Forearm bone mineral density and incidence of hip fractures in Swedish urban and rural men 1987-2002

Background: It is not known whether the recently described break in the trend in hip fracture incidence in many settings applies in both women and men, depends on changes in bone mineral density (BMD) or changes in other risk factors, or whether it is apparent in both urban and rural settings. Methods: We evaluated changes in annual hip fracture incidence from 1987 to 2002 in Swedish men aged ≥60 years in one urban (n=25,491) and one rural population (n=16,432) and also secular differences in BMD, measured by single-photon absorptiometry at the distal radius and multiple other risk factors for hip fracture in a population-based sub-sample of the urban and the rural men aged 60–80 years in 1988/89 (n=202 vs. 121) and in 1998/99 (n=79 vs. 69). Results: No statistically significant changes in the annual age-adjusted hip fracture incidence per 10,000 were apparent from 1987 to 2002 in urban (0.38 per year, 95% CI-0.12 to 0.88) or rural men (-0.05 per year, 95% CI -0.63 to 0.53). BMD was similar in 1988/89 and 1998/99 when examining both urban (-19.6 mg/cm², 95% CI -42.6 to 3.5) and rural (-23.0 mg/cm², 95% CI -52.1 to 6.1) men. Conclusions: Since no secular change in age-adjusted hip fracture incidence was found during the study period, a levelling off in hip fracture incidence is present also in Swedish men. Because BMD on a group level was similar in 1988/89 and 1998/99, changes in other risk factors ought to be either of minor importance or counteracted by changes in different risk factors.

The silent screen (1895-1928)

In chapter 1, Victoria Duckett introduces the silent screen years (1895–1927) by investigating the American poet Vachel Lindsay’s claim in 1915 that European stage acting was unsuited to film. This critique held sway for decades, during which commentators celebrated American, as opposed to European, contributions to the new craft of motion picture acting. European acting became associated with mannered staginess in contrast to a more subtle American style. Building on recent scholarship that questions this dichotomy, Duckett skillfully analyzes the screen performances of two women actors: the French Sarah Bernhardt, arguably the most famous late nineteenth-century actor, who electrified theater audiences but made relatively few film appearances, and the American Lillian Gish, who began her career as a child in stage melodramas but whose fame derived from her appearances in films. Duckett’s nuanced reading of Bernhardt’s performance in the film Camille (Film D’Art, 1911) and Lillian Gish’s in Broken Blossoms (D. W. Griffith, 1919) reveals that despite their differences, they both used their bodies expressively to convey meanings and emotions.