Star Cast Research Articles

The Changing Face of Mao: From Texing Actor to Star Casting in Chinese Main Melody Films

Serving as political propaganda through entertainment, China’s “main melody” films came into existence under specific historical circumstances in the late 1980s and have kept evolving with the changing Chinese film industry. The increasing prevalence of film stars taking on historical roles in these films represents one of the most conspicuous changes in the practice. Instead of regarding the stars only as serving a commercial function to increase audience sizes, this article adopts a socio-semiotic approach to explore the impact of having film stars in the main melody film texts. Through analyzing three generations of Mao actors and their performances, I argue that the casting of stars helps to de-textualize the revolutionary messages and transform their ideological symbolism into social discourse. The film stars help main melody films become an integral part of contemporary Chinese political culture, characterized by a similar separation of form and content.

EU State Aid Rules and the European Green Deal: Will Their Stars Align?

The European Union (EU) is in the process of revamping its star cast for a greener production. While, economic growth and competition rules have dominated the centre stage and been the lead actors so far, the director - European Commission (EC) is now trying to spotlight imminent issues such as ‘sustainability’, ‘environment protection’ and ‘climate change’ through its newest rising stars the ‘European green deal’, ‘European climate law’ and ‘Fit for 55’ package, albeit with some resistance from senior actors such as ‘competition rules’, more specifically the ‘state aid rules’. This paper covers the story of the rise, conflicts and probable conciliation between these actors on the grand EU stage. European Green Deal, EU State aid, Competition, Fit for 55, Environment, Sustainability

Prediction of movie success based on machine learning and twitter sentiment analysis using internet movie database data

<span lang="EN-US">Nowadays, predicting the success of a new movie is a crucial task. In this work, the hybrid approach considers the movie features as well as sentiment expressed in the movie review to predict the success rate of a movie. Multiple movie features such as title, director, star cast, and writer. Are considered for prediction. The related raw data is collected from the internet movie database (IMDb) website and after pre-processing, the collected data is used to generate the supervised machine learning model. Different supervised learning models are compared and the one with the best results is used further. The mean squared error, root mean squared error and r2 score of the models generated are comparable with existing models. Further, sentiment analysis of the movie-related tweets is performed. The accuracy of best sentiment analysis model is 88.47%. Finally, the two models are combined to give the success prediction rating of new movies and the results of the hybrid model are encouraging. The proposed model may be used to find the top-rated movies of a particular calendar year.</span>

Portrayal of Gandhi in Cinema: An Analysis


 
 
 
 Satyajit Ray believed Indian cinema needed an icon, uniquely Indian, who would give us a distinct identity. In course of time, Gandhi came to be seen as an inspiration who became a popular subject for cinema, in India and abroad. The ideas of Gandhi and Gandhism are popular subjects for the visual narratives. While Gandhi's life and work fascinated filmmakers around the world, Gandhi considered cinema as “evil” and was sceptical about its influence over the masses. In his lifetime, Gandhi saw only one film, Vijay Bhatt's Ram Rajya (1943). He refused to meet Charlie Chaplin, the then greatest star, calling him 'just a buffoon'. Even though Gandhi did not have a high opinion of cinema, film industry can be considered to be the most secular industry. The films of those times promoted nationalist fervour and spread humanitarian values, the same ideals Gandhi believed in and preached. It is interesting to note that even though Gandhi is the Father of our Nation, the first two films on Gandhi were produced by the Westerners, i.e Nine Hours to Rama (1963) by Mark Robson, and Gandhi (1982) by Richard Attenborough. Further the star cast involved actors mostly from the Britain or from the West. Indian producers and directors considered a film on Gandhi to be a risk. Even Nehru was of the opinion that the Government was not fit enough to make a film on Gandhi and there was lack of competent people to do so. But after the mega success of Attenborough's Gandhi, there was a big spurt of Indian film production on Gandhi.
 Portrayal of Gandhi in films is a strategy for marketing Gandhian philosophy and in disseminating different aspects of Gandhi unexpressed before. There is plurality of expression of Gandhian philosophies in the visual medium like cinema. My paper makes a humble attempt to analyse different facets of Gandhi's life as portrayed in two films, one directed by a foreigner and another by an Indian. Those two films are Attenborough's Gandhi (1982) where Gandhi is presented as a national hero who agitated against the British using his dual weapons of Ahimsa and Satyagraha and attained freedom for India; and Rajkumar Hirani's Lage Raho Munnabhai (2006) where Gandhi is depicted in a novel way in a comic pattern to impart Gandhian philosophy at the contemporary age.
 
