecology of chrysophycean algae from chapter 12 of the book "Freshwater Algae of North America: Ecology & Classification" is presented. Chrysophycea are almost entirely freshwater inhabitants, although a few species are found in brackish or marine waters. Chrysophytes are generally associated with softwater lakes and ponds that are low or moderate in productivity. They are also common in dilute, brown waters. The characteristics of their habitat are also described.

Information on the diversity and morphology of the chrysophycean algae from chapter 12 of the book "Freshwater Algae of North America: Ecology & Classification" is presented. The most known taxa of the North American chrysophyte flora are photosynthetic, but a few are colorless. Many genera are unicellular or colonial, while some forms live within a protective case called a lorica. The golden-brown color of most chrysophycean chloroplasts is because of the accesory xanthophyll pigment fucoxanthin.

Once the decision has been made to produce the programme, it is the role of the project manager to take the production project successfully from initiation through to delivery. In partnership with the production team, he or she has to have a clear view of the entire project from start to finish. A successful project is dependent upon each step being completed successfully. This can only be achieved by negotiating with all parties, keeping to the original scope and timetable, and being able to track all elements within the project lifecycle. This chapter gives an overview of project management in practice using the production project cycle (PPC) approach, and sets out the key stages and steps with the associated production tools and techniques. The practical issues that concern production project management are also addressed. Whilst theories and processes may appear very lucid and clear on paper, in practice (as most experienced production managers would report) there is always an element of ambiguity and risk involved. The true skill of the experienced production manager is to be able to note and recognise the 'pinch points' at which risk is at its highest. The production manager then has to make decisions that are the most effective in overcoming them. However many systems you put in place for signing off, for defining terms, for agreeing methodologies and procedures throughout, audiovisual projects are high-risk endeavours. If the client or producer doesn't like the outcome at a particular stage, the production manager will still be the person to take the responsibility (and probably the blame) for the mismatch between vision and reality. The experienced production manager is able to review the project at each step, recognise most if not all of the issues and, working with the producer, suggest already developed alternative scenarios for completing the stage of the project successfully. The production management templates presented and discussed in this chapter are offered as guidelines to assist the production manager; the rest is down to experience. If we apply business analysis terms to this process, it could be said that a successfully completed programme is the strategic intent of the project. Production management is all about the tactics to achieve this outcome. Included in this chapter are matters relating to negotiating, managing meetings, having answers, checking credentials, scripting terms of reference and budget analysis. The precursor to this chapter is Chapter 13. Discourses on human resource matters are found in Chapters 7 and 8. Legal matters are referred to, but details can be found in Chapters 10 and 11. [ABSTRACT FROM AUTHOR]

An audiovisual production project follows the classically understood model of any project; it has a beginning, a middle and an end. This defines and differentiates a project from a manufacturing process. Somewhat lightheartedly, people have referred to the Hollywood film and TV studios as factories, yet each programme or film within that factory still conforms to a project format. Any activity defined as a project has the control process of quality (q), cost (c) and time (t) imposed upon it. The demands on the production manager are to keep the costs down, maintain the quality and deliver on time. In an ideal world these three elements would be independent variables, but they are interdependent. This chapter explores the theoretical processes and models that a production manager has to consider in order to be effective in production management. It examines some of the issues in project and production preparation, and looks at some of the factors that impact on project management rules. We introduce the concept of the production project cycle (PPC). This chapter establishes the theory of project management and should ideally be read before Chapter 14, where we examine production management in action. Chapter 8 provides a useful precursor to production management because it examines team membership and individual differences. A comment is needed regarding names and definitions. We use the generic term 'project manager' to represent the individual who has overall responsibility for the entire project. This is akin to a line producer in an audiovisual production project. The term 'production manager' used here refers to the individual who has prime responsibility for the project from the planning stage through to post-production and preparation for delivery. The word 'production' (and by extension 'production manager') has often been the overarching term for all stages of a programme made within the audiovisual sector. This is because historically the main focus has been on the creative elements of the project, and not on examining the production process as a whole from initiation through to completion. This is especially true where the subject is taught academically. Workers in the media industry often wish to emphasise the creative elements of the work they do. Quite understandably, the mechanisms used to manage the process of bringing the programme to the audience are often overlooked. We will examine details of project team structure and project membership, and how roles and responsibilities might be assigned, irrespective of the form of media production the project manager may be undertaking. Many organisations are adopting a project-orientated approach to 'getting work done'. This methodology (however poorly achieved) has been implicitly applied in the audiovisual industry from its earliest days. The audiovisual industry may yet be able to teach other industries a few lessons in this area. [ABSTRACT FROM AUTHOR]

