Microscopy for the detection, identification and quantification of malaria parasites on stained thick and thin blood films in research settings

Summary This manual was developed to guide a move towards common standards for undertaking and reporting research microscopy for malaria parasite detection, identification and quantification. It contains procedures based on agreed quality assurance standards for research malaria microscopy defined at a consultation of: TDR, the Special Programme for Research and Training in Tropical Diseases; the Worldwide Antimalarial Resistance Network (WWARN), United Kingdom; the Foundation for Innovative New Diagnostics (FIND), Switzerland; the Centers for Disease Control and Prevention (CDC), USA; the Kenya Medical Research Institute (KEMRI) and later expanded to include Amref Health Africa (Kenya); the Eijkman-Oxford Clinical Research Unit (EOCRU), Indonesia; Institut Pasteur du Cambodge (IPC); Institut de recherche pour le Développement (IRD), Senegal; the Global Good and Intellectual Ventures Laboratory (GG-IVL), USA; the Mahidol-Oxford Tropical Medicine Research Unit (MORU), Thailand; Queensland University of Technology (QUT), Australia, and the Shoklo Malaria Research Unit (SMRU), Thailand. These collaborating institutions commit to adhering to these standards in published research studies. It is hoped that they will form a solid basis for the wider adoption of standardized reference microscopy protocols for malaria research.

Disciplining the screen through education: The Royal Commission into the moving picture industry in Australia

In this article, we investigate the complex relationship between concerns about children and young people’s exposure to cinema in 1920s Australia and the use of film in education. In part, the Royal Commission into the Moving Picture Industry in Australia aimed to ‘ascertain the effect and the extent of the power of film upon juveniles’ and Commissioners spoke to educationalists, psychologists, medical professions, police officers and parents to gain insight into the impacts of movies on children. Numerous issues were canvassed in the Commission hearings such as exposure to sexual content, ‘excesses’ in film content, children’s inability to concentrate at school following cinema attendance and the influence of cinema on youth crime. While the Commission ultimately suggested it was parents’ role to police children’s engagements with cinema, it did make recommendations for restricting children’s access to films with inappropriate themes. Meanwhile, the Commission was very positive about film’s educational role stating that ‘the advantage to be gained by the use of the cinematograph as an adjunct to educational methods should be assisted in every possible way by the Commonwealth’. We draw on the Commission’s minutes of evidence, the Commission report and newspaper articles form the 1920s to the 1940s to argue that the Commission provides valuable insight into the beginnings of the use of screen content in formal schooling, both as a resource across the curriculum and as a specific focus of education through film appreciation and, later, broader forms of media education. The article argues debates about screen entertainment and education rehearsed in the Commission are reflected today as parents, concerned citizens and educators ponder the dangers and potential of new media technologies and media content used by children and young people such as video games, social media and interactive content.

Australian feature films and distribution: Industry or cottage industry?

Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the pre-eminent filmmaking form, feature films also serve as important launchpads for the careers of many Australian writers, directors, actors and technical crew. In the wake of over a decade of diminished share of local box office obtained by Australian feature films, Australian Feature Films and Distribution: Industry or cottage industry, examines issues in the production sector affecting the performance of Australian feature films and some responses by the central funding and support screen agency, Screen Australia.

Optimization of physical and optical properties of biodegradable edible films based on pea starch and guar gum

The influence of process variables (pea starch, guar gum and glycerol) on the viscosity (V), solubility (SOL), moisture content (MC), transparency (TR), Hunter parameters (L, a, and b), total color difference (ΔE), yellowness index (YI), and whiteness index (WI) of the pea starch based edible films was studied using three factors with three level Box–Behnken response surface design. The individual linear effect of pea starch, guar and glycerol was significant (p < 0.05) on all the responses. However, a value was only significantly (p < 0.05) affected by pea starch and guar gum in a positive and negative linear term, respectively. The effect of interaction of starch × glycerol was also significant (p < 0.05) on TR of edible films. Interaction between independent variables starch × guar gum had a significant impact on the b and YI values. The quadratic regression coefficient of pea starch showed a significant effect (p < 0.05) on V, MC, L, b, ΔE, YI, and WI; glycerol level on ΔE and WI; and guar gum on ΔE and SOL value. The results were analyzed by Pareto analysis of variance (ANOVA) and the second order polynomial models were developed from the experimental design with reliable and satisfactory fit with the corresponding experimental data and high coefficient of determination (R2) values (>0.93). Three-dimensional response surface plots were established to investigate the relationship between process variables and the responses. The optimized conditions with the goal of maximizing TR and minimizing SOL, YI and MC were 2.5 g pea starch, 25% glycerol and 0.3 g guar gum. Results revealed that pea starch/guar gum edible films with appropriate physical and optical characteristics can be effectively produced and successfully applied in the food packaging industry.