 
 

Latin Literature

These days Flavian epic and intertextuality go together like toast and butter, or a persistent cough and fever, depending on your taste. Either way, Intertextuality in Flavian Epic. Contemporary Approaches is not perhaps the most startling of titles. But the book within is an impressive collection, its four editors (Neil Coffee, Chris Forstall, Lavinia Galli Milić, and Damien Nelis) leading a star cast of Flavians in a wide-ranging and stimulating set of chapters.

Shameless, the push-pull of transatlantic fiction format adaptation, and star casting

ABSTRACTFiction format adaptations have scored notable successes in recent years and been attracting increasing scholarly attention. The US version of Shameless has been one of the most conspicuous: based on Paul Abbott’s series (C4 2004–2013), Shameless USA (2011-present) has become a signature series for Showtime. While Shameless USA has attracted a good amount of coverage in critics’ and press discourses, it has, compared to its British progenitor, received scant mention in scholarship.This article provides a detailed examination of Shameless’ transatlantic move, because this offers the opportunity to capture the complex push-pull of textual and contextual factors that impede or facilitate fiction format adaption. The article traces the protracted development process for Shameless USA and considers the ways in which this format adaptation engages with issues concerning the politics of representation, especially in terms of the family and social class. Via a comparative analysis of the presence of actors David Threlfall and William H. Macy in their respective versions, the article furthermore pays attention to star casting. Drawing and building on the notion of ‘contested cultural space’, the article argues that star casting is crucial to, yet has thus far received insufficient attention in scholarship on fiction format adaptations.

Pre-launch Prediction of Market Performance for Short Lifecycle Products Using Online Community Data

Prediction of sales for short life-cycle products can be problematic. Generic predictive models based on past launches may provide only crude historic data which are unsuited for distinctive, innovative products. This paper investigates the role of online communities in providing pre-launch data to predict post-launch sales. We argue that levels of awareness, word-of-mouth, expectations, and adoption intention prevailing within an online community for an upcoming product have an independent direct effect on the product's future sales. Additionally, we test the complementarity effect of these community variables by introducing a higher order construct called Pre-release Community Buzz, to demonstrate the incremental explanatory power of using pre-launch community variables to predict post-launch sales. Data for community variables were collected from a movie-based online community, and analyzed using Partial Least Squares Structural Equation Modeling (PLS-SEM). We found strong support for both direct and complementarity effects of community variables in predicting a movie's opening week sales. We also found that community variables mediate the effects of generic predictor variables such as MPAA ratings, star cast, production budget and competition on opening week sales. Tests for robustness demonstrated the value of community variables. Models which included community variables had higher predictive power than those without. Implications for theory and practice are presented.

Offline: “Our systems simply couldn't cope”

Offline: “Our systems simply couldn't cope”

The Recent Trend in Licensed Broadway Musicals in South Korea: Hybrid Cultural Products of K-Drama and K-Pop

