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Published work which addresses video's formative years in Britain typically frames children in one of two ways: either as victims of 'video nasties', or as scapegoats used by social guardians and policy-makers to further a profoundly moralistic, censorious, agenda. The centrality of youngsters to this historical moment cannot be denied, but there is much more to be learned about their relationship with video entertainment during the early 1980s. It would be unreasonable to suggest - as some have - that, because the video industry lacked governmental regulation between the years 1978 and 1984, video distributors were so 'brash and out for profit' that they disregarded children's welfare. On the contrary, and as this article will reveal, many distributors traded in an array of videos intended specifically for a child audience, ranging from age-appropriate feature films to cartoons to nonfiction education videos, while others dealt exclusively in children's entertainment. Indeed, far from simply being irresponsible peddlers of horror and pornography, some companies went to great lengths to appeal directly to youngsters - including companies that would be subsequently prosecuted for trading in 'obscene publications'. Situating the video boom in its historical context, this article examines how distributors marketed 'kidvids' in the trade and consumer press, and how they sought to promote children's product that was not only designed to entertain, but also to educate. [ABSTRACT FROM AUTHOR]

The American TV movie has a lowly reputation, generally seen as melodramatic and derivative with low production values. However, this widely held stereotype obscures both the industrial significance of the telefilm and the variation in budget, genre and even exhibition site, within the form. From the late 1960s to the 1980s, each network invested in and broadcast multiple original TV movies per week. Many of these films garnered high ratings, but their success did not stop there - during this period of high production volume, some telefilms were able to jump from the American television screen to cinemas around the world. In this industrial history, I reconstruct the conditions that made possible this global exchange and shift in exhibition site, including the Financial Interest and Syndication (Fin/Syn) Rules, European television policies, and, drawing on Brian Taves' study of B-films, changes in telefilm budget levels. This period of flexibility was short-lived, but it illuminates the shifting conditions that control the movement of media through different sites of exhibition. [ABSTRACT FROM AUTHOR]

A reprint of the article which appeared in the Summer 1991 issue is presented in which the author discusses African American film audiences. She mentions the growth in the number of African Americans who went to the movies, the increase in the production of films by and starring African Americans, and the portrayal of African American characters.

The article focuses on genealogy of Argentine filmmakers during two different time periods and two distant cities: Buenos Aires in the 1960s and 70s, and Barcelona today. Topics discussed include a retrospective of 1960s and 70s Super 8 films including Daniela Cugliandolo’s film "Esto no es un recuerdo;" a media archeology that trace a genealogy of experimental filmmaking in Argentina; and Cugliandolo’s film "pneurosis (en el bano)" that, according to the author, exemplifies the resurgence of the Super 8 format.

The article explores the history of motion picture title writing with a focus on the career of title writer Ralph Spence. Emphasis is given to topics such as the development and professionalization of title writing in the silent film era, the titling of films including "Molly and I" and "The Gorilla," and the impact of titling on motion picture audiences and critical reception.

Copyright of Cumhuriyet Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi is the property of University of Cumhuriyet, Faculty of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction is presented in which the author discusses various reports within the issue on topics including the history of artists' moving image in Great Britain and the LUX Associate Artists Programme (AAP).

This article undertakes close readings of two works by Cordelia Swann as a means of reappraising some cultural touchstones, in particular, discussion of 'New Romantic' film-making in British film and video during the 1980s. It examines how notions of the old and the new are displaced within Swann's practice, altering understanding of much earlier, more distant times. By foregrounding her use of multi-source imagery and in later analysis, sound and the 'voice' - her personal, striking subjects create shifting conceptions of time and selfhood that affect perspective of this decade and encourage critical engagement with historiography within the moving image. [ABSTRACT FROM AUTHOR]

This article examines uses of history in British independent film and video in the 1970s and 1980s, looking at ways in which radical pasts were called on to foster struggle in the present. In tracing the influence of New Left cultural historians on independent film and video, and television, during these two decades, this article also suggests ways in which the nation is figured, contested and re-drawn in specific works by Kevin Brownlow and Andrew Mollo, Phil Mulloy and Black Audio Film Collective. A rich and diverse framework of leftist historical discourse is outlined, suggesting that the exploration of a socialized landscape (the city as well as the country) played on and renegotiated existing myths and tropes of Britishness, identity and belonging. This article also fills a gap in existing accounts of radical film's uses of history, going beyond valedictory accounts of modernist historiography to assert the vitality of a complex counterpublic discourse. It concludes with a reflection on problems in the depiction and imagination of the past today. [ABSTRACT FROM AUTHOR]

The article offers information on the History and Cinemas: Toronto International Film Festival (TIFF) which was held from September 7, 2017 to September 17, 2017.

