Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

There are two crucial issues in the treatment and management of headache patients: More than 50% of individuals experiencing headache have only been treated symptomatically, with no appropriate diagnosis established; and history and neurologic examination are essential to establishing a diagnosis, and thus selecting appropriate therapy. Headache and Migraine Biology and Management is a practical text that addresses these issues, featuring contributions from expert clinical authors. The book covers in detail topics including chronic and episodic migraine, post-traumatic headache, sinus headache, cluster headache, tension headache, and others. Chapters are also dedicated to treatment subjects, including psychiatric and psychological approaches, medication overuse, inpatient treatment, and pediatric issues. This book is an ideal resource for researchers and clinicians, uniting practical discussion of headache biology, current ideas on etiology, future research, and genetic significance and breakthroughs. This resource is useful to those who want to understand headache biology, treat and manage symptoms, and for those performing research in the headache field.

The two Animal Models in Psychiatry volumes are loosely organized by subject. The first volume contains a number of chapters concerned with schizophrenia, psyc- ses, neuroleptic-induced tardive dyskinesias, and other d- orders that may involve dopamine, such as attention deficit disorder and mania. The second volume deals with affective and anxiety disorders, but also includes chapters on subjects not easily classified as either psychotic, or affective, or an- ety-related, such as aggression, mental retardation, and memory disorders. Four chapters on animal models of schizophrenia or psychoses are included in the present v- ume because of the importance of these disorders in p- chiatry. Likewise, three chapters in the subsequent volume deal with depression. The first of the two volumes begins with an introd- tion by Paul Willner reviewing the criteria for assessing the validity of animal models in psychiatry. He has written - tensively on this subject, and his thorough description of the issues of various forms of validity provides a framework in which to evaluate the subsequent chapters. As will be seen, the remaining chapters in both volumes will refer frequently to these issues. The second chapter, by Melvin Lyon, describes a large number of different procedures that have been p- posed as potential animal models of schizophrenia. This is a departure from the usual format, consisting of detailed - scriptions of specific models.

The two Animal Models in Psychiatry volumes are loosely organized by subject. The first volume contains a number of chapters concerned with schizophrenia, psyc- ses, neuroleptic-induced tardive dyskinesias, and other d- orders that may involve dopamine, such as attention deficit disorder and mania. Also included is a chapter describing a behavioral model for activity-induced anorexia. The second volume deals with affective and anxiety disorders, but also includes chapters on subjects not easily classified as either psychotic, affective, or anxiety-related, such as aggression, mental retardation, and memory disorders. Four chapters on animal models of schizophrenia or psychoses are included in Volume 18 because of the importance of these disorders in psychiatry. Likewise, three chapters in the present v- ume deal with affective disorders, with a fourth chapter on circadian rhythms that also contributes to methods for a- mal models in affective disorders. Following the first four chapters are two chapters dealing with models of anxiety and panic, two chapters on aggression, one on mental retardation, and a final chapter covering memory disorders. Many of the behaviorally-based models of affective disorders involve inducing stress in a- mals, usually on a chronic basis. The first chapter by Anisman, Zalcman, Shanks, and Zacharko describes some of the neurochemical effects that are associated with the chronic application of sensors.

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume Two of this landmark series on African cinema is devoted to the decolonizing mediation of the Pan African Film & Television Festival of Ouagadougou (FESPACO), the most important, inclusive, and consequential cinematic convocation of its kind in the world. Since its creation in 1969, FESPACO's mission is, in principle, remarkably unchanged: to unapologetically recover, chronicle, affirm, and reconstitute the representation of the African continent and its global diasporas of people, thereby enunciating in the cinematic, all manner of Pan-African identity, experience, and the futurity of the Black World. This volume features historically significant and commissioned essays, commentaries, conversations, dossiers, and programmatic statements and manifestos that mark and elaborate the key moments in the evolution of FESPACO over the span of the past five decades.

Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.

Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter turned family man who struggles with the pressures of small-town life and the limitations placed on him and his community in the Deep South, an area long fraught with racism. Though unmistakably about race and civil rights, the film makes no direct reference to the civil rights movement. Despite this intentional absence, contemporary audiences were acutely aware of the social context for the film's indictment of white prejudice in America. To help frame and situate the film in the context of black film studies, the book gathers primary and secondary resources, including the original screenplay, essays on the film, statements by the filmmakers, and interviews with Robert M. Young, the film's producer and cinematographer, and Khalil Gibran Muhammad, the Director of the Schomburg Center for Research in Black Culture.

Written and directed by two white men and performed by an all-black cast, Nothing But a Man (Michael Roemer, 1964) tells the story of a drifter turned family man who struggles with the pressures of small-town life and the limitations placed on him and his community in the Deep South, an area long fraught with racism. Though unmistakably about race and civil rights, the film makes no direct reference to the civil rights movement. Despite this intentional absence, contemporary audiences were acutely aware of the social context for the film's indictment of white prejudice in America. To help frame and situate the film in the context of black film studies, the book gathers primary and secondary resources, including the original screenplay, essays on the film, statements by the filmmakers, and interviews with Robert M. Young, the film's producer and cinematographer, and Khalil Gibran Muhammad, the Director of the Schomburg Center for Research in Black Culture.

In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception. Richard E. Norman, a southern-born white filmmaker, was one such pioneer. From humble beginnings as a roving "home talent" filmmaker, recreating photoplays that starred local citizens, Norman would go on to produce high-quality feature-length race pictures. Together with his better-known contemporaries Oscar Micheaux and Noble and George Johnson, Richard E. Norman helped to define early race filmmaking. Making use of unique archival resources, including Norman's personal and professional correspondence, detailed distribution records, and newly discovered original shooting scripts, this book offers a vibrant portrait of race in early cinema.

The official school drop-out figure in the US in recent years has been 25 per cent of the cohort. Estimates from large cities are often double these rates, and in some areas 60 per cent or worse. This text focuses on this problem in US schools, but from an unusual perspective. It is a study gained from in-depth interviews of 100 "stop-outs" - that is, those who dropped out but then decided to return to school. Four basic questions are posed by this text: who drops out?; why did they drop out?; what caused them to return?; and what intervention policies can be formulated to prevent students dropping out in the first place? The answers provided by this text for the last question are intended to make it of particular interest to school administrators.

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film. Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.

The Fortran 2003 Handbook is a definitive and comprehensive guide to Fortran 2003 and its use. Fortran 2003, the latest standard version of Fortran, has many excellent features that assist the programmer in writing efficient, portable and maintainable programs. This all-inclusive volume offers a reader-friendly, easy-to-follow and informal description of Fortran 2003, and has been developed to provide not only a readable explanation of features, but also some rationale for the inclusion of features and their use. This highly versatile handbook is intended for anyone who wants a comprehensive survey of Fortran 2003.

Still the only book published anywhere in the world which is devoted entirely to the principles of aeromedical transport, Aeromedical Transportation has rightly become known as the sole reference for the industry. This second edition has been radically revised and updated; featuring the latest research, updated references and new chapters on the transport of intensive care patients, and medical emergencies/death in flight. Since the first edition was published in 1996, the concept of 'evidence-based medicine' has been accepted as essential in any book which endeavours to be the accepted knowledge base in its subject area. A very practical text, international in its approach, much of its content is devoted to clinical matters. Administration and organisation are also discussed, but are addressed from the standpoint of the clinical aeromedical escort. The text is suitable for medical, paramedical and nursing personnel and for those working in organizations whose duties include the transportation of the sick and injured by air.