The audiovisual industry is a high profile business sector in modern society. Film, television and other media communication channels have had a profound effect upon society within modern western culture. Watching television is a major pasttime for many people. It has been accused of being a key influence in aspects of antisocial behaviour, and of being the underlying reason for obesity in children and teenagers of the 1990s. In the near future it will have an even more profound effect upon people throughout the rest of the world, as greater opportunities to view become available. Most texts on media ethics have been concerned with the controversies of the day and the representation of individuals and organisations through news or documentaries. There are many high profile examples across the media, from the paparazzi following Princess Diana to Carlton Television being creative with the facts regarding a documentary on drug-running. In this chapter these controversies are not overlooked, but should be implicitly included in all media managers' analyses of their work and ethical policies. For people working in the media industry there is a special responsibility over and above those that any individual or organisation might have. Business behaviour has become a subject hot debate for all the stakeholders of any organisation. These stakeholders include employees, buyers and suppliers, the community within which the business works and the government, in addition to the traditionally accepted interested parties of owners and shareholders. Whilst business ethics may often be considered an oxymoron, many would suggest that media ethics as a subset of business ethics doesn't even get to the starting gate. Ethical issues within the audiovisual industry fall into two main areas of concern; internal systems and external impact. Internal systems refer to the ethical environment within the business, while external impact considers the audience that consumes the media product and the role of the media company in the wider socio-economic framework. All media products will have some ethical issue attached to them. There are high profile areas of intense debate, such as representation, pornography and violence, that attract scrutiny from many organisations. In addition, there are many decisions and actions taken by seemingly less controversial programmemakers that influence the audience. The simplest task of modifying an edit point within a production can profoundly change the meaning and construct that the audience might infer from the work. In the UK, a television advertising campaign for the Guardian newspaper showed how, by viewing an event from differing angles with different edit points, new interpretations can be made. Editorial decisions are being made every day in studios throughout the world to help convey or reposition a message to a wide range of audiences. This chapter introduces the reader to the debate about possible ethical frameworks within which decisions can be made. It has been suggested that ethics is the science of morality. Many would see the words 'ethics' and 'morality' as interchangeable. Both terms concern themselves with the expected code of conduct for an individual within a particular social group. If you agree that ethics is indeed the science of morality, then the two main schools of philosophical thought are attempts at codifying this science into some acceptable reference framework. The first two sections of this chapter consider the framework of ethics from a personal and organisational standpoint. We then examine business ethics, corporate governance, reputation management and international business ethics. This approach should enable the reader to consider and find a satisfactory process to resolve contemporary ethical debates that have an impact on the audiovisual industry.… [ABSTRACT FROM AUTHOR]

This chapter contains a brief overview of broadcasting law and intellectual property law, together with a rather unsavoury mix of obscenity, indecency, blasphemy, libel and slander, contempt, and flagrant infringement of privacy. [ABSTRACT FROM AUTHOR]

The primary objective of this chapter is to introduce some of the basic facts of the English legal system you may encounter. It also sets out to highlight one or two of the major areas of law that lie outside what is generically referred to as 'media law', but are of fundamental importance in the commercial world. [ABSTRACT FROM AUTHOR]