The Recent Trend in Licensed Broadway Musicals in South KoreaHybrid Cultural Products of K-Drama and K-Pop Jae Kyoung Kim (bio) The mass-industrialized musical companies from Broadway and the West End have already encroached on the world theatre their megamusical productions filled with flashy dance numbers and thrilling spectacles. As a result of expansion overseas by these Western companies, Asians, like New Yorkers and Londoners, can easily attend popular mega-productions at local theatre venues. These global musical “McTheatres,” a term coined by Dan Rebellato, make a profit on their original productions in foreign countries in two ways: either by dispatching their international tour troupes for a short-run show or by selling licenses to foreign production companies for a long-run show. South Korea (hereafter, Korea) has been seen as a lucrative market for Broadway hit megamusicals, including not only American musicals but also European musicals that became Broadway hits. The performances of international tour productions, by showcasing ready-made productions to Korean audiences, provide an almost one-way cultural flow, which has been considered an undesirable intercultural exchange by some scholars, including Rustom Bharucha and Patrice Pavis.1 On the other hand, the licensed Broadway musicals (hereafter, licensed musicals) have triggered a hybrid intercultural adaptation controlled primarily by the performances of Korean actors, though considering this intercultural flow to be a good example of a two-way intercultural exchange is also debatable. While the traditional characteristics of megamusicals are described as “a sung-through score with no spoken dialogue, lavish and complicated sets, and an extremely emotional, larger-than-life plot,”2 star casting has become indispensable in licensed megamusicals in Korea. Star casting has created a new phenomenon in the domestic musical industry, owing to [End Page 86] its correlation with Korean popular entertainment, especially K-drama (Korean television drama) and K-pop (Korean pop music). In light of these developments in Korean popular culture, this paper examines the cast, target audience, and publicity of Broadway musicals that are reproduced as licensed musicals in Korea. Within a context of commercialism and capitalization, I maintain that although the licensed musicals in Korea have promptly evolved from theatre to popular show and media business, they still need to build their own aesthetic territory, and move beyond star casting and the strictures of the original creators. The licensed musicals in Korea refer to a set of Western musicals, which are produced and performed by Koreans. These productions often get technical assistance from original creative teams in the West, but they are mostly performed by Koreans with translated Korean lyrics. Korea’s musical industry, with licensed musicals at its center, has achieved rapid growth as a major entertainment player, and the preferences of Korean audiences have had a decisive effect on the marketing strategy of these licensed musicals. The Korean cultural phenomenon described as hallyu(translated as the Korean Wave in reference to recent success across entertainment industry platforms) is essential to explaining the use of K-drama and K-pop stars, who are mostly young and attractive, in licensed musicals. Jekyll and Hyde (2004) and Catch Me If You Can (2012), both successful cases of star marketing, are typical of this trend.3 These two productions sold out more quickly than other better-known licensed musicals (e.g., The Lion King, Aida, Mamma Mia!, Chicago, and Cats) because they featured powerful male stars rather than experienced ensembles. That this phenomenon appears more often in licensed musicals than in original domestic musicals shows that the rapid commercialization of licensed musicals, boosted by the popularity of K-drama and K-pop, is the primary cause of the gap between licensed musicals and original domestic musicals. Indeed, if the licensed musical is ever to embrace a more diverse audience, star casting needs to be supplemented by adding more creative and aesthetic contents. A Brief History of the Licensed Musical Industry in Korea The history of the licensed musical in Korea is roughly divided into two periods, before and after observance of the international license laws; from this point onward, the licensed musical has reshaped its character as gigantic, systematic, commercial, and international. Since 2000, the musical industry has accounted...

STAR CAST: Preliminary Results of Trial to Regress Hypertension

Results from animal models have shown that hypertension can be regressed to normal blood pressure (BP) levels [Smallegange C et al. Hypertension 2004] and that this reduction can be maintained after pulse treatment with an angiotensin receptor blocker [Ishiguro K et al. Hypertension 2009]. The Short Treatment with Angiotensin Receptor Blocker Candesartan Surveyed by Telemedicine study [STAR CAST; Sasamura H. Hypertens Res 2008; UMIN-CTR UMIN000000941] tested the feasibility of regressing hypertension in humans.

Cosmic Effects on the Intimate Screen: J. B. Priestley, Ralph Richardson and Johnson over Jordan (1965)

This article considers ideas about the suitability of experimental, non-naturalist, narrative forms in theatre and television, through the example of a 1965 BBC2 adaptation of J. B. Priestley's 1939 play Johnson over Jordan. Using both textual analysis of the programme and research into the BBC production documentation, this essay explains how the circumstances and conditions of 1960s television adaptation and the star casting of Sir Ralph Richardson transformed Priestley's stage play. The TV adaptation achieved cosmic effects on an intimate scale, through inference and the imaginative integration of the studio space with dubbed sound.

Management of Prehypertension: Current Status and Future Strategies

Prehypertension is known to be a risk factor for hypertension and cardiovascular disease. If prehypertension is left untreated, the blood pressure continues to increase due to multiple accelerators which facilitate the development of hypertension. Studies using animal models of hypertension suggested that interruption of these mechanisms by transient inhibition of the renin-angiotensin system (RAS) attenuates the development of hypertension. The TROPHY study provided clinical evidence that pharmacological intervention in the prehypertensive stage may suppress subsequent development of hypertension. Recently, we reported that high dose angiotensin inhibition in spontaneously hypertensive rats (SHR) with established hypertension caused a significant regression of hypertension, and we have started a prospective, multi-center clinical study (STAR CAST study) to examine if regression from hypertension back to prehypertension may also be feasible in humans. Since prehypertension is increasingly recognized as an important public health issue, further studies to assess strategies for attenuating the progression from prehypertension to hypertension are required.