The article discusses philosopher Walter Benjamin's aestheticprinciples of film making focusing on avant-garde techniques of French Impressionism and Soviet experimental cinema. Topics include work done by filmmaker Mikhail Kaufman, aesthetics of filmmaking, and schematic cinema. Also discussed is novelist Marcel Proust's physiognomy of asthmatic suffocation.

In this essay, Florian Krautkrämer analyses intertitles with a focus on dialogue scenes in silent and sound films. He takes a closer look on dialogue titles and dialogue scenes without titles in silent movies to show a line of continuity between the format change. Normally it is taken for granted that there weren't many titles after the advent of sound, but Krautkrämer also gives examples of contemporary films that are still using intertitles. [ABSTRACT FROM AUTHOR]

In a great many examples from the early pioneering days through to contemporary digital (video-/Internet-) productions - in the most diverse genres and countries, and in both independent and commercial contexts - intertitles and writing in the tradition of intertitles are integrated into film in such a way that the effect is by no means rigid and un-filmic, but rather, constitutes a medium that reaches far beyond what is commonly expected from writing, and writing in film. [ABSTRACT FROM AUTHOR]

The author discusses how, in practice, historians often obscure the effect of women's lives, work, and contributions on their topic, and she takes special note of video game history. Using both history and film studies as examples, she argues that games historians can and should adopt feminist viewpoints to help ensure a fuller, more diverse accounting of the past. She examines the stories of three women--video game regulation activist Ronnie Lamm, route operator Amelia "Millie" McCarthy, and Exidy executive Lila Zinter--to demonstrate the types of historical information often overlooked in video game history. She concludes that video game historians must use archives, documents, and other research to think more broadly about the purpose and impact of their own work and not allow video game history to be reduced to a highlights reel that captures only the works of a few key players. Instead, their history should capture the depth and diversity of video games and game culture, including the impact of women on the field. [ABSTRACT FROM AUTHOR]

Peirce once called his graphical system of logic-the Existential Graphs-the moving pictures of thought. I argue that Peirce meant that using his graphs to study the movement of thought is akin to Eadweard Muybridge's use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because: (1) Just as animal motion is continuous, thought is continuous; (2) Animal motion, like the movement of thought, is too swift and complex to examine directly, without aid; (3) Nevertheless, just as we can record a series of moments of animal motion with the use of a special instrument (viz., cameras and instantaneous photographs), so too we can record a series of moments of thought with the use of a special instrument (viz., the Existential Graphs), enabling us to study its structure; and (4) Through the study of these moments of thought, or of animal motion, we will improve our understanding of them and be able to settle debates about them. [ABSTRACT FROM AUTHOR]

The 25th anniversary of the founding of the history periodical "Werkstatt Geschichte" is introduced as the focus of articles in the October 2017 issue along with the history of film and the alleged "anthropological turn" of history.

In the 1910s, New York suffragette Electra Sparks wrote a series of essays in the Moving Picture News that advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive 'mental pictures' were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its 'second birth' was founded upon the premise of New Thought. This metaphysical Christian doctrine existed alongside the self-help and esoteric publishing domains and testified, above all, to the possibility of the 'mind-cure' of the body through the positive application of 'mental pictures'. Physiologically, their method began best in the womb, where the thoughts of the mother were of utmost importance: the eventual difference between birthing an Elephant Man or an Adonis. This positive maternal impression was commonplace in New Thought literature; it was Sparks's innovation to apply it to cinema. Investigating Sparks's film theory, practice and programming reveals her to be a harbinger of the abiding analogy between mind and motion picture that occupies film theorists to this day. [ABSTRACT FROM AUTHOR]

An introduction is presented to the issue of the journal that discusses topics such as the relationship between capitalism and child care, the book "The Prince" by Niccolò Machiavelli, and U.S. films made during the New Deal era.