Strategic management as presented in this text examines a generic set of management models. By definition, they have application to any organisation or industry. In this chapter, we look at how these strategic management tools and techniques can be of value in considering management issues in the audiovisual industry. Johnson and Scholes define strategy as: the direction and scope of an organisation over the long term: ideally which matches its resources to its changing environment, and in particular its markets, customers or clients as to meet stakeholder expectations. Strategy is essentially about the big decisions that owners, directors or managers might make; for example: • which products to make and services to offer • how they (owners, directors or managers) see their company in the marketplace • how they analyse their own internal and external competitiveness • how they can be a more effective company or firm in the future. Strategic management starts by analysing the business environment, and we suggest a few tools and techniques to help that task. An organisation's managers can consider the options based on this analysis by, say, scenario planning and risk analysis. Then they have to consider how to apply the choices available. Finally, the management team develop the implementation plan and tactics to match this strategy. This process can be summarised as: • analysis • choice • implementation. In the last 50 years, many strategic theories have come and gone, along with the popularity of the professors of various business schools or management gurus who propound them. In this chapter, we present tools and techniques that will allow any competent manager, irrespective of the particular strategic model favoured, to analyse the economic and business environment in which he or she operates. The audiovisual industry is highly volatile and unstable. The churn rate of SMEs (small and medium enterprises) listed in media trade directories is high. Many UK film production companies are formed for a single production. Others, such as Goldcrest, go from being lauded in Hollywood to receivership within just a few years. 'The British are coming' said Colin Welland, actor and scriptwriter, at his Oscar acceptance speech for the screenplay of Chariots of Fire in 1982. The British might be coming, but just as many are going. As earlier chapters have indicated, management strategies in the audiovisual industries are often underpinned by government policy. In the UK there is currently controlling regulation for television and a minimalist intervention policy for film. The business environment of the media company (see Introduction, Figure I) was devised to show some of the interlocking, complex and circular relationships with which the media manager has to deal. Imagine the media manager at the centre of this space; every one of these relationships will influence the decisions of the media manager -- decisions that cannot be made without recognising the paradoxes that beset a manager in the audiovisual industry: • balancing creativity with project control • managing a chaotic and unstable business environment • coping with change or an increasing rate of change • dealing with an ever-changing technical platform. This chapter has been devised to introduce you to how you might deconstruct, understand and possibly act more effectively in organisational management. [ABSTRACT FROM AUTHOR]

There is a dynamic and a tension between the individual and the organisation for which he or she works. It can be a virtuous or a vicious circle, reinforced through positive or negative feedback. Therefore, the individual's behaviour within the dynamics of a business environment is a key determinant to the success or failure of the individual and, by extension, the firm. This chapter considers and reflects on the attributes of the individual and his or her behaviour within an organisation. By so doing, we attempt objectively to examine the needs of the individual and the wants of the organisation. Whilst we might crave a sense of belonging, most of us would also like to think that we are special and unique. To an extent this is true, but to others we are identified by the following classes and associated sub-groups: • Gender -- male, female • Intellect -- nature, nurture (the mental models we maintain) • Temperament -- personality (specific, inherited, learned) • Culture -- ethnic group, religious group, national, organisational • Social -- family, location, education, work, pastimes • Health -- age, social, genetic, social group, lifestyle, occupation, and all of the other classes above. There are many systems to code these differences quantitatively. Academic exams and IQ tests attempt to differentiate intellect. Social scientists examine values, beliefs and buying behaviour. In international sport, we are even tested for our sex. These measures enable others to sell to us, select us, predict our buying behaviour, and indicate national trends etc. Business managers and recruiters apply the techniques of psychometrics to aid the selection process for recruitment and succession. Sociologists and psychologists look for patterns, similarities, correlation and significance in the data produced between individuals, within groups and between groups. It is important for the manager within the audiovisual industry to have an insight into individual and group behaviour. Management is not just about the process of production; it is as much to do with managing people. It is important to understand the range of personalities and temperaments that are found within production groups. Many have argued that to do so effectively, you also need to understand yourself. We need to be aware that there are identifiable attributes, values and beliefs that individuals share, and others that they do not share. Do production managers or researchers or engineers share more than just a job specification? This knowledge may enable you to manage yourself, individuals and teams more effectively. The significance for individuals is to gain some insight into their personal profile; it may even help them determine whether they are the right person for the audiovisual industry! This chapter, whilst based on theories of behaviour, does wander into the realm of industrial relations and human resources. We begin by examining some of the theoretical models of individual personality and temperament taken from Maslow and Jung, and then move on to consider how they might apply to the individual working within the audiovisual industry. Finally, we consider the dynamics of groups by reviewing the work of Belbin, and W. R. Bion gives us some insights into conscious and unconscious behaviours. Modes of employment within the television industry have changed profoundly in the two decades leading up to the millennium, from secure employee status to short-term contracts. From its earliest days, film production has been a model of mixed employment that includes casual and freelance workers, short-term projects, short-term contracts and full-time retained staff. The entire audiovisual industry remains a precarious occupation. Most production staff would agree that you are 'only as good as your last job' in the negotiations to secure the next one.… [ABSTRACT FROM AUTHOR]

