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Disclaimer: This post is sponsored by Easy Spirit. All opinions and photography are our own and are not influenced by Easy Spirit. Thanks for supporting the brands that support this blog.
Gift wrapping is something we’ve both come to appreciate as adults. When we were younger, it was always such a struggle to wrap gifts for holidays and birthdays. Getting those corners to look good was tough and keeping the paper tight was virtually impossible. Luckily, we’ve each gotten a heck of a lot better over the years and we actually enjoy gift wrapping! Especially because those gifts can act as decor under your Christmas tree.
In fact, we see gift wrapping as an extension of our “personal brand” (something we’ve chatted a lot about in this style series). Someone should be able to look at your gift and know it’s from you! We choose wrapping paper based on our style, along with the bows and tags. Plus, we always try to add a personal touch to take the gift to the next level.
Easy Spirit asked us to share the things that drive, compel, and inspire us on a daily basis for their #MoveFor campaign. Through our blog, we always aim to inspire others to take easy steps to elevate their home and everyday life! So whether it’s taking time to make your home a special place for the holidays, or using our easy tips to take your holiday gifts to the next level…that’s what we move for with The DIY Playbook!
Here are easy tips showing you how to wrap a gift so it not only looks good but has a little extra somethin’ somethin’.
First, let’s chat about the wrapping paper because it makes a BIG difference when it comes to wrapping. We both opt for thicker paper instead of super thin wrapping paper. In fact, some of our favorite paper to use is craft paper (in white or tan). It’s incredibly inexpensive and durable. Plus, then you can really jazz up your gift with ribbon and the extras! We do sometimes opt for wrapping paper with prints (like the gold polka dotted one!), but again try to choose thicker high-quality paper.
Easy Tip: Don’t forget to choose colors that go with your holiday decor since these gifts will act as Christmas decorations under the tree! Also, if you’re buying for lots of people wrap gifts for one family in all the same paper. That way when it’s time to head out to the family party, you can quickly find the gifts you need to bring.
First, take your gift and figure out which side will be facing up. You’ll want the tape to be on the bottom, so place the gift face down on your paper as you measure it out. One of the biggest mistakes we both used to make was using way too much paper. You’ll want to cut the paper so there is very little excess.
Now bring the paper together and tape it directly to the item. You don’t want to use too many pieces of tape, and make sure you pull the paper really tight around your gift.
Easy Tip: To make things look extra professional, we always fold the cut edge of the paper so it has a clean edge. Also, loop your tape (like in the photo above) so you can hide it underneath the paper and it won’t show!
This is where things can get a little tricky. Make sure to cut any excess off the sides, so you don’t have to fold too much. Then, it’s all about making sure you crisply fold down the edges. Things will be a lot easier if you fold the sides tightly.
Then take a couple pieces of tape to hold the fold in place. Repeat on the other side!
If you want to make a bow that really wows, this blog post shows you how to make the ultimate bow (Casey’s mom is a bow making master!). If you want to keep things simple, then flip the gift over and pull the ribbon around it. Then cross the ribbon and bring it to the front and tie it in a simple bow!
Easy Tip: This is an O’Connor family wrapping tip! To get a “fancy” edge on the ribbon, take your (sharp!) scissors and cut on an angle facing out. You’ll then have a small fishtail end instead of a straight edge. Fancy AF.
Here are some of our finalized gifts, along with our cute new shoes from Easy Spirit.
Bridget opted for these pumps. They’re perfect for the holiday season but will work well for school because they’re so incredibly comfortable. It can be tough to find heels that you can walk in all day long (especially in a huge school like Bridget’s), but these get the job done!
These bootsThese boots are perfect for me. I have big calves and it’s super difficult to find boots that fit my jumbo calves. Easy Spirit has “wide” sizes and the 9W fit me perfectly! I love the heel and the leather is waterproof (which is a must here in Chicago!).
We hope you now know how to wrap a gift! We know there are lots of ways to do it, but these are our best easy tips to get the job done.
Oh, and how could we forget. Our BEST tip…stockpile your gifts to wrap, pour a glass of wine (or hot cocoa), and put on a Christmas movie when it’s time to wrap. You might as well enjoy yourself as you get this holiday task done!


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Located in Sennan, Guesthouse Kazenoie Bonita - Caters to Women is in the historical district, within a 15-minute drive of Osaka Bay and Tajiri History Museum. This guesthouse is 3.6 mi (5.9 km) from Tajiri Port Sunday Morning Market and 4.1 mi (6.6 km) from Rinku Premium Outlets.
Make yourself at home in one of the 3 air-conditioned guestrooms. Prepare your meals in the shared/communal kitchen. Complimentary wireless Internet access is available to keep you connected. Bathrooms have complimentary toiletries and hair dryers.
Make use of convenient amenities such as complimentary wireless Internet access, a hair salon, and shopping on site. The complimentary shuttle will take you to the nearby beach or shopping center.
Featured amenities include luggage storage, laundry facilities, and coffee/tea in a common area. A train station pick-up service is provided at no charge (available on request), and free self parking is available onsite.