This response to commentaries from Richard McIntyre, Karen Miller, and Kellie Hay clarifies the scientific object ofA New Kind of Public: Community, Solidarity, and Political Economy in New Deal Cinema, 1935–1948(Haymarket, 2015). For the study of cinematic cultural artifacts, the author proposes neither an audience-response theory of meaning nor an auteur conception of individual intention and cinematic mastery. Films do have intentions, but those intentions are an assemblage of conscious and unconscious significations generated by the film’s producers (in the larger sense) and by the film’s imagined audience. In that sense, every film carries context and the imprint of its origin. The author’s method is not a means to decipher audience reaction, much less to offer causal explanations for historical events, but it aims to measure, partially, the impression those events leave upon an artifact. [ABSTRACT FROM PUBLISHER]

The authors examine Graham Cassano’s A New Kind Of Public and its effectiveness in providing a means of analyzing the rise and fall of Popular Front ideology in the 1930s and 1940s. Through the lens of Hollywood film, Cassano examines the changing values brought on by the New Deal and also their demise in the wake of World War II. The authors admire this work—particularly Cassano’s willingness to use multiple theoretical perspectives to create a mosaic of analysis. However, this approach contains an embedded limitation. By engaging in a tight examination of representative films, the full force of Cassano’s conclusions is somewhat muted. [ABSTRACT FROM PUBLISHER]

Graham Cassano calls on Louis Althusser’s concept of interpellation to understand the relationship between audiences and the socially conscious films of the New Deal period. These films called forth a new kind of working-class audience while that audience was itself developing out of the trauma of the Great Depression, which made the films possible. Working-class filmgoers were able to recognize themselves in these films as part of a “class situation” even when those films deployed retrograde images of race or gender. Cassano’s investigation of the work of John Ford is especially telling and evokes the arc of the New Deal from its early radical period through the period of national unity during wartime and the cold war and red scare that followed. [ABSTRACT FROM PUBLISHER]

At the dawn of the moving image, there was a plethora of initiatives that sought to reproduce reality in images. In 1894, one year before the Lumière brothers patented their cinematograph, the journalist, photographer and writer Alexander Black developed the picture play system. These fused images together to create a new form of audiovisual narration with which he aspired to create "an illusion of reality". He refined the expressive capacities of existing photography to try to recreate what the first attempts to reproduce moving images could not achieve, namely, to tell complete stories using images. For his first work he chose to relate the tribulations of a young journalist: Miss Jerry. In the formative period of the cinema, Black's contribution - midway between photography and cinema - had no influence at all on the technical development of the new medium; it was. however, an elaborate antecedent of the construction of visual narratives and his success show ed that the public was prepared to welcome cinematographic stories. The image of journalism provided by Miss Jerry also anticipated one of the most solid stereotypes of the woman-journalist in the cinema, known as the sob-sister. [ABSTRACT FROM AUTHOR]

Through an analysis of the films Altar mayor [High Altar] (Gonzalo Delgrás, 1944), El clavo [The Nail] (Rafael Gil, 1944) and Tuvo la culpa Adán [Adam's Fault] (Juan de Orduña, 1944), I attempt to support the hypothesis of a certain kind of expulsion of female characters in Spanish fiction films in the years immediately following the Civil War, which would not only exclude them through ideological discourse, but also through the mise en scène. The analytical method adopted here moves away both from historiographical approaches and from the politique des auteurs, as well as from cultural studies and other similar disciplines, to take a direction already begun by other authors towards a possible history of forms in Spanish cinema. I thus analyse questions such as the relationship of the actress with the shot and the narration, her disappearance from the borders existing between them, her conversion into phantasmagoria, and, in short, the construction of an alternative, rebellious story in opposition to the official one. To conclude, I argue for the possibility of viewing the actress's body and gestures as instigators of a kind of materialist poetics in film analysis. [ABSTRACT FROM AUTHOR]