How any new business is established and thrives is the subject of many management theories and textbooks, and a copious number of case studies. How businesses are established, expand or decay in the audiovisual industry is also a subject of much debate, although unfortunately not often analysed objectively and critically enough to try and clarify why one business succeeds where another one fails. It is difficult to think of any other industry whose very structure and inception is devised and controlled by a government -- an industry that would without doubt fail if government and international bodies did not reach some level of agreement in trade and technology, through EU regulations, directives, GATT and bilateral agreements. The BBC was incorporated by Government Charter in 1926, and Channels 4 and 5 were established by the Government. The structure of the original regional franchises provided the framework for the establishment of the independent television companies (ITV). Whilst the principle is one of 'at arms length', the tension between state control and interference vis-à-vis the free market remains. In the UK, the growth of the independent production sector (IPS) flourished with the establishment of Channel 4 in 1982. Enormous changes and opportunities for the IPS came about because the Thatcher Government put a legal requirement on the BBC and the independent franchise companies to contract out a percentage of their work. In essence, the audiovisual industry is highly volatile, regulated by government, and dominated by media conglomerates. For the small firm, success or failure can turn on the opportunities of a single production. As we move into the twenty-first century, with the impact the number of digital channels will have on the consumer, we may get the final shake-up in the still relatively 'cosy' media environment that is the UK broadcast industry. The questions this raises are: • If, to date, Government regulation of the television industry had been as loose as that of the film industry, would the UK have a television industry as vibrant as it is now? • In addition, would the UK television industry be struggling to survive in the same manner that the film industry seems to be? This chapter begins its examination of the growth of the media company with a discussion on innovation and the role of the entrepreneur. The Greiner Growth Model is used as a means of explaining the structure of the individual production firm. In Chapter 1 we took a macro approach to the IPS, a consequence of government policy and technical changes. This chapter takes a micro-view as to the growth of the media company. We will consider the small and medium-sized enterprise (SME), and review the buyer--supplier relationships in the British audiovisual industry. It has been said that there is no business like show business; the issue for many struggling in the audiovisual industry is whether there is any business at all. [ABSTRACT FROM AUTHOR]

This chapter extends and elaborates on the content of Chapter 5. It opens with an explanation of the various attempts to investigate and analyse the effects of films upon an audience. This takes the form of a review of the major experiments that have been used in the attempts to understand the effect of the mass media upon the audience. The areas covered are the behaviourist, pluralist and gratification theories. This is followed with a description of the development of the Hollywood system of production in terms of its industrial, social and political influences. The section on realism investigates the suitability or desirability of the use of film to demonstrate a realistic perspective of the world, and the nature of realism in film. The penultimate part of this chapter examines the portrayal of modernism and modernity in media material during the first half of this century, and uses the rise and decline of avant-garde film and the nature of the reproduction as its central themes. The chapter ends with an attempt to uncover the current situation in the media/culture debate. The section uses the elusive term 'post-modern' as an indication of the Zeitgeist under discussion. [ABSTRACT FROM AUTHOR]

During the nineteenth century, a number of changes took place in Europe that were to influence the development of mass communication and the growth of the mass media during the next century and a half. Major changes were the establishment of mass urban communities, the decomposition of a fundamentally agrarian society that had existed since medieval times, and the establishment of an economy based upon industry rather than the land. Ferdinand Tonnies expressed this change as the contrast between Gemeinschaft and Gesellschaft -- the development of a community based upon tradition and kinship to one based upon contract. The year 1848 saw the publication of the Communist Manifesto, and was a year during which almost every country in Europe experienced a failed political revolution. The intellectual energy released by these two events was to generate the creative underpinning for the period between 1850 and 1914, which came to fruition in the artistic products of high modernity and the social products of the mass media. As well as creating mass-produced consumable goods, which were improving the lives of the people, technology had facilitated the concept of reproduction. Reproduction enabled the masses to access the cultural products of their society, although the products had lost the implicit significance of originality. As Walter Benjamin explained in The Work of Art in the Age of Mechanical Reproduction,1 the very nature of mass communication changes the implication of the work itself. By the turn of the nineteenth century, western society had developed into one where the people were largely living in cities and involved in industrial production. Physical and social mobility had encouraged the growth of education, and literacy was becoming an essential factor in individual development and success. The 1870 Education Act marked out the system and content of education for the next four decades. At the turn of the twentieth century, the influence of the mass media upon society was becoming recognised and had become the focus of argument about how it operated and who controlled it. Its significance became particularly important during the two World Wars, when it was perceived as another arm of the war effort. During this century, film, radio, television and (more lately) the developments in multimedia brought about a sea change in the way people saw their lives and the world in which they lived. These changes have been the results of the technical developments of media products, the creative innovations made by the authors of media products, and the changes in the consumption of media products. The stratification of society has been measured against divisions in the products of the mass media, the implication being that the products are divided into groups for class consumption -- that there is high, popular and low media material, which caters for the stratification in society. This view is undermined by the evidence that the mass media is the agency for changing this theory. The mass media is now a subject in its own right, with an increasing body of critical theory being written about it since the days of Hoggart and McLuhan. The structure of its form is now discussed in terms of the symbolic representation, ideology and representation that it takes. Three main questions should concern the student of the mass media: 1 What does the mass media say? 2 Who is saying it? 3 How does it say it? [ABSTRACT FROM AUTHOR]

