Hindi cinema and its other

 Wider understandings of popular, commercial Hindi (Indian) cinema centre on discourses surrounding the ‘Bollywood’ machine. In these discussions, a critical exploration of Adivasi (Indigenous) representation in Hindi cinema is often left unexplored. Popular Hindi cinema as a World Cinema exerts tremendous influence in India, and indeed South Asia. However, it continues to provide essentialist representations of Adivasi communities in India. This paper discusses some of these representations in commercial Hindi cinema, by looking at examples of film texts with Adivasi characters. It also examines the difficulties involved in cinematic representations which are blind to multiple identities within the nation-state, in this case, how Adivasis are constructed within popular Hindi cinema as the ‘Other’, to an already existing ‘Other’ subaltern (Indian) mass.
This paper additionally explores some examples of how, rather than be ‘swamped’ by Hindi film’s cultural dominance, local audiences, particularly in Adivasi communities, are negotiating with it to their advantage. It is in these peripheral and under-represented communities, that local media traditions are blending with popular Hindi cinema to produce creative results. How such results are re-invigorating the Adivasi film and music industries is examined.

Raat Ki Rani : nightclubs, vamps and urban transgressive spaces in Hindi cinema

This paper considers how city spaces in Hindi cinema have repeatedly been viewed as sites of transgressive sexual experience, particularly via representations of female sexuality in nightclubs and the flagrant performances of the women or ‘vamps’ that inhabit them. Emerging in Hindi cinema in the 1950s, and becoming a staple in films of the 1960s and 1970s, the ‘vamp’ became synonymous with unrestrained sexuality and the immorality of the city. The dichotomy between the idealised, bucolic, timeless village and the city as an icon of degenerate modernity was repeatedly seen in Hindi cinema, and the strongest signifier of this urban immorality was the ‘vamp’ who was seen as an outsider, and connoted urban vice, excess and desire. By and large the actresses that played ‘vamps’ (such as the blonde haired and blue eyed Helen) were of ‘Western’ appearance. The cabaret and nightclub were thus seen as being ‘Western’ in origin. This paper discusses how this was perhaps a response to colonial and Orientalist stereotyping, where the ‘Indian’ woman and the ‘Western’ woman operated as binary oppositional structures. Such oppositions were clearly present in nightclub dance performances, which were full of meaning to the cinematic audience, who would be able to ‘read’ the seductive, gyrating and explicit movements. This paper decodes examples of the movements in these ‘decadent’ performances, as it was through these movements and performances that the ‘westernised vamp’ became firmly located in urban transgressive spaces, closely tied with national anxiety about the depravity of city spaces.

Managerial share ownership and discretionary accruals in Australia : do independent and executive directors have different incentives?

We examine the relation between managerial share ownership (MSO) and discretionary accruals in Australia. We find a positive relation between MSO and discretionary accruals up to a certain level of MSO followed by a negative relation (inverse U-shaped). We suggest that these unique results are a result of certain Australian institutional features that are markedly different to those in the US and the UK and imply that the ownership-discretionary accruals relation is context specific with the wider corporate governance systems influencing the theorised incentive effects. We also posit that executive directors and independent directors have different ownership-discretionary accruals incentives and report results consistent with this proposition.

Media-independent knowledge representation via UMART : unified mental annotation and retrieval tool

Multimedia information is now routinely available in the forms of text, pictures, animation and sound. Although text objects are relatively easy to deal with (in terms of information search and retrieval), other information bearing objects (such as sound, images, animation) are more difficult to index. Our research is aimed at developing better ways of representing multimedia objects by using a conceptual representation based on Schank's conceptual dependencies. Moreover, the representation allows for users' individual interpretations to be embedded in the system. This will alleviate the problems associated with traditional semantic networks by allowing for coexistence of multiple views of the same information. The viability of the approach is tested, and the preliminary results reported.

Media-independent information representation and retrieval

In this paper we propose a media-independent knowledge indexing and retrieval system as a basis for an information retrieval system. The representation allows for sharing of low level information bearing objects and at the same time allows for maintaining of user-dependent views. The tools for maintenance and manipulation of concepts focus on the user and user's intentions. The aim of the system is to provide a set of flexible tools and let the user structure the knowledge in his or her own way, instead of attempting to build an all-encompassing common sense, or general knowledge representation.

Media independent knowledge indexing and retrieval

Composing a multimedia presentation may require creation or generation of suitable images and video segments, as well as animation, sound, or special effects. Obtaining images or video sequences can be prohibitively expensive when costs of travel to location, equipment, staff, etc, are considered. Those problems can be alleviated with the use of pictorial and video digital libraries, such libraries require methods for comprehensive indexing and annotation of stored items and efficient retrieval tools.

We propose a system based on user oriented perceptions as they influence query formation in image and video retrieval. We present a method based on user dependent conceptual structures for creating and maintaining indexes to images and video sequences.

New cinema history and the computational turn

This paper outlines how the digitisation of both the film industry and contemporary research practices bear on the work of the new cinema historian. How might the opportunities presented by an unprecedented proliferation of data for example, also challenge the unspoken assumptions and ordinary practices of conventional film studies research? And how might the 'computational turn' present opportunities (and challenges) for a revisionist cinema history at the intersection of qualitative historiographies (focussed on the social experience of the cinema) and quantitative research approaches such as data mining, empirical analysis and digital visualisations?

Age at quitting smoking as a predictor of risk of cardiovascular disease incidence independent of smoking status, time since quitting and pack-years

Background: Risk prediction for CVD events has been shown to vary according to current smoking status, pack-years smoked over a lifetime, time since quitting and age at quitting. The latter two are closely and inversely related. It is not known whether the age at which one quits smoking is an additional important predictor of CVD events. The aim of this study was to determine whether the risk of CVD events varied according to age at quitting after taking into account current smoking status, lifetime pack-years smoked and time since quitting.
Findings. We used the Cox proportional hazards model to evaluate the risk of developing a first CVD event for a cohort of participants in the Framingham Offspring Heart Study who attended the fourth examination between ages 30 and 74 years and were free of CVD. Those who quit before the median age of 37 years had a risk of CVD incidence similar to those who were never smokers. The incorporation of age at quitting in the smoking variable resulted in better prediction than the model which had a simple current smoker/non-smoker measure and the one that incorporated both time since quitting and pack-years. These models demonstrated good discrimination, calibration and global fit. The risk among those quitting more than 5 years prior to the baseline exam and those whose age at quitting was prior to 44 years was similar to the risk among never smokers. However, the risk among those quitting less than 5 years prior to the baseline exam and those who continued to smoke until 44 years of age (or beyond) was two and a half times higher than that of never smokers.
Conclusions: Age at quitting improves the prediction of risk of CVD incidence even after other smoking measures are taken into account. The clinical benefit of adding age at quitting to the model with other smoking measures may be greater than the associated costs. Thus, age at quitting should be considered in addition to smoking status, time since quitting and pack-years when counselling individuals about their cardiovascular risk.

A disposable contact lens in independent practice : three years on

First introduced late in 1987 the Acuvue lens was originally launched as an extended-wear lens, though it soon became adapted to daily wear. It received an FDA licence for daily wear in the USA in 1990.