In 2015, the Film Museum in Lodz, Department of History and Theory of Film at the University of Lodz and the Polish Filmmakers Association worked together on a project "12 films for 120 years of cinema". Filmmakers and people professionally involved in film culture were asked to compile their 12 best films ever and their 12 best Polish films. The organisers received 279 responses which mentioned 1,348 films in total. After analysing the results, the lists of best movies were published as well as variant lists according to the respondents' profession and age. The first part of the paper raises questions regarding aesthetic axiology (as far as culture-based text hierarchies are concerned) and social communication (which concerns the question of a canon: who establishes it and for what purpose?). In the second part of the article, the authors discuss the results of the poll, highlighting shortcomings of the project when compared to similar polls in the past. [ABSTRACT FROM AUTHOR]

In this article I discuss 1980s New York cinema through the conceptual lens of landscape, drawing in particular on the interconnected but separate traditions of the pastoral and the picturesque. While the former mode of representing landscape is idealizing (the shepherd/nymph-motif), the latter with its origins in the period of the enclosures of the English countryside tends to aestheticize poverty and dispossession. This distinction can productively be deployed in relation to tensions between glamorization and exploitation in 1980s New York cinema, which often dealt with the themes of rent, eviction, and unemployment in postindustrial settings. Focusing in particular on Downtown 81 (Edo Bertoglio, 1981/2000) and Desperately Seeking Susan (Susan Seidelman, 1985), I argue that the current nostalgia for a pre-gentrified and less regulated New York in popular culture is dependent on these idealizing and aestheticizing tendencies insofar that they conceal or prettify some of the darker aspects of the period. [ABSTRACT FROM AUTHOR]

Recent scholarship exhorts film historians to attend to production cycles in order to interrogate established conceptions of genres. This essay identifies and examines a neglected cycle of gangster regeneration films that flourished between 1910 and 1925 and constituted the prehistory of a genre usually identified with the early 1930s. The gangster regeneration cycle drew from the slum plays and salvation stories of stage melodrama a set of narrative formulas and thematic concerns that reflected the influence of Progressive ideology. In its attitude to social reform and gender, it stands in sharp distinction to the canonical gangster cycles that succeeded it. [ABSTRACT FROM AUTHOR]

This article aims to trace and articulate the extremely rich production and postproduction history of the early Soviet classic, Sergei Eisenstein's Bronenosets Potemkin(The Battleship Potemkin, 1925). By engaging Paolo Cherchi Usai's idea that early films exist as multiple objects, the paper explicates how Eisenstein's film was re-edited in three of its most important versions: the original 1925 cut; the first international cut, produced in 1926; and the 1950 cut. By elucidating the distinctive sociopolitical conditions that crucially informed all three cuts of the film, the article interprets and compares the visual transformation of Potemkinin accordance with editorial and re-editorial alterations, identifying a nexus of contributing factors that regulate the economy of the visible in Eisenstein's film. I argue that the junction at which authoritative social impulses are negotiated with Eisenstein's individual vision takes us to what might be one of the critical moments in Eisenstein's early career in which his early, avant-garde-informed approach to filmmaking is recalibrated with the rules of dramaturgy of film form. [ABSTRACT FROM AUTHOR]

Drawing on archival materials from the Asia Foundation records at the Hoover Institution Archives and the Robert Blum Papers at Yale University Library, this article focuses on the origins and development of the Federation of Motion Picture Producers in Asia (FPA) by unveiling the existence of the Asia Foundation (TAF) and its forgotten motion-picture projects in Asia. Under the leadership of its first president, Robert Blum (1953-1962), the Asia Foundation, a private nonprofit organization, was actively involved in the motion-picture industries in Cold War Asia. The Asia Foundation covertly supported anticommunist motion-picture industry personnel, ranging from producers, directors, and technicians to critics and writers in Japan, Hong Kong, Burma, and South Korea, as well as American and British motion-picture producers in Malaysia and Thailand through clandestine activities. This study aims to investigate how and to what extent TAF and its field agents furtively acted to construct an anticommunist motion-picture producers' alliance in Asia, responded to local film executives' various needs, and negotiated with the constantly changing political, social, and cultural environments in the region during the project's active periods. [ABSTRACT FROM AUTHOR]