industry_corpus2: Hospitality & Catering


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A genome-wide association study (GWAS) is the foremost strategy used for finding genes that control human diseases and agriculturally important traits, but it often reports false positives. In contrast, its complementary method, linkage analysis, provides direct genetic confirmation, but with limited resolution. A joint approach, using multiple linkage populations, dramatically improves resolution and statistical power. For example, this approach has been used to confirm that many complex traits, such as flowering time controlling adaptation in maize, are controlled by multiple genes with small effects. In addition, genotyping by sequencing (GBS) at low coverage not only produces genotyping errors, but also results in large datasets, making the use of high-throughput sequencing technologies computationally inefficient or unfeasible.
In this study, we converted raw SNPs into effective recombination bins. The reduced bins not only retain the original information, but also correct sequencing errors from low-coverage genomic sequencing. To further increase the statistical power and resolution, we merged a new temperate maize nested association mapping (NAM) population derived in China (CN-NAM) with the existing maize NAM population developed in the US (US-NAM). Together, the two populations contain 36 families and 7,000 recombinant inbred lines (RILs). One million SNPs were generated for all the RILs with GBS at low coverage. We developed high-quality recombination maps for each NAM population to correct genotyping errors and improve the computational efficiency of the joint linkage analysis. The original one million SNPs were reduced to 4,932 and 5,296 recombination bins with average interval distances of 0.34 cM and 0.28 cM for CN-NAM and US-NAM, respectively. The quantitative trait locus (QTL) mapping for flowering time (days to tasseling) indicated that the high-density, recombination bin map improved resolution of QTL mapping by 50 % compared with that using a medium-density map. We also demonstrated that combining the CN-NAM and US-NAM populations improves the power to detect QTL by 50 % compared to single NAM population mapping. Among the QTLs mapped by joint usage of the US-NAM and CN-NAM maps, 25 % of the QTLs overlapped with known flowering-time genes in maize.
This study provides directions and resources for the research community, especially maize researchers, for future studies using the recombination bin strategy for joint linkage analysis. Available resources include efficient usage of low-coverage genomic sequencing, detailed positions for genes controlling maize flowering, and recombination bin maps and flowering- time data for both CN and US NAMs. Maize researchers even have the opportunity to grow both CN and US NAM populations to study the traits of their interest, as the seeds of both NAM populations are available from the seed repository in China and the US.
Maize exhibits extremely high levels of genetic diversity and phenotypic variation [1, 2]. Numerous single nucleotide polymorphisms (SNPs), small insertions-deletions, and large structural variations substantially contribute to this genetic diversity [3–5]. Abundant genetic variation gives rise to great challenges for uncovering the genetic basis of quantitative phenotypic variation.
Studies undertaken to understand the genetic architecture of complex traits and their variations in maize have generally been performed by linkage analysis and/or association mapping . Linkage analysis based on a bi-parental population only detects two alleles and has poor mapping resolution. A genome-wide association study (GWAS) often identifies spurious associations due to population structure and genetic relatedness . Joint linkage analysis, using multiple segregating populations, could overcome some of the inherent limitations associated with single population linkage analysis and genome-wide association mapping .
To provide an effective genomic resource for joint linkage analysis in maize, US researchers created a nested association mapping (NAM) population. About 5,000 recombinant inbred lines (RILs) were created by crossing 25 diverse inbred lines with a common parent, B73 . US-NAM has been effectively used with genetic, genomic, and systems biology tools to dissect the genetic architecture of agronomic traits in maize [9–16]. In addition, analyses with US-NAM have been quite accurate at surveying the magnitude of effects across diverse germplasm .
One shortcoming of US-NAM, however, is its limited number of founder lines; a NAM population becomes more effective for GWAS when the allele is found in three or more founders . Additionally, because only one reference line was used in US-NAM, the genetic and phenotypic biases introduced into the population are unknown.
To further improve our understanding of the genetic architecture of maize and improve the resolution of quantitative trait loci (QTLs), Chinese researchers independently developed a new NAM population (CN-NAM). About 2,000 RILs were created by crossing 11 diverse elite inbred lines with a common parent HUANGZAOSI (HZS). Parents of the CN-NAM population were selected from different heterotic groups that are widely used in Chinese maize breeding . Combining the CN-NAM and US-NAM populations can provide a larger genomic resource for dissecting the genetic architecture of complex traits in maize. Furthermore, combining populations can enable higher power and higher resolution in genetic mapping through joint linkage analysis.
Despite the availability of this new mapping method and the larger mapping population, marker density remains an important limiting factor for identifying genes controlling quantitative traits. This limitation is especially pronounced for fine mapping of QTLs. New sequencing technologies have facilitated cost-effective high-throughput SNP genotyping for natural and artificial mapping populations. Genotyping by sequencing (GBS), using methylation-sensitive restriction enzymes to reduce genome complexity while retaining good genome coverage of lower copy regions, has proven to be a highly efficient method in different species [20–25]. Yet, GBS-obtained data could be as large as millions of SNPs, a density that makes the construction of a composite genetic map almost impossible and negates the potential benefits of conducting joint linkage analysis in NAM populations.
One strategy to address this issue is to construct a recombination bin map by identifying exact recombination breakpoints and dividing the chromosomal regions into small recombination bins. These small recombination bins can be regarded as an effective type of genetic marker . This construction method of sequencing-based high-density genetic maps could substantially reduce the amount of time and effort required for QTL mapping. For example, this method has been used for constructing bin maps of single bi-parental populations and QTL mapping of complex agricultural traits in rice and sorghum [27–29]. Therefore, we expected that recombination bin maps would have the potential to improve the statistical power of joint linkage analysis and reduce the computing time of QTL mapping in NAM populations.
The objectives of this study were the following: (1) to construct high-resolution recombination bin maps of both the US-NAM and CN-NAM populations based on GBS data; (2) to evaluate the quality and accuracy of bin maps by joint linkage analysis of a flowering-related trait, days to tasseling; and (3) to conduct a combined analysis of different NAM populations.
All RILs of the 36 families that comprised the two NAM populations were sequenced with GBS, resulting in a total of one (0.95) million SNPs. After removing monomorphic and MAF < 0.05 SNPs across all families from the raw GBS data, 238,945 and 294,962 SNPs were obtained for CN-NAM with 11 families and US-NAM with 25 families, respectively. Based on these SNPs, we identified outlier lines of two NAM populations. After removing the outliers, we obtained 1,696 and 4,623 high-quality RILs in the CN-NAM and US-NAM populations, respectively. We used these data for the following analyses.
After removing low-quality SNPs, the number of high-quality SNPs ranged from 39,620 for the HUANGYESI3 family in CN-NAM to 109,104 for the CML228 family in US-NAM, with the corresponding mean SNP density ranging from about 1 SNP/63.1 kb to 1 SNP/22.9 kb, respectively. These SNPs were used to infer parental genotypes, and detect recombination breakpoints for all available RILs, as indicated by Fig. 1. The total number of breakpoints per individual family ranged from 3,552 for 160 RILs in the HUANGYESI3 family to 6,695 for 179 RILs in the CML228 family. The average number of breakpoints per individual RIL in each family ranged from 22.2 to 37.4 (Additional file 1: Table S1). After recombination breakpoint locations were determined, the genotype of each RIL was assigned.
Bin maps were constructed for each family based on the identity with the parental genotypes. The number of recombination bins varied substantially among the 36 families. The total bin number per individual family ranged from 734 to 2,183. More than 50 % of the bins were less than 1,000 kb in physical length for all families in both CN-NAM and US-NAM (Fig. 2). The median physical length of bins within an individual family ranged from 402 kb for the Tzi8 family (US-NAM) to 852 kb for the HUANGYESI3 family (CN-NAM). Detailed bin information for the 36 families is provided in Additional file 2: Table S2.
Genetic linkage maps were constructed for each family using bin genotypes. The genetic length of individual family maps ranged from 1,178.58 cM for the HUANGYESI3 family to 2,035.58 cM for the CML228 family. The average genetic distance between adjacent bins ranged from 0.77 cM for the CML333 family to 1.61 cM for the HUANGYESI3 family.
Joint recombination bin maps were constructed using 5,435 and 5,692 bins (without missing data) from CN-NAM and US-NAM, respectively (Additional file 3: Figure S1). The physical length of the bins ranged from 5.0 kb to 5.6 Mb (with an average of 378 kb) and from 5.0 kb to 9.2 Mb (with an average of 327 kb) in CN-NAM and US-NAM, respectively. In total, 92 % of bins were less than 1 Mb in length in CN-NAM compared to 94 % in US-NAM. Subsequently, of the 5,435 CN-NAM bins, 2,706 with no segregation distortion were used to construct an initial framework genetic map. The remaining markers (bins) with segregation distortion were added to the framework map, and we ensured that no marker order or chromosome position conflicts were introduced. Finally, a total of 4,932 bins were selected to construct a composite genetic map of CN-NAM, resulting in a genetic distance of 1,700.44 cM in length, with an average genetic distance of about 0.34 cM between adjacent bins. Likewise, of the 5,692 US-NAM bins, 2,278 with no segregation distortion were used to construct a framework map. Eventually, 5,296 bins were selected for the composite genetic map of US-NAM, yielding a 1,456.68-cM genetic length, with an average genetic distance of about 0.28 cM between adjacent bins (Additional file 4: Table S3).
The quality and accuracy of these maps for QTL mapping were evaluated by locating the known flowering-time genes for days to tasseling (DT). Detailed results can be found in Additional file 5: Table S4 and Additional file 6: Table S5.
DT, one of the most obvious measures of reproductive growth in maize, is thought to involve male and female flowering-related genes . The broad-sense heritability for DT was 0.90 in CN-NAM and 0.89 in US-NAM. Therefore, we checked for the presence of known genes involved in the regulatory pathway of flowering time within the interval of DT-related QTLs in different genetic backgrounds (Additional file 7: Figure S2). For example, ZMM4, a maize MADS-box gene in the FUL1 family, promotes floral transition and inflorescence development in maize . In this study, four QTLs detected under different genetic backgrounds overlapped the ZMM4 gene, with a likelihood of odd (LOD) score ranging from 3 to 13, and explained 6.9 % to 34.9 % of the phenotypic variation. One of four QTLs had its LOD peak in bin 0231 in the M37W family, which encompassed a region of 780 kb in length and completely contained the ZMM4 locus. Within the limits of single-family mapping resolution, the ZMM4 overlapping DT QTLs found in different families is evidence that the individual family bin strategy can produce maps with high quality and accuracy.
