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Cinema projection is usually understood to be a male-dominated occupation, with the projection box characterised as a gendered space separate from the more typically feminine front-of-house roles. Although this is a fairly accurate representation, it risks eliminating all traces of women's labour in the projection box. Previous work by David R. and Rebecca Harrison (2016) has addressed the role of women projectionists during wartime, and this article begins to excavate a hidden history of women projectionists in a peacetime context. The article uses oral testimony from two women - Florence Barton and Joan Pearson - who worked as projectionists in the mid-twentieth century. Their accounts are presented in the article as two portraits, which aim to convey a sense of the women's everyday lives in the projection box, as well as think about implications that their stories have for our understanding of women's roles in projection more broadly. Of particular significance to both Barton and Pearson are the relationships that they had with their male colleagues, the possibilities afforded for career progression (and the different paths taken by the women) and the nature of projection work. The women's repeated assertions that they were expected to do the same jobs as their male counterparts form a key aspect of the interviews, which suggest there is scope for further investigation of women's labour specifically in projection boxes and in cinemas more generally. [ABSTRACT FROM AUTHOR]

This article examines how different forms of writing mediate the past. In doing so, I focus on two ostensibly distinct types of authorship: the light that writing projected on-screen, and the life-writings found in letters and diaries. Between 1914 and 1919 in Britain, cinema and personal testimonies intervened in historiography in apparent opposition to one another. It is easy for us now to assume that state-censored, propagandistic movies narrated the state’s version of the First World War, while secret, illegal accounts written by personnel on the Western Front line described actuality (while letter writing was permitted – subject to censorship – all serving personnel were banned from keeping diaries). However, a study of British ambulance trains reveals that films and life-writings have a shared vocabulary, which complicates the two media’s connections to history and to one another. I argue that by interrogating the motifs congruent on the screen and the page, and by reading films and testimonies in tandem, we can rediscover effaced narratives about wartime conditions and marginalised peoples. [ABSTRACT FROM PUBLISHER]

This article offers the first comprehensive examination of the cinema train in Britain, arguing that the history of the movie coach expands our understanding of exhibition and distribution networks in twentieth-century Britain, particularly with regard to news consumption. Using contemporary press reports, archived documents, and the newsreels shown in the carriages, this article also articulates how narratives about the nation's empire and self-projected modernity influenced the cinema train's construction. [ABSTRACT FROM AUTHOR]

The article tackles three court cases concerning pharmaceutical companies in Great Britain. The first case involves Synthon BV and Smithkline Beecham PLC. The second case involves Ranbaxy UK Ltd and Warner Lambert while the third is a case between Mayne Pharma and Teva UK. The author further discusses important details and information regarding the cases.

There is a lack of genetic and epidemiological studies specific to weight gain among individuals receiving clozapine treatment for established psychosis. Knowing if patients have factors that predispose them to weight gain trajectory or a weight constant trajectory would enable more effective targeting of weight loss programs to avoid problematic weight gain. This study aims to assess the trajectory of weight gain using data routinely collected by Clozapine Therapeutic Monitoring Services in a novel longitudinal cohort of clozapine patients from the United Kingdom and Ireland. We use genetic, clinical and demographic data to determine the influence of these variables on trajectory membership. A total of 3500 individuals had clinical and candidate/proven gene data available. Weight trajectory was calculated from individuals who had at least two weight records over a period of 24 months from the first available record. Trajectories were developed utilising K-Means for Longitudinal data (KML), an algorithm that assigns individuals to a user-defined number of trajectories based on their similarity. There are three distinct trajectories patients take within the first 2 years of clozapine treatment, which are influenced by age, starting weight and clozapine plasma level. Weight gain is more likely to be seen in individuals with younger age, lower plasma levels and lower starting weight. Individuals under the age of 25 with lower starting weight were more likely to be in the weight gain trajectory, whereas older people with higher starting weights were more likely to be in the weight loss trajectory. This could be due to individuals in the weight loss trajectory actively reducing weight after prior weight gain from other antipsychotics. Clozapine plasma levels were also lower in the weight gain trajectory, possibly reflecting incorrect dosage or non-compliance. Clozapine levels were more likely to be in the normal range for individuals in the weight-constant or weight -loss trajectory, reflecting a stable maintenance dosage and increased compliance. [ABSTRACT FROM AUTHOR]