Seminar on VAT on Financial Services at the University of Lisbon

The Seminar on value added tax (VAT) on Financial Services was the fifth part of the postgraduate course in advanced tax law Key Topics in European VAT, that was organized on 26 June 2010 at the Law Faculty of University of Lisbon by Instituto de Direito Económico Financeiro Fiscal (IDEFF). This seminar had a real ‘star cast’: Professor Dr Ben J. M. Terra and Dr Oskar Henkow from School of Economics and Management of the Lund University, Professor Dr Joachim Englisch from University of Münster and Dr Rita de la Feria from the Centre for Business Taxation, Oxford University. Even the eruption of the Icelandic volcano Eyjafjallajökull was merely able to cause for postponement, rather than cancelling of this meeting between four of the best experts on VAT in Europe. In this meeting they shared their knowledge with the participants of the Seminar and the course Key Topics in European VAT – readers of INTERTAX can now access it too via this report.

Prevention and regression of hypertension: role of renal microvascular protection

Hypertension is a disease which affects over 26.4% of the world adult population, therefore novel approaches to the prevention and treatment of this disease need to be examined. Previous studies from our and other laboratories have shown that treatment of spontaneously hypertensive rats (SHR) and Dahl salt-sensitive rats with a renin-angiotensin system (RAS) inhibitor during the 'critical period' in hypertension development results in prevention of the later development of hypertension. In humans, Julius et al. reported similar findings in the landmark TROPHY study. Recently, we reported that 'pulse' treatment of SHR with high-dose angiotensin receptor blocker (ARB) is effective in causing sustained reduction of already established hypertension, even when the treatment was started after the 'critical period'. These results suggest the possibility that 'regression' of established hypertension may become feasible, and we have started a prospective, multicenter clinical study (STAR CAST study) to examine this possibility. In our animal studies, we found that treatment of rats during the 'critical period' with an ARB inhibits the development of renal arteriolar hypertrophy. Moreover, a high-dose angiotensin blocker caused a remarkable reversal of renal arteriolar hypertrophy in SHR, which was associated with changes in microvascular MMP expression. These results suggest that changes in the renal microvasculature may have an important role in the mechanisms of hypertension prevention and regression by ARB.

Downloading doppelgängers: New media anxieties and transnational ironies in Battlestar Galactica

This essay reads the re-made Battlestar Galactica series according to the Canadian contexts of its production and the globalised contexts of its distribution, both formal (on cable TV) and informal (on the Internet). Contextualised within the history of media imperialism in Canada, the British Columbia sets and Canadian star casting of the series ironically articulate US–Canadian border and security concerns. Battlestar Galactica focuses particular attention on new media issues at a moment when the Canadian government is responding to pressure from US entertainment interests to align its intellectual property laws with their more punitive American counterparts.

The Short Treatment with the Angiotensin Receptor Blocker Candesartan Surveyed by Telemedicine (STAR CAST) Study: Rationale and Study Design

Previous studies have shown that transient treatment of animal models of hypertension with an angiotensin receptor blocker (ARB) causes a sustained decrease in blood pressure values that persists even after the drug treatment is discontinued (J Am Soc Nephrol 12: 659-666, 2001; Nephron 91: 710-718, 2002; Hypertens Res 30: 63-75, 2007). These results have been shown to be clinically relevant by the recent TROPHY study (N Engl J Med 354: 1685-1697, 2006). We have recently found that transient treatment with an ARB may also cause regression of established hypertension in hypertensive rats (J Am Soc Nephrol 18: 157A, 2007). The Short Treatment with the Angiotensin Receptor Blocker Candesartan Surveyed by Telemedicine (STAR CAST) study is a prospective, randomized, open, blinded end-point study in patients aged 30-59 with a positive family history of hypertension that will be conducted in several centers in Japan. The aim of the study is to evaluate the antihypertensive drug withdrawal success rate, the median duration of drug withdrawal, and the changes in home and office blood pressure values in patients with mild hypertension after tapering and withdrawal of antihypertensive treatment following treatment for 1 year with the ARB candesartan or the calcium channel blocker (CCB) nifedipine slow-release. A unique feature of this study is the use of a home blood pressure monitoring telemedicine system (i-TECHO) to allow frequent evaluation of the changes in blood pressure in the trial patients. This study will be the first clinical study to examine if regression from stage 1 (mild) hypertension to prehypertension (high-normal blood pressure) is possible using an ARB or CCB.