Further evidence came from mapping the ZCN8 gene. The flowering time ZCN8 may function as the florigen and integrates signals from both photoperiod and autonomous pathways in maize . We identified QTLs overlapping the ZCN8 region in four families. Among the four QTLs, the largest effect was detected in the HUANGYESI3 family, explaining 37 % of the phenotypic variation. Within the QI319 family, two major QTLs were detected on chromosomes 8 and 10 and completely overlapped the cloned ZCN8 and ZmCCT genes (Additional file 7: Figure S2).
For QTL mapping of single NAM populations, a total of 18 and 29 QTLs were detected for DT in CN-NAM and US-NAM, respectively (Additional file 6: Table S5). About 46 % and 32 % of the DT-related QTL alleles had a significant effect at P < 0.05 for CN-NAM and US-NAM, respectively (Fig. 3); however, only 6.5 % (CN-NAM) and 1.7 % (US-NAM) had an additive effect on DT of about 1 day. About 17 % of the DT-related QTLs in CN-NAM and 28 % in US-NAM completely overlapped with the physical position of cloned genes controlling maize flowering time (Fig. 4a). Two well-studied maize flowering-time genes, ZCN8 and ZmCCT, were located in QTL regions for both NAM populations.
A composite genetic map for the combined CN-US NAM population was constructed based on 6,238 recombination bins, with a genetic length of 1,455.48 cM and an average genetic distance of about 0.23 cM between adjacent bins (Additional file 8: Table S6). When QTL mapping was conducted for DT in the CN-US NAM population, 37 QTLs were detected, which was significantly more than the total QTL number identified in a single NAM population (Fig. 4a). A comparative analysis revealed that six QTLs were shared among all three populations (US-NAM, CN-NAM, and CN-US NAM). Seventeen QTLs were shared between CN-US NAM and US-NAM, and 11 QTLs were shared between CN-US NAM and CN-NAM (Fig. 4b). Eight of 15 unique QTLs in CN-US NAM could be found in the single-family QTL mapping for both NAM populations (Additional file 5: Table S4).
The average QTL confidence intervals (CI) were 10.5 Mb and 9.3 Mb in CN-NAM and US-NAM, respectively. The average CI in CN-US NAM was 5.3 Mb; thus, combining populations improved the resolution by about 50 %. The QTL with the largest effect on DT had its LOD peak in the region that ranged from 123.810 Mb to 124.356 Mb on chromosome 8, while a gene ZCN8 was about 300 kb apart from the peak. The QTL with the second largest effect on DT had its LOD peak on chromosome 10, between 94.588 Mb and 94.964 Mb, while a strong candidate gene ZmCCT was about 340 kb apart from the peak. Therefore, joint analysis for the combined CN-US NAM population was effective and valuable for quantitative trait mapping.
The US-NAM population has been phenotyped for days to anthesis (DA) and days to silking (DS) in six environments in the US, and a medium-density composite genetic map was constructed using 1,106 SNPs . Using the high-density composite genetic map of 5,296 bins, we reanalyzed DA and DS using the same phenotype data and mapping method. The number of QTLs and the total phenotypic variation explained by all QTLs were consistent with the results obtained using the medium-density map (Fig. 5). However, with the high-density map, the QTL CI varied from 1.0 to 6.4 cM and 0.4 to 7.8 cM, for DA and DS, respectively, with an average CI of 2.86 cM in both traits; whereas, using the medium-density map, the average QTL CI values were 5.58 and 6.03 cM for DA and DS, respectively. Two major QTLs controlling flowering time, vgt1 and ZmCCT, had the most significant effects in US-NAM. The vgt1 locus could be narrowed down from a 5-Mb region on the medium-density map to a 1.9-Mb region on the high-density map. ZmCCT was located in a 12.4-Mb region on the medium-density map, but could be narrowed to a 6.3-Mb region using the high-density map. These results suggest that recombination bin maps could be effectively used in fine mapping of genes/QTLs that control traits of interest.
GBS is an efficient and economical method, especially for genotyping RIL populations in which regions of extended linkage disequilibrium (LD) are common. We used the GBS method to genotype the US-NAM and CN-NAM populations and construct the genetic recombination maps for each family within the populations. Compared with genetic maps constructed using array-based SNP genotyping for the same populations [9, 33], marker numbers significantly increased, reducing the average marker interval. We found substantial biological variation in genetic map lengths per family within the two NAM populations.
The largest genetic map lengths in the 36 families were likely impacted by residual heterozygosity in the parents. In contrast, the smallest genetic map lengths were in families having large identity by descent (IBD) regions with a recurrent parent, for example, the K12 and HUANGYESI3 families. The marker density of the composite genetic maps for CN-US NAM was also four times higher than that published for US-NAM. The composite genetic map length in US-NAM was shorter than in CN-NAM, which may have resulted from the higher genotype calling error rate in CN-NAM due to higher residual heterozygosity.
We noticed that the number of bins generated from our study is slightly different from that of the previous study by Giraud et al. . In addition to the different populations used, other causes might include different types of genetic markers and the methods used for the analyses. As the GBS markers in our study have a higher missing rate and genotyping error potentially, we are on the conservative side for calling bins. The benefit is the effective reduction of genetic markers for joint linkage analysis by using stepwise regression.
First, we filtered out SNPs with low quality by using permutations involving resampling of windows of SNPs followed by Bayesian inference . Then consecutive SNPs with the same genotype across all RILs were lumped into blocks, and a recombination breakpoint was assumed at the transition between two different homozygous genotype blocks. The genotypic maps of the RILs were aligned and split into recombination bins . Finally, after obtaining a skeleton recombination bin map, we further reduced the number of bins by merging bins less than 5 kb apart. Consequently, our results do not suggest any reduction of false double recombinant in our analyses.
The quality and accuracy of the genetic maps in this study were confirmed by QTL mapping of flowering-time-related traits. The co-location of major QTLs and cloned genes controlling flowering time in maize provided evidence that high-resolution genetic maps are possible using the bin mapping strategy. QTL mapping of CN-NAM and US-NAM identified 18 and 29 significant DT-related QTLs, respectively. Of these identified QTLs, 17 % of the CN-NAM ones and 28 % of those in US-NAM overlapped with previously cloned flowering-related genes in maize. These results illustrate the potential power and reliability of bin-based, composite genetic map construction. Hence, we strongly suggest that this method could become an efficient, accurate, and low-cost approach for primary or fine QTL mapping in maize, and other species.
The US-NAM analysis of maize flowering-time traits argued for numerous small-effect QTLs with additive effects . We wondered if this conclusion was the product of the way the parents were selected or was indicative of more general phenomena. To directly evaluate this question, we contrasted the US-NAM analysis with a parallel analysis of CN-NAM. The common parents of the two NAM populations were chosen based on a similar strategy. Both HZS in China and B73 in the US are very important and widely deployed elite inbred lines in each country’s history of maize breeding. Diverse parents of the two NAM populations were derived from different germplasm sets. Previously, numerous small-effect QTLs were identified for flowering time in US-NAM, phenotyped for flowering time in six different US environments . Likewise, flowering time evaluation of US-NAM, collected from different Chinese environments, showed no evidence for any single large-effect QTL. Although we found a higher percentage of significant QTL alleles with additive DT effect in CN-NAM (46 %) compared to US-NAM (32 %), no large additive effect was evident. Therefore, CN-NAM results supported the earlier US-NAM finding that flowering-time traits of NAM populations were controlled by numerous small-effect QTLs with additive effects. Additionally, we found a higher percentage of alleles with additive DT effects of about 1 day in CN-NAM (6.5 %) compared to US-NAM (1.7 %). This result may be due to the bigger difference in flowering times between the common parent and diverse parents in CN-NAM compared to those in US-NAM.
The power to detect QTL with a high-density map did not improve compared to that using a medium-density map. This is in agreement with results from Stange et al.  showing that high-density maps could not improve QTL detection power in experimental and simulation data with marker densities of 1, 2, and 5 cM. Factors influencing the statistical power of QTL mapping include mapping population size, marker density, QTL effect size, and significance level in declaring the existence of QTL. Previous studies suggested that the power of QTL detection was little affected by an increase in marker density beyond 10 cM, irrespective of population size and size of QTL effects [37, 38]. In our study, the medium-density map had a marker density of 1.30 cM. Hence, higher marker densities provide no advantage on the increase of the QTL detection power.
However, we did find a considerable improvement in mapping resolution using a high-density map compared to a medium-density map. For example, the average lengths of confidence intervals for DA- and DS-related QTLs were narrowed by 60 % and 47 %, respectively, using the high-density map. This is consistent with results reported by Stange et al. , where the QTL confidence interval lengths decreased with an increase of marker density regardless of population size and QTL effect size. High-density maps are beneficial for narrowing LOD peaks of QTLs and improving the precision of QTL localization, since they could increase the probability that a marker is tightly linked to a QTL. In our study, this improved resolution could be beneficial for fine mapping of QTLs and for marker-assisted breeding. The two NAM populations with high-density marker maps can be used to map QTLs for other quantitative traits, improving the power and resolution of QTL mapping. The QTL results detected in these two NAM populations can be mutually verified and QTL regions can be further narrowed by determining overlaps with QTLs detected in other maize NAM populations. Accumulation of results by expanding the use of this methodology in other NAM populations can provide an excellent platform for the dissection of the genetic architecture of complex agronomic traits in maize.
In this study, we estimated the confidence intervals of QTLs by using a 2-LOD drop-off method, which is widely used to investigate the QTL mapping resolution [34, 39, 40]. Although there is potential bias caused by stepwise regression, the chances have not been found that the bias would switch the order for comparing different procedures or methods. This suggests that our conclusion is very likely true in comparing the mapping resolutions by using a single NAM population or joint NAM populations.
The high density of molecular markers is one important limiting factor for generating high-resolution genetic maps. With ongoing advances in next-generation sequencing, marker density will continue to increase. However, ultra-high density markers will provide additional challenges for constructing genetic maps and conducting joint linkage analyses. Choosing representative SNPs from raw data is one way to produce a genetic map, but other important SNP information may be lost. Construction of bin maps uses all marker information to accurately evaluate the location of recombination breakpoints. Especially in NAM populations, we illustrated that this bin map method effectively reduced the computing time of QTL mapping without reducing mapping resolution.
This paper reports that the combination of CN and US NAM populations was fruitful for detecting the genetic architecture of complex traits in maize. Thus, this method has the potential to pave the way toward fine mapping of complex traits. Two additional NAM populations have been created within the European CornFed project . In the future, the combination of more NAM populations with broader genetic diversity can benefit the systematic investigation of genetic architectures of complex traits in maize. In particular, NAM populations established based on European germplasm may be a good choice for integration with temperate maize. In contrast, NAM populations based on tropical and sub-tropical germplasm may be valuable for investigating important traits such as adaptation and abiotic stress tolerance.