Since the 1980s, EC film and TV policy has been based on mass media's role in the formation of identity. There has been a distinct shift away from policy concerned with the free trade of film and television programmes to a culturally led approach. This chapter will briefly consider the history of the European Union and explain its structure. The history of media policy will be reviewed, beginning with the three medium-term plans of the 1970s and 1980s, and then considering in more depth the statement on broadcasting policy, Television Without Frontiers. The more recent MEDIA and MEDIA II funding programmes will be described. The implications of co-production, which is an essential element in EU policy, will be discussed. [ABSTRACT FROM AUTHOR]

This introduction to British film policy will compare and contrast the cultural and economic dimensions of film policy. A brief comparison with broadcasting policy will demonstrate the very different relationship the state has had with the film industry. The history of policy will be reviewed considering the Eady Levy, quotas for British film exhibition, the National Film Finance Corporation and its successors, and the variety of public funding bodies (e.g. the Arts Council, BFI and Regional Arts Authorities). These will be considered in the light of cultural policy (the need to create a national film culture to prevent American films swamping the UK) and economic policy (the desire to create a thriving British production base which will encourage inward investment to the UK). The Thatcher government's decision to leave the film industry's future entirely to the market will be contrasted with the measures taken during the Major years (tax incentives and National Lottery funding). The Blair government's policy and in particular the report from the policy working party on the British film industry, A Bigger Picture, will be discussed. The new initiatives for film education and proposals for expansion of the distribution networks indicate a clear shift to a broader approach to film policy, moving away from a focus on production funding. The chapter will conclude with a discussion of where this policy may lead the British film industry in the near future. [ABSTRACT FROM AUTHOR]

This chapter will consider a variety of definitions of public service broadcasting (PSB), tracing the history of the concept from the establishment of the British Broadcasting Company in 1922 to the multichannel broadcasting system we have today. The Broadcasting Research Unit's definition will be considered, together with the findings of commissions on broadcasting. Public service broadcasting has, from its inception, been seen to be vital to the formation of a national identity. This chapter will therefore consider theories of identity, and debate what identity is created by the British broadcasters. This introduction to PSB will mainly focus on the British broadcasting environment, but a comparison with other national systems (e.g. Canada and Germany) will be included to demonstrate the diversity of methods of regulation that exist. In the UK context, PSB will normally encompass the five terrestrial television channels and most radio stations, but the chapter will seek to demonstrate that Reith's aim to 'educate, inform and entertain' has a wider influence. Finally, the future of PSB will be considered -- can it survive the expansion of digital broadcasting? [ABSTRACT FROM AUTHOR]

This chapter describes the historical and economic background to the film, broadcast television and non-broadcast media markets within the wider audiovisual industry. In essence, it is an introduction to the British audiovisual industry. Where appropriate, references to global models are made. We recognise that any attempt to categorise a media product is bound to raise questions of definition, so the terms used in this text are only used to provide boundary conditions for discussion. For example, for the purposes of this book, non-broadcast media include: • industrial and corporate video production • secondary sales of feature films and television programmes • training and education programmes • other non-broadcast or non-broadcastable programmes (such as pornography). On the associated web site there are thumbnail assessments of several nation states and economic blocks' audiovisual industries. These notes are provided to give you support notes for comparative studies. Media products, especially film and television programmes, are not just another commodity sold to the consumer or viewer; they come laden with cultural baggage from the society that created the product. During the 1993--1994 Uruguay round of GATT (General Agreement on Tariff and Trade), France led an EU driven complaint about the USA/Hollywood influence on, and dominance of, the audiovisual industry. The French delegates accused the USA of employing unfair price competition by dumping film and television programmes into the European market. Surprisingly, it was the most contentious aspect of GATT. This was not just about the economic concerns of the Europeans, feeling that the media industries within their own countries were under threat; it was also about a perception of a cultural imperialism that they felt was undermining their own cultural mores -- a fear of the 'Hollywoodisation' of the entire audiovisual industry. Many other governments are also concerned about their audiovisual industry and culture having to compete with that of the USA. An exported media product is more than just a commodity for resale, a means of generating a favourable balance of trade. Whether intended or not, it carries at least some of the prevailing social, cultural and political assumptions of the country that produced it. For this reason, the economic model can only be one part of any analysis or assessment of the global audiovisual industry. Therefore, this chapter begins by looking at the changing audiovisual industrial environment set within the context of the social, economic, technical and cultural values that underpin the industry. At the back of the book a media timeline is provided, to illustrate the links between political, economic, technical and media environments in the UK, which will allow you to place the British audiovisual industry within an historical framework. At this point, an analysis of the British media industry alone may seem surprisingly parochial. However, there are several good reasons why the British audiovisual industry provides a benchmark for audiovisual industries elsewhere in the world. First, the BBC was the first public television transmission system. Second, the UK is the first national environment and industry in which the three possibilities of delivering digital television signals to the domestic user -- satellite, cable and terrestrial -- are already in place. Third, the British audiovisual industry, especially television, has often been the laboratory for innovative media productions. However, that is not to say that the impact of Hollywood should be dismissed -- indeed, Hollywood undermined the British film industry almost from the start, a situation explored in more detail in later chapters. This chapter introduces the debate between public or state control of the media and the notion of the independent or free market.… [ABSTRACT FROM AUTHOR]