Sex, Guns, and Death: Deborah Warner's Adaptation of The Last September

The title of Elizabeth Bowen's 1929 novel The Last September denotes end of an age of political innocence, or perhaps more correctly, of political insou ciance: last days in which Anglo-Irish rule of Ireland could be conduct ed with colonial hauteur. The novel carries considerable authority, as Bowen herself grew up in Big House society in County Cork, and was twenty-one years old?or young, like her protagonist Lois Farquar?in 1920, year in which novel takes place. Director Deborah Warner 1999 film adaptation of novel, though commercially unsuccessful, also merits critical attention for several reasons. Beautifully filmed by cinematographer Slawomir Idziak, its star cast, including Maggie Smith, Fiona Shaw, and Michael Gambon, is supple mented by brilliant newcomer Keeley Hawes in lead role. The film also treats Anglo-Irish nonchalance with right degree of dry irony, thanks to a polished screenplay by novelist John Banville. In addition, Warner and Banville's adaptation of novel raises important questions regarding politics of Irish history in film. Warner and Banville restructure plot and add a new line, giving credence to film theorist Brian McFarlane's distinction between plot and story. McFarlane defines story as basic succession of events, while plot is the distinctive way in which is made strange, creatively deformed and defamiliarized.1 In other words, plot is individual narrator's interpretation of base material, and it goes with out saying that every narrator sees and tells a in his or her own way. McFarlane stresses, in first chapter of Novel to Film: An Introduction to Theory of Adaptation (1996), that adaptations are always also originals, and thus need to be judged by filmmaker's intentions regarding fidelity or non fidelity to original, rather than by a dogged insistence that film repro duce novel verbatim. The latter is something a film cannot do, because film

Wong Kar-wai: Auteur of Time (review)

Reviewed by: Wong Kar-wai: Auteur of Time Audrey Yue (bio) Stephen Teo . Wong Kar-wai: Auteur of Time. World Directors Series. London: British Film Institute, 2005. vii, 151 pp. Hardcover $80.00, ISBN1-84457-028-2. Paperback $23.95, ISBN1-84457-028-0. Wong Kar-wai is Hong Kong's most critically acclaimed director renowned for his collaboration with the A-list of Asia's movie stars, a mega celebrity star cast that include Maggie Cheung, Tony Leung Chiu-wai, Andy Lau, Brigitte Lin, Carina Lau, Zhang Zhiyi and the late Leslie Cheung. His mood films inspire fashion trends, as seen in the recent neo-Orientalist revival of the high collared cheongsam; his music pastiche, fusing the electronic trip hop of Massive Attack, the folk pop of the Mamas and Papas, with the yellow music of Zhou Xuan and the Latin ballads of Nat King Cole, resound again and again long after the film is watched; his fish- and scope-eye cinematography reinvent the orthodoxy of cinematic framing and the mise en scène; and these aesthetics combine to reinvigorate the film art of storytelling through a lingering desire with the art of time and space. A sorcerer of memory, he is the master of repetition, style, the modern, and postmodern. With only eight films over the last fourteen years, Wong has, in his young career, created a distinct genre that has earned him the status of a great auteur. That Wong Kar-wai has inspired film courses and film retrospectives at universities and film festivals all over the world is not at all an overstatement. His films are as closely dissected and as passionately devoured as those by Scorsese, Kurosawa, or Hitchcock. Stephen Teo's recent book on the director, commissioned by the British Film Institute as part of its World Directors Series that includes Yash Chopra, Jane Campion, and Atom Egoyan, is one in the line of books that have been published in recent years devoted to the study of the auteur. Compared to others such as Jeremy Tambling's Happy Together and Ackbar Abbas' Ashes of Time published by the Hong Kong University Press, or the similarly-titled Paris edited collection by Jean-Marc Lalanne, Teo's account is by far the most accessible and readable. The book traces the origins of Wong's cinema by examining the influence of his 1960s Shanghai cultural roots and other cinematic and art styles. Teo intertexualizes Wong's postmodern aesthetic by referencing the masters of cinemas in the likes of Orson Welles, Erich von Stroheim, Douglas Sirk, Alain Resnais, Robert Bresson, Jean-Luc Goddard, and Mikio Naruse. On cinematic framing, Teo again quotes art history like an eclectic encyclopedic list: van Gogh, Richter, Rembrandt, Olsen, Michelangelo, Bacon, Dali, de Chirico, and Duchamp. These references are replete throughout the book and risk subsuming the film texts to a larger metatext of European grand film masters and great painters. For example, examining the jerk motion fisheye camera work that captures the blond-wigged Brigitte Lin [End Page 261] eluding a cop in the alleyways of Chung King Mansions in the Chungking Express (1994), Teo writes: "These scenes fulfil the need to tell the story quickly, and do it with remarkable clarity, given that [co-cinematographer] Lau fractures the surface of his images like a cubist painter, thus enhancing the idea that many things are happening at the same time. Like Duchamp's Nude Descending a Staircase, Brigitte Lin's character has multiple body parts" (p. 62). In another description of Maggie Cheung in the critically acclaimed In The Mood for Love (2000), he further speculates: "[T]he vision of [her] ascending and descending the staircase in quick, indistinct, staccato movements serves equally to remind us of Marcel Duchamp's Nude Descending a Staircase (1912) or Gerhard Richter's Woman Descending the Staircase (1965), and indeed Cortázar's 'Instructions on How to Climb a Staircase'" (p. 132). These classic cinematic moments in Wong's oeuvre have already been rigorously explored by scholars such as Gina Marchetti and Marc Siegel to evoke the claustrophobic effects of a congested city; yet Teo has omitted these in favor of an analysis that reifies the...