In this study, high-density and high-quality composite genetic recombination maps, based on genomic sequencing data, were generated for two NAM maize populations, US-NAM and CN-NAM. Using these maps, we were able to replicate the identification of previously known genes that affect flowering time in maize and improve the resolution of QTL mapping. The combined analysis of different NAM populations could improve the power and resolution of QTL detection compared to single NAM population mapping. This paper presents the necessary bin maps and computational methods for the maize scientific community to use these populations in their own research.
The nested association mapping population from China (CN-NAM) is composed of about 2,000 RILs derived from crosses between the common parent HUANGZAOSI (HZS) with each of 11 diverse inbred lines: K12, YE478, ZHENG58, HUOBAI, QI319, WEIFENG322, LV28, HUANGYESI3, DUO229, PA405, and MO17. These are elite inbred lines and represent members of several popular heterotic groups used in Chinese maize breeding. HZS is an elite foundation parent in China, with wide adaptability, high combining ability, moderate growth period, and resistance to northern leaf blight and dwarf mosaic virus . HZS has at least 70 derived lines and 80 hybrids. The K12 and HUANGYESI3 inbred lines were the derived lines of HZS . HZS was crossed as the male parent to the other 11 inbred lines, and then an average of 180 RIL lines per family were derived through single seed descent (SSD) to the F7 generation. These RIL lines are free for public research purposes .
The US-NAM population, described in detail by McMullen et al. , consists of about 5,000 RILs derived from crossing B73 with 25 diverse inbred lines.
For the CN-NAM and US-NAM populations, a total of 7,698 RILs, including 758 repeatedly sequenced lines, were genotyped using the genotyping-by-sequencing (GBS) method . A detailed protocol is described on the website given in Ref. . US-NAM GBS data have been posted on the Panzea website . CN-NAM GBS data are available from  and .
Outliers were defined as containing non-parental alleles or retaining excess heterozygosity. Outliers were identified using unimputed GBS data of the NAM populations via the software TASSLE4.0 . After filtering SNP sites (taxa coverage >10 %, minor allele frequency (MAF) >0.01, and site coverage >20 %), a neighbor-joining tree of every chromosome was made to spot the contaminated lines. If a line was not included in the corresponding family, the line was considered a contaminant. Lines with excess heterozygosity were identified for each family after filtering the data (site coverage >66 % and MAF >0.25). A line with a heterozygosity ratio >10 % was treated as an excess heterozygosity outlier.
SNP sites with MAF <0.05 and within the same tag (64 bp) based on the unimputed GBS data were filtered out for each family. The draft parental genotypes were inferred from the low-coverage SNP datasets of each RIL family using a maximum parsimonious inference of recombination (MPR) method applied in an R package MPR . Then, parental genotypes were refined after removing low-quality SNPs by resampling and using the Bayesian inference method included in the MPR package. The genotype assignment of each RIL was performed using a hidden Markov model (HMM) approach, with heterozygote set to missing according to the method described by Xie et al. . Consecutive SNP sites with the same genotype were lumped into blocks, and a breakpoint was assumed at the transition between two different genotype blocks. Blocks with lengths less than 1,500 kb and with a number of sequenced SNPs fewer than five were masked as missing data to avoid false double recombination. Markers co-segregating in two contiguous blocks were combined into a recombination bin . After merging a bin smaller than 5 kb to the next bin, a skeleton bin map of RIL population was obtained. Genotypes of bins for regions at the transitions between two different genotype blocks were set to missing data and imputed using the R/qtl package . The genetic maps for individual CN-NAM and US-NAM families were constructed from bins serving as genetic markers using the R/qtl package function est.map with the Haldane mapping method .
After inferring parental genotypes and obtaining high-quality SNPs for each family, markers polymorphic in more than two families in the CN-NAM population and four families in the US-NAM population were chosen to build composite genetic maps. Markers were encoded by designating the common parent allele as “1”, the other 36 parent alleles as “0”, and heterozygous loci as missing data “NA”. Markers monomorphic in a particular family were also converted to missing data “NA”. Joint recombination bin maps were generated by combining consecutive SNP sites with the same genotype into bins and merging bins smaller than 5 kb to the next bin using MPR (R package). After obtaining recombination bins, two composite genetic maps were constructed by using bins as markers in the JoinMap 4.0 software . Markers were assigned into linkage groups at an independence test LOD score of 10. Due to the large number of markers in the two NAM populations, we used the maximum likelihood mapping algorithm to order loci. The Haldane mapping function was used to convert recombination frequencies to cM. For each linkage group in the two NAM populations, a framework reference map containing markers not exhibiting segregation distortion was constructed. Markers which significantly (P < 0.05) deviated from the expected 1:1 ratio in a chi-square test were defined as exhibiting segregation distortion. After the order and chromosome position of these markers were determined, the remaining markers with segregation distortion were added to the reference map. Any markers that showed inconsistent physical position in the RefGen_v2 with themselves were excluded from further mapping. The final selected map exhibited the most agreement in marker order with the framework map.
The 1972 CN-NAM lines were evaluated phenotypically in two years (2009 and 2010) and in three locations, i.e., Xinxiang in Henan province (35.19°N, 113.53°E), Beijing (39.48°N, 116.28°E), and Urumqi in Xinjiang province (43.47°N, 87.39°E). These locations represented three main maize growing regions in China. Each year/location combination was considered as an environment, generating a total of six environments. The CN-NAM population was summer sown in Henan and spring sown in Beijing and Xinjiang. Within each environment, trials included 11 separate sets (11 CN-NAM families), and each set contained all lines of one family and its two parents. For each set, all lines were randomly assigned within each replication with a one-row plot. Two replications of each set were planted adjacently. Each row included 11 plants and was 3 m long and 0.6 m apart. A set of 4,396 US-NAM lines were grown at five different environments in 2010 and 2011, i.e., Sanya in Hainan province (18.15°N, 109.30°E) in the winter of 2010, Xinxiang in Henan province (35.19°N, 113.53°E) in the summer of 2011, Beijing (39.48°N, 116.28°E) in the spring of 2011, Tianjin (39.10°N, 117.10°E) in the spring of 2011, and Chongqing (29.35°N, 106.33°E) in the spring of 2011. All trials were arranged in an augmented incomplete block design and consisted of one replication of US-NAM RILs and check entries . For each location, lines were grouped by family with augmented incomplete blocks within each family. Each incomplete block comprised 50 RILs and one check: B73. Experimental units consisted of single-row plots of 11 plants. Each plot was 3 m in length with 0.6 m between rows. Days to tasseling (DT) data were collected for the CN-NAM and US-NAM populations and measured as the number of days from planting to tassel emergence for half the plants within a row or plot. The DT datasets for both NAM populations are available in Additional file 9: Table S7 and Additional file 10: Table S8. The broad-sense heritability for DT across the environments in different NAM populations was calculated on a mean basis by PROC GLM in SAS v9.2. The best linear unbiased prediction (BLUP) value of DT across environments was obtained for each line of CN-NAM and US-NAM with the MIXED procedure in SAS (SAS Institute Inc.). Subsequently, the BLUP value for both NAM populations was used for QTL mapping.
The method of inclusive composite interval mapping (ICIM) was used to detect the additive QTL for each of the 36 families by using the QTL ICI Mapping software Ver 3.2 . In ICIM, the P values for entering variables (PIN) and removing variables (POUT) were set at 0.001 and 0.002, and the scanning step was set 1.0 cM. The LOD threshold was determined by a 1,000-permutation test.
Joint QTL mapping for a single NAM population or the two NAM populations together was conducted by using the stepwise regression model described by Buckler et al. . We employed PROC GLMSelect in SAS v9.2 to conduct this analysis. In the stepwise regression model for a single NAM, the BLUP of days to tasseling (DT) was used as the response variable. The family main effects and 4,932 bin markers in CN-NAM or 5,296 bin markers in US-NAM were fitted as the explanatory variables. The family main effects were always included in the stepwise regression model. Then, marker effects nested within families were chosen to enter or leave the model with a threshold of the P value. The threshold was determined by permutation tests (1,000 times) for a corresponding type I error rate of 5 % . For CN-NAM and US-NAM, the P values corresponding to a 5 % type I error were both approximately 0.0001.
In the stepwise regression model for both NAM populations, the BLUP of DT was used as the response variable. The family main effects, reference (B73 and HZS) effects, and 6,238 bin markers were the explanatory variables. The family effects and reference effects were fit first in the model. Then, marker effects nested within families were selected to enter or stay in the model based on the same procedure described above. In this situation, the P value threshold is P = 0.0005 for a corresponding type I error of 5 %. For each QTL selected from the stepwise regression model, the adjacent markers, four from each side, were tested to derive the LOD score, one at a time, with all the QTLs as covariates. For each QTL position identified, confidence intervals were constructed by a 2-LOD drop-off method.
Allelic effects of markers within a family were estimated from the final optimized QTL model. Significances of allele effects were determined with a t-test on the differences between their founder means and the reference (B73 or HZS) allele effect at a significance level of P = 0.05.
This work was partly supported by the Ministry of Science and Technology of China (2011DFA30450, 2011CB100100), the National Natural Science Foundation (91335206, U1138304), the Special Fund for Agro-scientific Research in the Public Interest (201303007), CAAS (Innovation Program), the National Science Foundation (www.nsf.gov) under the Plant Genome Research Program (PGRP) (grant numbers DBI-0820619 and IOS-1238014), and the Basic Research to Enable Agricultural Development (BREAD) project (ID:IOS-0965342), as well as by the USDA-ARS (www.usda.gov). We are grateful to Dr. Weibo Xie of Huazhong Agricultural University for providing excellent advice on the construction of recombination bin maps, to Prof. Jiankang Wang and Dr. Huihui Li of the Chinese Academy of Agriculture Sciences for QTL mapping, and to Prof. Chenwu Xu of Yangzhou University and Prof. Yuanming Zhang of Nanjing Agricultural University for advice on the QTL confidence interval. We are also grateful to Dr. Linda R. Klein for copyediting the manuscript.
CL analyzed the data and drafted the manuscript. YoL participated in the study design and analyzed the data. PJB contributed with new analysis tools and data. XW participated in the data collection. YShi, YSong, and DZ provided phenotypic information. ER-M provided the gene density data. ESB, ZZ, YuL, and TW conceived of the study, managed the project design and coordination, collected data, and helped to draft the manuscript. All authors read and approved the final manuscript.
Chinese Crop Germplasm Resources Information System. http://www.cgris.net/maize/data/. Accessed 23 Sep 2015.
Buckler Lab for Maize Genetics and Diversity. http://www.maizegenetics.net/Table/Genotyping-By-Sequencing. Accessed 4 May 2011.
Panzea Database. http://www.panzea.org. Accessed 12 Sep 2005.
Wang J, Li H, Zhang L, Li C, Meng L. QTL iciMapping software.2012. http://www.isbreeding.net. Accessed 10 Apr 2012.