The article discusses various reports published within the issue including a background to the British media market and an examination of the behaviour and growth of any firm within an industry.

Chapter 44 of the book "The Caribbean Community: Beyond Survival" is presented. It discusses issues surrounding the establishment of the Caribbean Development Bank (CDB). The CDB was established against a background of extreme pessimism about the prospects of economies with poor resources, such as those in the Eastern Caribbean, except Trinidad and Tobago.

The article provides a case study of expatriate employment in South Korea. The article profiles Ellen Moore, a business consultant with the Systems Consulting Group (SCG), which worked on a consultation for a Korean government agency in Seoul, South Korea. Moore's personal and professional history is described. Details of the organizational structure and goals of SCG are provided. Corporate culture and cultural values in Korea are described, including business etiquette, team work, hierarchy, and the social status of women. Details of Moore's strategic planning and problem solving in the company are highlighted.

The purpose of this chapter is to review some of the principal sociological perspectives on the nature of expertise and to highlight the partiality of these perspectives. Thus, the discussion is not concerned with the sociology of knowledge in the tradition of Kuhn (1962) or Habermas (1971) or Foucault (1970). Nor is the intention to explore all relevant theories with the aim of reaching some conclusive outcome on the nature of expertise. Rather, the objective is to suggest a way forward for developing a theoretical framework as a tool for understanding the nature of expertise as it is practiced. To this end, empirical data are presented. [ABSTRACT FROM AUTHOR]

A guide to literature for haptophyte algae species identification, from chapter 13 of the book "Freshwater Algae of North America: Ecology & Classification," is presented. Literature cited include "The Synurophyceae and their relationship to other golden algae," "Calcified structures and calcification in protists" and "A heteromorphic life cycle in two coastal coccolithophorids.

Information on chrysophycean algae from chapter 12 of the book "Freshwater Algae of North America: Ecology & Classification" is presented. The first chrysophyte ever described is Anthophysa vegetans, and over the next half century, light microscopic investigations of chrysophytes moved rapidly forward and included descriptions of species in the genera Dinobryon and Synura. The chrysophytes are described as having vegetative or reproductive cells that are heterokont with the two flagella inserted somewhat perpendicular to each other near the cell's apex.

Presents information on several books and articles about homoeopathy. "Samuel Hahnemann: The Founder of Homoeopathic Medicine," by Trevor M. Cook; "The Emergence of Homoeopathy: Alchemy Into Medicine," by Elizabeth Danciger; "Homoeopathy in America: The Rise and Fall of a Medical Heresy," by Martin Kaufman; "Homoeopathy and the Medical Profession," by Phillip A. Nicholls.

Information on the ecology and distribution of the freshwater haptophyte algae from chapter 13 of the book "Freshwater Algae of North America: Ecology & Classification" is presented. Based on reports, Chrysochromulina parva (C. parva) is the most common haptophyte in lakes, ponds and rivers. C. parva is also a common element of the phytoplankton in small oligotrophic softwater lakes of Ontario's Precambrian Shield. The distributions of C. breviturrita and C. laurentiana are noted to be restricted to neutral and acidic lakes in northeastern North America.