(Trans)National X-Factor: Patrick Stewart, Britishness and the Promotion of X-Men

Lord of the Rings (2001, 2002, 2003) had one. The Matrix (1999), Gladiator (2000) and Titanic (1997) also boasted them. Even films as diverse as Shrek (2001) and The Mummy (1999) (and their sequels) were careful to include them. As important as special effects, new technologies and exotic locales may be to the contemporary blockbuster, none of these it would seem can overwhelm the need for that special human ingredient of the blockbuster film: the star. But in all of these cases the brightest stars, like Julia Roberts or Tom Hanks, were cast aside for a relatively dwarf star cast. To push this metaphor even further, all of the films listed above boasted constellations of minor stars intended to exceed the sum of individual expectation. X-Men (2000) is perhaps the best recent example of constellated star casting: from Ian McKellen and Anna Paquin through Halle Berry to Famke Janssen, X-Men's appeals ranged from the actorly to the sexy. Former and future Bond-girls and Oscar winners aside for a moment, X-Men' s ensemble cast had more particular and general roles to play. They represented a multi-generational, multinational, multiracial stardom available for deployment across the globe during X-Men 's promotion. The terrain and identity of the blockbuster, particularly the subset represented by X-Men, are among the least mapped and consequently misunderstood of Hollywood phenomena. Though the entertainment media deploy the term blockbuster without difficulty across almost every genre of film, academically the term has been more elusive. Julian Stringer, in his edited collection Movie Blockbusters, problematises the notion declaring that 'the movie blockbuster is a multifaceted phenomenon whose meanings are contingent upon the presence of a range of discourses both internal and external to the Hollywood and indeed the non-US film industries.'1 His attempt to map the blockbuster's terrain usefully brings in the notion of nationality, which will form the focus of this analysis. However, it also begs an explanation of the blockbuster as it will be understood hereafter.

JONES, T. P. & ROWE, N. P. (eds) 1999. Fossil Plants and Spores: Modern Techniques. xii + 396 pp. London, Bath: Geological Society of London. Price £70.00, US $117.00; members' price £35.00, US $58.00; AAPG/SEPM/GSA price £42.00, US $70.00; hard covers. ISBN 1 86239 048 7.

JONES, T. P. & ROWE, N. P. (eds) 1999. Fossil Plants and Spores: Modern Techniques. xii + 396 pp. London, Bath: Geological Society of London. Price £70.00, US 58.00; AAPG/SEPM/GSA price £42.00, US $70.00; hard covers. ISBN 1 86239 048 7. - Volume 137 Issue 4