industry_corpus2: Agriculture & Fisheries


text:
Hey boys, literally 30 min out from AC and my driver reminds me it's Holy Week this week. I completely overlooked this when planning my trip. Am I fucked? Are all the girls headed back home? Do they close gogo bars on Holy Week? As a devout atheist, I have no idea what I'm lookin at here LOL.
Holy Week, am I fucked?

industry_corpus2: Travel & Geography


text:
for the Sony Ericsson K850i.
Mobile Master is a mobile phone management program for the Sony Ericsson K850i and synchronizes contact and Organizer data between Mobile Phone and PC with just a few mouse clicks.
Do you prefer to use Lotus Notes, Thunderbird or Tobit David or ... (see below) for your addresses and Organizer? No problem! Mobile Master copies and synchronizes this information easily onto your Sony Ericsson K850i.
New phone: Mobile Master copies your phone/address book from your old mobile phone to the Sony Ericsson K850i even if your old phone is from another manufacturer.
Mobile Master not only synchronizes the Sony Ericsson K850i with Lotus Notes or Outlook, it also compares the data of your Sony Ericsson K850i with Tobit David, Mozilla Thunderbird, Palm Desktop, Novell Groupwise, Mozilla Seamonkey, Windows contacts/address book (Outlook Express) or a txt, vcf, csv, ics, cvs file.
New phone number or appointment: type it fast on the PC and send it to the Sony Ericsson K850i .

industry_corpus2: Computing & Telecommunications


text:
Nouveau Skin Therapy is the home of some of the most innovative skin treatments on the market.
We focus on bringing the most effective, natural and scientific developments in skin rejuvenation to salons across the UK.
A beautiful complexion starts with healthy skin. The breakthrough facial treatment using microcurrent and nanocurrent technology to fight the signs of ageing.
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Our products and treatments are developed to target and achieve a wide range of skin goals and can help to overcome such issues as fine lines and wrinkles, uneven texture and skin tone, open pores, scaring, sagging skin and much more. All our treatments create breathtaking results that have astounded and impressed the beauty industry, celebrities and journalists alike.
Home of some of the most innovative skin treatments on the market, we bring the most effective, natural, and scientific developments in skin rejuvenation to salons across the UK.

industry_corpus2: Health & Medicine


text:
Many people with type 1 diabetes struggle with including exercise into their life. This is because different types of exercise affect blood sugar differently. Dr. Michael Davidson, of Wentworth Health Partners Endocrinology & Diabetes Consultants, understands these challenges personally as an avid cyclist and someone with type 1 diabetes.
Engaging in enjoyable movement on a consistent and regular basis is an accomplishment for people with diabetes. The benefits of regular and consistent activity include improved overall insulin use, the prevention on depression, increased bone strength, lower blood pressure, and improved balance.
The next session of the Adults with Type 1 Diabetes Support Group, hosted by Dr. Davidson, will discuss how people with type 1 diabetes can incorporate exercise into their lives. In this group setting, he hopes to help people identify and overcome some of the barriers to exercise.
“The ideas and suggestions that the group offers really gets people thinking about adjusting their pump settings, activities, or meals, so they can enjoy being active,” says Dr. Davidson.
The Adults with Type 1 Diabetes Support Group is an active quarterly meeting where people can gather to share ideas and resources and engage in conversations about living with diabetes.
The next session of the group, Exercise and Type 1 Diabetes, is a free event, on February 1, from 6:00 – 7:00 p.m., at Wentworth-Douglass Professional Center, Conference Room 2, 10 Member’s Way in Dover. For more information, please call (603) 740-2887.
For more information about the services for people with type 1 and type 2 diabetes, please visit Wentworth Health Partners Endocrinology & Diabetes Consultants or call (603) 742-1143.
Dr. James M. Estes explains why not all leg pains are created equal.
The facts on COPD by Syed Mudassar Naqshbandi, MD, Wentworth Health Partners Seacoast Pulmonary Medicine.


text: TELUS LivingWell Companion is a medical alert service that provides emergency response with the push of a button. For each new activation in Burnaby and East Vancouver between February 1st to March 31st, TELUS will give $25 to Burnaby Hospital Foundation, up to $5000. Call 1-844-432-3405, email, or visit telus.com/livingwellcompanion.