Film scholars in recent years have identified a differentiated landscape of color systems in terms of looks and processes that represent natural color phenomena with increasing fidelity and automation. Here, I propose extending the concept of film colors to techniques that deploy colors in order to produce effects that do not showcolor but useit for other means. Stereoscopy and compositing are two applications from the 1920s that employed complementary colors and that were often developed by the same parties that helped create representational color systems. These correlations have, thus far, not been the subject of color studies because research is organized according to the intended applications of techniques and does not follow the work of the technicians and artists. I argue that techniques that use colors for other purposes have been ignored due to a focus on color primarily in relation to human perception and understanding. To extend the scope of research to nonrepresentational applications of color, as I propose, thus implies a methodological critique of the existing discourse on color as being anthropocentric, that is, as ignoring functional relationships of colors that do not relate to humans. [ABSTRACT FROM AUTHOR]

The article presents literary criticism of the book "Film as Film" by V.F. Perkins. Topics discussed include histories of film and ontology of film as depicted in the book, relationship between illusion and reality and properties that make photography and film fall short of perfect reproduction along with artistic reproduction.

In 1916, Norwegian actress Aud Egede-Nissen established a film production company under her own name in Berlin: the Egede-Nissen-Film Compagnie GmbH. The company created approximately 30 star vehicles for Aud and her sisters Ada and Gerd, with Aud Egede-Nissen also working in the capacity of producer. The company existed until 1921, capitalizing on the German import ban on films during the years 1916-20. Until recently, the transnational career of Aud Egede-Nissen has left a void in the film archive and film documents collection held at the National Library of Norway, where very little material relating to the actress-producer's success on the European continent is found. As Jane Gaines has demonstrated with the Women Film Pioneers Project, the careers of women working during the silent era have largely been left out of film histories. An important aspect of writing female film workers' careers back into film history therefore also relies on creating archives and collecting material, ensuring that future researchers can piece the puzzle back together. This article presents the discovery of fan ephemera and promotional material sold on the online auction website eBay relating to the career of Aud Egede-Nissen. [ABSTRACT FROM AUTHOR]

Based on a case study of municipally sponsored films about the Swedish city of Gothenburg from the decades after World War II, this article contributes to the emerging scholarly field of 'useful cinema'. It is argued that local archival materials are essential for studying this kind of useful cinema with its multiple uses, textual variations, screening contexts and both domestic and international circulation. Local archival materials are further essential for studying not only the local institutional use of cinema, but also the relationship between theatrical and non-theatrical exhibition. Moreover, the international circulation of useful cinema highlighted in the article cannot be studied solely with material from national archives. The conclusion calls for new types of digital archival milieus that capture the dynamics of this part of film history. [ABSTRACT FROM AUTHOR]

Using computational methods, digitized collections and archives can today be scrutinized in their entirety. By distant reading and topic modeling one particular collection - 4500 digitized Swedish Governmental Official Reports (SOU) from 1922 to 1991 - this article gives a new archival perspective of the history of Swedish film politics and policy-making. We examine different probabilistic topics related to film (and media) that the algorithm within the topic modeling software Mallet extracted from the immense text corpora of all these Official Reports. Topic modeling is a computational method to study themes in texts by accentuating words that tend to co-occur and together create different topics. Basically, it is a research tool for the discovery of hidden semantic structures, exploring a collection through the underlying topics that run through it. Hence, our article captures a number of film discourses and trends within the SOU material. In conclusion, we argue that topic modeling should be recognized as a method and research aid for gathering an overview of a major material; as a way to pose new and unforeseen research questions; and as a kind of computational support that makes it possible to apprehend major patterns more or less impossible to detect through a traditional archival investigation. [ABSTRACT FROM AUTHOR]

The article discusses the history of the post-war cinema in Thailand. Topics discussed include the development of cinema and film culture in Thailand in the mid-1950s to the early 1970s, the critical literature concerned with Thai cinema history and research on the Thai cinema emphasizing the contemporary films and specific genres.

