The influence of lodgepole pine (Pinus contorta) provenance on the development and survival of larvae of the pine beauty moth Panolis flammea (Lepidoptera: Noctuidae)

Larvae of the pine beauty moth Panolis flammae (Denis & Schiffermuller) were reared in sleeve cages on five different seed origins (provenances) of pole stage Pinus contorta in the field in each of four years from 1985 to 1988. Survival varied significantly between the years. In those years when survival was high, significant differences between tree provenance were not found. However, between provenance significant differences were found in larval weight and stage of development. In the years when survival was low, the results seen in good years were reversed. Significant differences attributable to provenance were found but these were not reflected in significant differences between larval weight or development. In addition, there was a significant correlation between the proportion surviving and larval weight, which was not the case in those years where larval survival was high. The results are discussed in light of the pest status of P, flammea in Britain and in view of current silvicultural policies. The use of trees resistant to insect attack as part of an integrated pest management programme is highlighted and the need to coordinate laboratory and field studies so as to control for environmental variation discussed.

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.