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industry_corpus2: Law & Justice


text:
This guide will walk you through creating an EMDK For Android application that will analyze MX errors that we get while using MX features that are declared in Profile creation. These MX errors may occur due to some invalid input while creating a profile or some incorrect device configuration.
In this tutorial we would be deliberately producing errors by providing invalid inputs in some of the MX features while profile creation, just to see the errors using getStatusDocument or getStatusString of EMDKResults. We would obtain the error description by parsing the resulting XML response and compare the output with the usual working case.
The goal here is to make you understand how to find errors and correct them if there are any.
Note: Provide "MxErrorsTutorial" as the project name for this tutorial.
Provide "MxErrorsProfile" as the Profile Name for this tutorial.
Now, you can see all these MX features on the left hand side of the Profile Editor window. Select "Clock" feature from the list and click "Right Arrow". The parameter list will be populated.
Using this feature, we will configure the device clock. But we will provide incorrect values while setting Clock parameters and in the code we will parse the XML response and display the result in a dialog.
Enter the Clock parameters such as Timezone, Date and Time. The parameters need to be in a certain format mentioned in the wizard for each field. But we will enter incorrect value in the "Timezone" field (For Example "MMT" which is not a valid TimeZone) and proceed.
Note: Keep the "Name" field empty and AutoTime field unchecked.
You can inspect the "EMDKConfig.xml" under "\assets" folder to see it is reflecting the changes made to the parameters via EMDK Profile Manager GUI earlier. However, it is advised that this file not be manually updated and only be controlled via the Profile Manager. An entry of "Clock" feature is created in EMDKConfig.xml file with the attributes that we had set while profile creation.
That's it!!! We are done with all the coding and incorrect configuration. Now let us run the application and we should get the error in a dialog.
We get the following XML response as a return of results.getStatusString() in the onOpened method, which was saved in a statusXMLResponse String.
Since the response contains <parm-error> tag, the EMDK fails to set the clock. This is because we had set an incorrect value for "TimeZone" field ("MMT" instead of something like "GMT+05:30"). So when we parsed the response we looked for this parm-error tag and parsed name and desc fields of this error tag. Finally we displayed these field in an Alert Dialog to the user.
Now let's correct the parameters and get the valid output that can change the clock settings with the parameters that we declared during profile creation.
So first we will go to profile manager and edit it with the valid "TimeZone" value ("GMT+05:30" instead of "MMT").
Click "Apply", "Finish" and then "Close".
Now since we provided valid inputs, we get a valid XML response without errors.
As you can see its a valid XML response since it does not contain any <characteristic-error> or <parm-error> tag. Moreover, the clock parameters that we set during profile creation are also applied successfully to the device.
In such a way, you can use EMDKResults API with its methods to identify any kind of errors in all the MX features that you used while profile creation. This helps in debugging your application to figure out invalid parameters.
Installing the EMDK for Android application without deploying the EMDK runtime on a Symbol device will fail because of missing shared library on the device.


text:
What is 97.7 percent of 6,310?
How much is 97.7 percent of 6310? Use the calculator below to calculate a percentage, either as a percentage of a number, such as 97.7% of 6310 or the percentage of 2 numbers. Change the numbers to calculate different amounts. Simply type into the input boxes and the answer will update.