Eclectic Dialectics: William Klein's Documentary Method

This article examines the relations between documentary aesthetics and the political sensibility of William Klein. Structured around the cultural phenomena that have remained integral to his career as a photographer and filmmaker - fashion, sport, and music - it discusses his enduring attachment to notions of freedom and creativity still associated with 1960s counter-culture, and the Vietnam War. In particular, it examines how how his films disrupt conventional categories, and subvert the familiar rhetoric of mainstream documentary film, especially that associated with cinéma vérité. A erstwhile protege of Dada, Klein has always valued the expressive potential of improbable juxtapositions, of intercutting between times and places, and subverting mainstream journalistic modes and intentions. The article argues that this attitude is increasingly rare among contemporary documentary filmmakers, and yet it is the very thing that gives his work a distinctive aesthetic texture, and relevance to any history of cinema.

The Politics of Observation:Radical Psychiatry and Social Documentary

How did the counter-cultural aims of Radical Psychiatry coincide with those of documentary filmmaking in the 1960s? Where the forms and structures of new approaches to the documentary necessarily complicit in promoting the clinical and anti-clinical practices, and wider political agenda, of Radical Psychiatry? How did the documentary deal with the ethical, aesthetic, and audience-related issues associated with filming personalities and environments associated with Radical Psychiatry? How did Radical Psychiatry and the documentary shape postwar discourses on trauma, especially within conflict and post-conflict (PTSD) contexts? What is the legacy of Radical Pschiatry today, and how has it been explored by contemporary documentray film?

This article addresses these question by examining a range of documentaries dealing with the radical and 'anti-psychiatric' ideas and methods of figures such as R.D.Laing, David Cooper, Jan Bastiaans, Timothy Leary, and Franco Basaglia. Films analysed include Peter Robinson's Asylum (1972) and Psychiatry and Violence (1973); Ah, Sunflower (Klinkert and Sinclair, 1967); Anatomy of Violence (Davis, 1967); Turn On, Tune In, Drop Out (Robin Clarke, 1967), W. R. - Mysteries of the Organism (Makavejev, 1971); Raymond Depardon's San Clemente (1980) and Urgences (1988); and Louis van Gasteren's trilogy Now Do You Get it Why I am Crying (1969), The Price of Survival (2003), and There is No Plane to Zagreb (2012). 
The article concludes with a discussion of Nicolas Philibert's Every Little Thing (1997) within the context of the French documentary tradition and the film's more immediate subject - the famous clinic at La Borde established by Jean Oury, and associated with the methods and theories of figures such as Jacques
 Lacan, Francesc Tosquelles, Franz Fanon, and Félix Guattari.

Se lier, se délier : deux films documentaires face au pardon

Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, "Z32" et "S21 la machine de mort khmère rouge", s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.

Fremder Bruder: die Teilungssituation zwischen Süd- und Nordkorea im Spiegel des koreanischen Films seit dem Korea-Krieg

