The Phantom Carriage (1921)

The reputation of The Phantom Carriage (Körkarlen) as one of the major films of Swedish silent cinema is in some respects securely established. Yet the film has attracted surprisingly little detailed discussion. It may be that its most striking stylistic features have deflected or discouraged closer scrutiny. Tom Gunning, for instance, in making the case for Sjöström’s Masterman, argues that ‘Körkarlen wears its technique on its sleeve, overtly displays its unquestionable mastery of superimposition and complex narrative structure. Mästerman tucks its mastery of editing and composition up its sleeve, so to speak’. This article makes an argument for a different evaluation of The Phantom Carriage, bringing a critical and interpretative understanding of the film’s style into conversation with the historical accounts of film form which predominate in the scholarship around silent cinema. It suggests that the film achieves ‘mastery of editing and composition’ with a flexibility and fluidity in the construction of dramatic space that is in itself remarkable for its period, but that Sjöström’s achievements extend well beyond his handling of film space. Specifically, it discusses a segment which is in several respects at the heart of the film: the first meeting between the two central characters, David Holm (Victor Sjöström) and Sister Edit (Astrid Holm); it spans the film’s exact mid-point; and at almost twelve and a half minutes it is the longest uninterrupted passage to take place in a single setting. The chapter argues that the dramatic and structural centrality of the hostel segment is paralleled by its remarkably rich articulation of the relationships between action, character and space. We show how Sjöström’s creation of a three-dimensional filmic space - with no hint of frontality - becomes the basis for a reciprocal relationship between spatial naturalism and performance style, and for a mise-en-scene that can take on discrete interpretive force. The argument also places the hostel sequences within the film as a whole in order to show how relationships articulated through the detailed decisions in this section take on their full resonance within patterns and motifs that develop across the film.

The effectiveness of protected areas in the conservation of species with changing geographical ranges

A cornerstone of conservation is the designation and management of protected areas (PAs): locations often under conservation management containing species of conservation concern, where some development and other detrimental influences are prevented or mitigated. However, the value of PAs for conserving biodiversity in the long term has been questioned given that species are changing their distributions in response to climatic change. There is a concern that PAs may become climatically unsuitable for those species that they were designated to protect, and may not be located appropriately to receive newly-colonizing species for which the climate is improving. In the present study, we analyze fine-scale distribution data from detailed resurveys of seven butterfly and 11 bird species in Great Britain aiming to examine any effect of PA designation in preventing extinctions and promoting colonizations. We found a positive effect of PA designation on species' persistence at trailing-edge warm range margins, although with a decreased magnitude at higher latitudes and altitudes. In addition, colonizations by range expanding species were more likely to occur on PAs even after altitude and latitude were taken into account. PAs will therefore remain an important strategy for conservation. The potential for PA management to mitigate the effects of climatic change for retracting species deserves further investigation.