industry_corpus2: Math & Statistics


text:
What factors determined the use of film as a television technology in the development of aesthetics in the action-adventure television genre of the 1960s? The use of film on television, instead of in the cinema, led to a debate about ‘technical quality’. Celluloid’s superiority to video gave rise to a cultural understanding of TV aesthetics that could be built on notions of fashion, art, and conspicuous consumption. The action-adventure genre of the 1960s deployed these pop aesthetics and a comic strategy to appeal to an audience fascinated by glamour and youth, and amused by the ideological eccentricity of The Avengers and The Prisoner . The absurd narratives of both of these series refused to different degrees to engage with the real world, but The Prisoner represented an attempt to produce entertainment that relied more on notions of ‘seriousness’. The two series reflect the way television, with its endless dialectic of variation/replication, continued to produce new developments in the action-adventure genre.
Inherently like film, yet antithetical to it. Contradictory theories abound regarding what television can and cannot do, about what it does best. In the early years British television was governed by Reithian values of 'public service' and 'high culture'. But the emergence of a transatlantic market in television programmes in the 1950s — together with the use of celluloid — opened up the televisual in Britain. This process will be examined by focusing on two examples of the action adventure genre, The Avengers and The Prisoner. The article will explore the material industrial processes involved in the creation of a new set of conventions in the genre.
When Radio City Music Hall in New York was opened with a seating capacity of 6200 by RKO in December 1932, it became the world's largest motion picture house and marked the acme of film's development as a big screen theatrical presentation.
By the mid-1950s, corporate interests in Hollywood had their eyes on the potential of filmed drama on the small screen. By now, the contrast between the relative poverty of the studio-based 'live' image and the potential of film was readily apparent. Live plays were often characterised by disaster striking in many forms, from the leading man falling sick to the side of the camera falling off and hitting the floor during a whispered love scene.7 In the U.S., shows were sponsored by advertisers and each live play typically had three acts interrupted by the sponsor's 'message'. The advertisement was often in the form of a slickly-edited piece of film and the quality of the image and the pace of the editing reflected badly on the studio-bound play that contained it. The new television industry was slowly being positioned in relation to its significant economic 'others' – the advertising industry, and later, the motion-picture industry. The dominant interests in television's commercial development had succeeded in producing a synthesis of old radio's programming and merchandising goals with the persuasive tools of Hollywood's film-making, ensuring that the new television medium would not ignore sales-making opportunities by ignoring the value of 'entertainment'. The major Hollywood studios, encouraged by the advertising industry, turned over much of their spare studio capacity to making the filmed action adventure series to meet the networks' seemingly insatiable demand.
A report by Philip Mackie on the widespread use of film on American television appeared in Sight and Sound in 1954. Mackie made a useful distinction between two styles of TV film. One school of producers tried to reproduce on film the virtues and limitations of the 'live' show, perhaps best exemplified in Groucho Marx's comedy. The other school 'made their film look like films, with chases and running fights shot against location exteriors'.9 Such films would continue to proliferate and the mid-1950s saw a big expansion of filmed western series, the entry of Alfred Hitchcock into telefilm production, and in Britain, the opening up of ITV, whose sharpest entrepreneurs quickly recognised the economic possibilities of using film. ABC's Robin Hood was an early British example of the quickly-filmed action series that copied the American technique of industrial television production using film: repeatable and exportable, it became a profitable commodity.
The use of celluloid in television opened out the televisual experience and helped to rescue television drama from its theatrical affiliations (where it would have continued to be a relay device for a pre-existing, live performance). The popularity of the western in America, and even more so the action adventure genre in Britain — in series such as ITC's Danger Man, The Prisoner, and ABC/Thames Television's The Avengers — suggests that film medium gave to early television audiences a sense of the 'epic' and a feeling of the width of cinema that was in sharp contrast to the confined world of the 'live' studio drama. The sense of scale was achieved because it was inscribed into the iconography of the genre as it developed. Patrick McGoohan's protagonist, John Drake, in Danger Man was frequently called upon to intervene in the internal politics of islands in the Caribbean, and in the episode Colonel Rodriguez (1960), he facilitates the release of an American from the island of Montique. The settings and place names could carry resonances of the genre's epic space. However, what was evoked was an imaginative rather than an actual geography. The imaginative space was evoked through every aspect of costume, set design and mise-en-scene, no matter the budget restrictions.
To understand how the debate on celluloid aesthetics on television in Britain took on a particular character, it is necessary to consider the relationship between the technology of film and the technicians using it. Although television is an electronic medium, it has often relied heavily on the film for a large proportion of its programme origination. Throughout the 1970s and 80s, with the ascendancy of video, a variety of questions around an implicit hierarchy of mediums appeared. Film began to look like a messy, outdated mode. It is reasonable to ask why it had not disappeared altogether. However, film appears to have fulfilled the needs of the programme makers, and it continued to be used, not only for technical and economic reasons, but also for aesthetic and cultural ones. Frank Watts, cameraman on television's Hammer House of Horrors, has stated that atmospheric shadows, silhouettes, movement of both camera and cast, and lighting levels, are largely responsible for the success of a good horror movie. Shooting on video, on the other hand, appeared as a real limit to creative potential.
Much has been said and written about the look of images on film. Attempts have been made not only to define it, but also to reproduce it by using videotape. It is doubtful that there is any one factor that produces the 'film look'; rather, it is the product of techniques and technology that have evolved over a period of more than one hundred years.
Stuart Hall in the 1970s asked whether there was a formal aesthetic which could embrace the heterogeneous contents and occasions of television within a single coherent language. 'Despite its massive heterogeneity, there does seem to us a single, coherent language of television to which all its different practices can be referred. The language is, for all practical purposes, indistinguishable from the cinema.'11 Although television continually cannibalises and hybridises the content and presentational forms of other media and events or occasions, the universal set of practices by which this heterogeneous raw material was transformed into television was a set of conventions that, according to Hall, derived from the cinema.
For Hall, there was the danger of regarding television as unmediated, because it appeared that what made television distinctive was the relatively low level transformation of the bulk of its contents, and the very high proportion of television's raw material that was itself the content of another medium, e.g. live theatre or a cinema film. He blamed this on the lack of a 'social aesthetic' on television because of the institution's often innate conservatism. He believed that television did not lack an intrinsic form, but that its powers to transform its content were subjected to a sort of collective repression by the staff involved in the creation of television programmes. For Hall, television's use of a set of conventions taken from the cinema was on one level an acknowledgement that they shared many similarities, but also a condemnation of what he believed was television's formal underdevelopment.
However, it can be argued that television does not represent a different medium, but should be understood rather as a continuum with cinema. As such, it can be best described as a single medium that has undergone a constant process of renewal since the invention of moving pictures. The modes of transmission may have changed from the theatrical to the domestic, but the cinema viewer has become a television viewer as programmes have been reduced in terms of size and scope but expanded in terms of information and activity. Instead of assuming cinema's pre-eminence, as the bearer of a greater cultural capital, it can be argued that false distinctions are often made between cinema and television, and that there has often been a convergence in their development. The latter has involved a two-way process in which the existing modes of representation were updated in both cinema and television to secure further relevance within moving images.
The creation of a specifically televisual rhetoric using celluloid for a domestic rather than a theatrical cinema can be assessed by examining how far the issue of 'technical quality' — the degree of control over the visual style — took second place to the scripting of action and narration in a show such as The Avengers. In 1967, The Avengers was at the point when it ceased to be shot on video and in black and white and was updated by the 'new medium' of colour and 35mm film. The decision to shoot on film led to a more frequent use of exterior shots, and production teams coming to the series sought to create a 'film look' that was more artistically pleasing in the quality entertainment/drama field.
The 'hard work' of making a genre series shot on film needs to be understood in relation to the industrial and economic context of the series. An examination of the conditions of production of the series (rather than, say, an analysis of the role of professional ideologies in the organisation of a television production) will help to clarify the situation here. Firstly, it will tell us about the existing ideologies with which the production team were concerned, and secondly, it can also expose the contradictions between an ideological project conceived by the programme makers and the final programme as it is read and consumed by audiences.
This operates against the notion of literary works conceived of as 'created' and 'finished' products and towards the analysis of literary texts as they are re-inscribed in a variety of different institutional and ideological contexts. Studying a particular text does not require elevating it and isolating it from its history of productive consumption, but looking at everything about it, 'everything which has collected on it, become attached to it – like shells on a rock by the seashore forming a whole incrustation.'13 In other words, the production of a fictional work is a process, and the labour involved in that process can transform the ideology held by its producers and may be symbolised within the finished text. The ideological is given a visible form within a programme and the conditions of production reformulate its particular articulation.
A fictional work is a process, and the collaborative nature of film-making can allow a solution to a technical problem that can lead unexpectedly to the creation of a scene content that is artistically more interesting than that envisaged by the script. Of course, the degree of difference could amount to a complete break from the script, but Hume makes it clear that a crew's overriding purpose was to maintain the integrity of the script, and to serve it rather than alter or replace it. Nevertheless, the diligence of the 'professional' crew should be seen as opening out the televisual experience as much as the use of film as a technology. One reason for setting up a film company in the 1960s to produce for television was the degree of flexibility in working practices that it made possible. For the producers of The Avengers the experience, first at ABC and later Thames Television, demonstrated that freelance working could produce a change in the social relations of production, which can affect the final textual meanings that are being offered in a programme. Instead of the often alienated workforce of permanently staffed technicians in the television studios who were unlikely to work consistently on a long-running drama series, Thames' employees producing The Avengers had the chance of a closer involvement with the programme as a whole and crew members were rarely unwilling to work overtime because they were more actively involved in a production.
By the end of the third season in 1964, The Avengers was on the verge of a major technological change. Until that point , the series had been recorded on videotape, which was difficult to edit, and so the performance had often to be done in a single take with only a handful of exterior scenes shot on film. These technical limitations were overcome by the use of interior sets, close shots and a visual style that used low-key lighting and expressionist angles to create an unreal world that was marked off as different from the realism of a near-documentary series like Z Cars. For the fourth series in 1965, however, The Avengers moved onto film, which was more expensive, but allowed a greater use of location filming, exterior sequences and a more expressive use of visual style. The reason for the change was in large measure due to the desire to sell the series in America where filmed entertainment had been established much more firmly than in Britain.
The move to film necessitated changes in the production base of the series and its personnel. If there was a moment when The Avengers can be said to have changed decisively, this was it. The production base of The Avengers moved to British National Studios at Elstree. Julian Wintle, a former film editor turned producer who had co-founded Independent Artists in 1958 and whose credits included Tiger Bay (1959) and This Sporting Life (1963), was brought in as supervising producer. Yet the credos of actual personalities such as Wintle and Thomas were not as important as a set of complex 'signature' codes that suggests both authorial and cultural importance. From the critical tradition of authorship came the still-dominant popular view that individual, artistic directives were at the heart of the creative enterprise in film. However, the personalities of each studio in the classical era of Hollywood were not a priori to the film, but added in because of the controlling oversight of the studio bosses.15 This worked because specific production modes distinguished each studio. Similarly, ITC and ABC/Thames utilised a 'house' mode of production; they also shared 'house styles' with other filmed entertainment on the lot.