Als charakteristische Besonderheit in der koreanischen Geschichte besitzt der Korea-Krieg eine wichtige Position, so dass er bisher die gesamte Landesstruktur und -geschichte stark beeinflusst hat. Das gilt auch für die koreanische Filmgeschichte und nach dem Korea-Krieg im Jahr 1950 wurde in den Filmen das Thema „Landesteilung“ häufig aufgegriffen und bis heute oft behandelt.rnIn dieser Untersuchung werden solche Filme als Konflikt-Filme bezeichnet, die die Spaltung des Landes und die Beziehungen zu Nordkorea thematisieren, und insgesamt 60 Beispielfilme aus verschiedenen Filmgenres seit dem Ende des Korea-Kriegs bis zur Gegenwart analysiert und unter dem Aspekt beleuchtet, wie diese politischen und gesellschaftlichen Themen über das Verhältnis zwischen Süd- und Nordkorea repräsentiert werden. Mit Hilfe von Beispielfilmen wird versucht, herauszufinden, wie stark und unterschiedlich der Bruderkrieg und die davon abgeleitete Teilung des Landes in südkoreanischen Filmen im Wandel der Geschichte widergespiegelt werden. rnDiese Arbeit setzt sich zuerst mit Kracauers Spiegeltheorie, einer filmsoziologischen Theorie, und der Genretheorie als wichtigen theoretischen Überlegungen auseinander, um zu verdeutlichen, in welchem Bezug Konfliktfilme über die südkoreanische Gesellschaft angesehen werden und welche Rolle sie als Spiegel der Gesellschaft spielen, um gesellschaftliche Stimmungen, Bewusstseinsformen und Wünsche zu verdeutlichen. Dabei werden die kulturellen und gesellschaftlichen sowie filmwirtschaftlichen Aspekte berücksichtigt. rnDie vorliegende Arbeit bietet einen umfangreichen Überblick über den Konfliktfilm im südkoreanischen Kino seit dem Korea-Krieg. Die koreanischen Konflikt-Filme als regional-spezifische Filmkategorie stehen im engen Zusammenhang mit dieser politischen Situation und die Darstellung sowie Thematisierung Nordkoreas werden jeweils durch die verschiedenen Generationen der Filmemacher unterschiedlich präsentiert. Im südkoreanischen Diskurs bilden sie ein eigenes Genre, das alle klassischen und gemischten Filmgenres integriert; im Wandel der Geschichte haben sie sich dabei stetig weiterentwickelt, in engem Zusammenhang mit der Politik der verschiedenen Präsidenten Südkoreas gegenüber Nordkorea. rn

Bollywood and 'grocery store' video piracy in Australia

This article seeks to examine the ongoing struggle between narrowcast media piracy practices serving migrant communities and the attempts currently being made by players in the Indian film industry to legitimate, and thus capitalise on, the circulation of Indian films in key offshore markets. This article poses the question of whether an alternative network of distribution is likely to emerge which might supplant Asian food stores as the primary distribution network for Indian films, and to place this problem within the existing framework of cultural practices surrounding Indian films in Australia.

Hematozoa of teleosts from Lizard Island, Australia with some comments on their possible mode of transmission and the description of a new hemogregarine species

Little is known of the blood parasites of coral reef fishes and nothing of how they are transmitted. We examined 497 fishes from 22 families, 47 genera, and 78 species captured at Lizard Island, Australia, between May 1997 and April 2003 for hematozoa and ectoparasites. We also investigated whether gnathiid isopods might serve as potential vectors of fish hemogregarines. Fifty-eight of 124 fishes caught in March 2002 had larval gnathiid isopods, up to 80 per host fish, and these were identified experimentally to be of 2 types, Gnathia sp. A and Gnathia sp. B. Caligid copepods were also recorded but no leeches. Hematozoa, found in 68 teleosts, were broadly hemogregarines of 4 types and an infection resembling Haemohormidium. Mixed infections (hemogregarine with Haemohormidium) were also observed, but no trypanosomes were detected in blood films. The hemogregarines were identified as Haemogregarina balistapi n. sp., Haemogregarina tetraodontis, possibly Haemogregarina bigemina, and an intraleukocytic hemogregarine of uncertain status. Laboratory-reared Gnathia sp. A larvae, fed experimentally on bruslitail tangs, the latter heavily infected with the H. bigemina-like hemogregarine, contained hemogregarine gamonts and possibly young oocysts up to 3 days postfeeding, but no firm evidence that gnathiids transmit hemogregarines at Lizard Island was obtained.

Development of the edible blend films with good mechanical and barrier properties from pea starch and guar gum

The individual and interactive impacts of guar gum and glycerol on the pea starch-based edible film characteristics were examined using three factors with three level Box–Behnken response surface design. The results showed that density and elongation at break were only significantly (p < 0.05) affected by pea starch and guar gum in a positive linear fashion. The quadratic regression coefficient of pea starch showed a significant effect (p < 0.05) on thickness, density, puncture force, water vapour permeability, and tensile strength. While tensile strength and Young modulus affected by the quadratic regression coefficient of glycerol and guar gum, respectively. The results were analysed using Pareto analysis of variance (ANOVA) and the developed predictive equations for each response variable presented reliable and satisfactory fit with high coefficient of determination (R2) values (≥ 0.96). The optimized conditions with the goal of maximizing mechanical properties and minimizing water vapour permeability were 2.5 g pea starch, 0.3 g guar gum and 25 % (w/w) glycerol based on the dry film matter in 100 ml of distilled water. Generally, changes in the concentrations of pea starch, guar gum and glycerol resulted in changes in the functional properties of film.