In the movie theatre, history risks drowning in sensory response, in pleasure or in shock. Yet the cinema can also contribute to a special knowledge of history. Cutting across genres and modes of filmmaking, exploring the effects of duration, gesture, movement, mise-en-scene, framing and editing, recognising affective connotations and the intricacy of figural-poetic devices, this article weighs the impact of the senses and the imagination vis-a-vis the cinema's historical task. In transforming the narrative past tenses of both fiction and history into the present tense of film viewing the cinema may be said to loosen the critical grip of writing (history's 'proper medium') to destabilise legibility and interpretation, to interfere with the retrospective, synthetic work of history. But this variability the inherent 'impurity', even promiscuity of the medium also invests cinematic experience with a vitality and urgency: it implicates us in what we see, it animates our response, which is at once aesthetic and ethical. [ABSTRACT FROM AUTHOR]

This article explores the relationship between widescreen and the New Wave. The new CinemaScope format arrived in France as the Cahiers du cinéma critics were elaborating the theoretical basis of what would become New Wave filmmaking. Many of the Cahiers critics (Bazin, Truffaut, Rohmer, Rivette) identified widescreen with the cinema of the future, suggesting that the New Wave would be widescreen. In fact, CinemaScope proved to be a relatively short-lived format and few New Wave directors employed it. In technological terms, the New Wave is much more closely identified with the lightweight equipment of location shooting. Nonetheless, the debates around the introduction of widescreen and the subsequent use of the scope format by Truffaut and Godard illuminate some of the crucial tensions within the New Wave and the culture of film criticism and cinephilia from which it developed. The arguments advanced in favour of widescreen in the mid 1950s were often contradictory and at cross-purposes, as were the filmmaking practices of Truffaut and Godard. Ultimately, the New Wave turned out not to be widescreen but the format nonetheless operated as a space offering a provisional resolution for some of the movement’s key contradictions. [ABSTRACT FROM AUTHOR]

The article discusses cinema studies of Asian Americans in motion pictures and other related ethnic and minority fields of study. Topics include the history of film stereotypes, racism, xenophobia, and Asian American civil rights movements. Notable people include director Justin Lin, actress Sandra Oh, and documentary maker Ramona Diaz.

The reception of Italian diva films starring Pina Menichelli, Francesca Bertini, and Lyda Borelli in Mexico City was pivotal in shaping conceptions of the film spectator and the new professional role of the film critic in Mexico City in the late 1910s and early 1920s. In early writings on the divas, journalists (usually erudite and male) established their critical authority through contrasts with the behavior of fanatical fans (usually middle class and female), evaluating the effects of moviegoing, interconnected forms of consumer culture, and the local production of feature films in relation to the nationalistic goals of the postrevolutionary state. [ABSTRACT FROM AUTHOR]

The article traces the history of the ciné-clubs, or film societies, in France from 1930 to 1945 and their efforts to preserve the art of silent cinema and provide viewings of films censored by the government. Topics covered include the activity of Le Ciné-Club de France and Les Amis de Spartacus, which showed censored films; the 1936 formation of the Cinémathèque française, a French archive of film documents and related objects; and the larger network of ciné-clubs across Europe.

An essay which explores working class representation in the film "Le Rendez-vous des quais/Meeting on the Docks," by Paul Carpita on the daily life of dock workers in Marseille, France during the Indochina War, is presented. Topics covered include intersectional working class identities in the film, Carpita's post-war leftwing politics and filmmaking, and the censorship history of the film in the context of the tensions between Carpita and the State and Carpita and the Communist Party.

The article examines the critical rejection of abstract or avant-garde film aesthetics in France during the interwar period by surrealist groups. Topics covered include rehumanization of art to picture the modern perception through the formally realist means, the rise of inter-war mimetic realism, history of Surrealism, role of debates surrounding film and photography in the development of the Surrealist object and the articulation of the avant-garde that resisted organizational structure.

The article examines the career of filmmaker Dimitri Kirsanoff, an Estonian immigrant who migrated to Paris, France, and highlights how a concern for the ecological conditions of a modernizing world influenced the content and form of Kirsanoff's films. Topics covered include eco-cinema modernity based on the distribution of the sensible, interest of Kirsanoff in time-movements, re-definition of modernity by French philosopher Jacques Rancière and history of French ecocinema.

Copyright of Asian Journal of Women's Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)