A comprehensive source of information on variations found in skin diseases throughout the world is offered here. By considering the overall problems of hereditary variables, climate fluctuations, and therapeutic differences, this volume provides an appraisal of the diverse factors that make up the composite picture of cutaneous medicine. Divided by continent and then further organized into countries or regions, each entry presents basic information on the disease indigenous to the area, including its definition and symptoms, etiology, clinical manifestations, histopathology, appropriate laboratory tests, differential diagnosis, management, prevention and references. Additional chapters discuss the influence of travel and migration as well as of variables such as climate. 38 full color plates superbly illustrate the many variations of major dermatologic diseases. As technology has made global travel far quicker and more commonplace, this book is a must for all dermatologists, infectious disease specialists, and for all family practitioners and general internists.

An innovative analysis of Indigenous strategies for overcoming the settler state. How do bureaucratic documents create and reproduce a state’s capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Danielle Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialize identity categories in the service of colonial governance. Her analysis of bureaucratic artifacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L’Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorizing decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada’s complex and violent relationship with Indigenous peoples.

An innovative analysis of Indigenous strategies for overcoming the settler state. How do bureaucratic documents create and reproduce a state’s capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused? Settler Colonial Ways of Seeing investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Danielle Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialize identity categories in the service of colonial governance. Her analysis of bureaucratic artifacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L’Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined. By integrating art-led inquiry with media theory and settler colonial studies approaches, Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorizing decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada’s complex and violent relationship with Indigenous peoples.

FILM PRODUCTION TECHNIQUE (FPT): CREATING THE ACCOMPLISHED IMAGE, 6e, is aimed at the basic production course taken by radio/tv/film majors. FPT, 6e, delivers a technical and aesthetic introduction to media production that couples video production techniques with strong emphasis on incorporating motion picture film into a project's workflow. The text serves as a primer for all students, but is especially valuable to those students with limited background in the field of media production. FPT, 6e explores cutting-edge technologies as well as traditional Hollywood techniques, covering lighting, cameras, editing, crew organization, and the production process. It also lays out the basic, conventional approach to scene structure in a straightforward and methodical manner.