Television programmes are industrial products produced for a mass audience, and therefore the study of popular TV demands that the critic recognises that programmes do not stand alone, but are produced and consumed in runs and sets, groupings that may be understood in terms of generic qualities, or the casting of stars, or shared iconographic elements. Rather than the discrete programmes, it is the continuities across groups of films that the audience recognises, and that become the principal focus of critical attention. The primary object of study is not the single programme, but the series that was shaped by several factors; occupational ideologies that influenced the use of film on television; the cultural understanding of television aesthetics and technology. Steve Neale has argued that 'genres cannot be systematically characterised and differentiated from one another' on the basis of abstracted formal properties — a set of codes and conventions — as if such properties 'constituted specific generic essences'.16 Rather, he argues, genres can more usefully be viewed as sets of expectations through which the possibilities of understanding a text are organised. Such expectations are neither lodged within nor produced by the properties of individual texts or even groups of texts viewed in isolation. The determination as to which genre rules will be operative in organising the possibilities of reading is thus linked to a production culture, rather than a fixed set of conventions within a text.
As television production moved to involve an international market, there was a growing Americanization of the action adventure genre. This relied on the industrialization of the aesthetics of film that had happened in America. In The Avengers the comic strategy of the series also operated to recruit new audiences. The parodying of some aspects of post-imperial ideologies such as consumerism and fashion, combined with the buttressing of others, was not only endorsed by British audiences, but also allowed The Avengers to engage with international audiences. This, in turn, fed into American views of the British class system as an outdated anachronism, and served as an amusing ideological eccentricity when used in the service of the West (i.e. the United States). In this way The Avengers can be understood as linking together American and British audiences.
The importation of the American filmed television series whetted British audiences' appetites for this style of entertainment, and the imposition of quotas on foreign material that could be shown on British television stimulated the production of the filmed series in the UK. It was Lew Grade who first began to finance the production of the TV film series under the BFPA (British Film Producers Association) agreements, after convincing the unions that this would not affect the production of television programmes within ATV (Associated Television), but would allow him to break into the American market, and provide an additional source of employment. After his TV series Danger Man was shown successfully in the US, but not networked, Grade sold his first TV series to America in 1965. The Saint, which had cost ATV £50,000 a show to make, was bought by NBC, and was the first British-made TV series to be shown on the American network. It ran in the US for 117 episodes. Meanwhile, in 1965, Howard Thomas, at ABC, switched The Avengers from tape to film and scored a notable success, including an American network sale.
The main aesthetic that appeared in the new filmed version of The Avengers was the pop ethic. By then the action adventure genre had become the dominant fictional form of the 1960s pop ethic, because the genre had become additionally coded with discourses related to tourism, conspicuous consumption and sexual pleasure. In particular, the action adventure successfully appropriated the new pop aesthetic of the designer gadget. The use of the gadget, omnipresent in The Avengers, Danger Man and The Prisoner marks a radical break with previous conceptions of modern technology and instead, the micro-electronics of the gadget foreshadowed a future in which advanced technologies were to be consumer products on a mass market. Pop art became the freeing of the art of technology from its military-industrial connotations. The gadget was deployed without brute force, but coolly in the hands of a professional individual.
The gadget is designed for a precise, functional use and plays an important role in the accomplishment of the mission of the protagonist. The use of miniaturised, concealed cameras, listening devices, tape recorders and closed-circuit video enabled Drake, the main character in Danger Man, to gather information that would otherwise be beyond the resources of a lone agent. The deployment of gadgets allowed the secret agent to overcome the passivity of his fellow lone operator, the private eye. In Danger Man, the information giving role is transferred to the gadget, freeing encounters with others for ideological rather than narrative ends, and enabling the planting and monitoring of electronic bugs to become an 'active' process which slows down the narrative to the strains of cool bass lines and jagged harpsichord notes. The series testifies to an art/technology combination.
In the episode Parallel Lines Sometimes Meet, there is a condensation of the pop alliance between the worlds of fashion and advanced technology. Drake is always impeccably dressed, his clothes barely ruffled even after fights and chases: most episodes could also be read, at least in part, as a prolonged demonstration by a male model. At the same time, he is also a skilled manipulator of gadgets and instruments. As well as his technical skills, his missions also demand a vast general cultural understanding in order to appear convincing in his various impersonations. Drake thus assembles within his character, the roles of technician, artist and intellectual that form different aspects of the new middle class. The art/technology mix is also a blend of the old and the new. Drake is a carefully crafted design of the new, modern person, running a line of continuity between yesteryear's spy of morality and patriotism, and the ironic view of the old that is receptive to the new. He is emblematic of the modern individual, the spy of technical and social skills that can avoid having his cover blown by not making mistakes.
Pop irony and moral seriousness are constantly in tension, the signs of consumption and technology straining against older values. The positioning shots of London and other capitals are a sign of pop's cosmopolitanism in which the foreign is able to signify the modern and the progressive. Continental values are similarly marked as signs of stylish consumption in Danger Man. Drake's presence in foreign cities, rather than reinforcing his Britishness, is a chance for him to show off his cosmopolitanism and his ease in another culture. By the end of the 1960s, the action adventure genre had fissured into two distinct forms. On the one hand, filmed entertainment of playboys who carried out vague missions in tourist playgrounds against mysterious international organisations; on the other, the ultra-realist genre and the return to a 'live' studio-bound mode in Callan (1967-74), in which unglamorous, shadowy characters went about their way in a morally ambiguous world.
The Avengers and The Prisoner were both nominally espionage-related dramas, and both deconstruct the spy genre, though in different ways and with different intentions. They incorporated sci-fi elements, helped to create the hybrid genre, spy-fi, to feature strange robotic menaces, and strayed from the standards of their genre as they became politically charged and consistently satirical.
The achievement of The Avengers was to contain within itself the pendulum swing from realist aesthetics based on a 'live' mode of television to surrealism based on notions of entertainment associated with film. This demonstrated the flexibility of the television series as a form and the centrality of its style to the way it was marketed. So, for example, a series like The Avengers could reach a key demographic for advertisers — 18 to 35 year olds — by offering entertainment that was sensitive to all these different demands, and which exploited television as a medium and film as a technology within television.
During the 1960s the primary point of cultural reference for a television programme remained the first moment of transmission. Unlike cinema, television programming was heavily tied to specific times that were used to construct a sense of intimacy with a domestic audience. Consequently, regardless of the genre or the fact that it was 'popular' or 'serious', programmes usually made reference to a common present moment and involved programme makers and audiences with shared assumptions. For example, the representation of fashion in The Avengers, which became more evident in series four, was manifestly of the moment. The Emma Peel outfit was the first publicly available clothing collection designed for TV and the retail sales it inspired followed a show at the Courtaulds Fashion Theatre in August 1965. Diana Rigg would soon be associated with her iconic target beret, and the signs and images that denoted conspicuous consumption were used to place the characters of Emma Peel and Steed and enable the audience to relate to them as being emblematic of pop style, youth and glamour. It is worth stressing that this everydayness of TV, where references are constantly being made to a common present moment, can present additional problems of textual and generic interpretation that may not exist to the same degree in cinema.
One of the pop elements deployed by The Avengers was a series of inter-textual references and quotations from other media, often referred to as 'bricolage'. The show was more rigorously 'pop' than Danger Man, which presented 'pop' style within a framework of political dilemmas. Foregrounding the pop obsession with designed surfaces, later episodes of The Avengers eliminated all trace of psychologically realistic characters from its content. These features were an integral part of another style of series that began in America at the beginning of the 1960s, exemplified by The Man From Uncle, which eschewed the 'realistic' illustration of social and psychological truths in favour of glamour and consumption. The focus on surface appeared thematically and we see 'speed' and 'modernity' revealed in a number of forms. Certain clothes become 'as fast and slick as a jet plane'.17 The reduction or flattening out of the idea into real objects was integral to pop style, for instance, in the episode, The Interrogators, an undercover informant is shot dead while kicking a football (bucket).
Psychological identification with characters was dismissed as unsophisticated. The pop gaze established a new regime for the television series, no longer based on the outside world but on the higher reality of design. The development of modern consumerism meant learning to pay attention to detail. This type of fetishism invested objects with systems of signification, and the inability to read surfaces correctly amounted to a lack of 'sophistication' on the part of the audience.
With The Avengers, the enjoyment for some people is tied to the fact that less sophisticated viewers will view it as alien. The quality of the text worked as a social marker rather than providing an objective basis. The pure gaze of the cultivated, sophisticated arbiters of culture defined itself by its opposition to the simplicities of the popular. The analysis of television drama as both a quality and popular form opened up a means of linking the aesthetics of television drama to the dialectics of sense-making and taste-making. In Britain, Stuart Hall argued that the general rule is that the more serious or 'high culture' a dramatic production is, the less it will be conceived for television and the more television will borrow forms from other media. Television will either transmit a 'serious' play as a piece of theatre or else transmit a popular piece of drama as a piece of cinema instead of finding a form more appropriate to television. However, The Avengers challenges this simple dichotomy. The distinction between a popular and the high aesthetic was bound up with the struggle between a populist, and classless American television that came to be associated with filmed entertainment, and a much more class-based British form of television with aspirations to art and seriousness more associated with 'liveness' and the single play on television. It is precisely because The Avengers exemplifies technological changes in the television industry, moving from 'live' performance to film and from black and white to colour in 1965-67, that it also exemplifies stylistic changes that occurred in the action adventure genre in television from a low-key, realist mode of representation to a more colourful, fantastic style strongly influenced by pop art and fashions of the time. It is as a product of the 'high sixties' that The Avengers is most celebrated. As such, it made visible the ideologies of consumerism, in the process 'opening out' the televisual experience on celluloid.
With film recording, television programmes began to acquire the definitiveness and fixity that is normally associated with a separate text, and repeats of viewers' favourite programmes came to occupy a significant part of the schedule. With repetition, recorded programmes also acquired the status of commodities or 'tradeable goods'.19 Filmed drama, and eventually, the new technology of magnetic recording after 1958 meant an enormous expansion of television's programme base. Stockpiled recordings could be used not only for delayed or repeated transmission but as goods that could be traded among broadcasters.
With its foregrounding of signs of expensive consumerism and conspicuous consumption — the cars, clothes and champagne drinking — The Avengers was well placed to become a highly commodified text, taking full advantage of the new market in programmes. Not only could the series be traded among broadcasters; it was also the first television series to employ an 'exploitation manager' to sell product placement to companies anxious to have their commodities showcased. Props such as Emma Peel's sporty Lotus Elan were signifiers of modernity, just as Steed's vintage green Bentley reinforced the character's links with other fictional agents and advertising totems such as James Bond. The prominence accorded to designer clothes and other consumer items was an integral element of the series' production strategy. The Avengers was 'packaged' to present an image of England as a place of high-living and sophistication that would appeal to affluent overseas audiences who might wish to invest in British consumer culture.
In the mid-1960s, at the time of programmes such as The Avengers and The Prisoner, popular culture was enjoying unprecedented prestige and influence. 'The characters often had elaborate biographies, couched in a weirdly serio-comic style, the fruit of earnest script conferences,' records one contemporary journalist.20 Meanwhile, on television, programmes like Armchair Theatre, and the Wednesday Play, and topical magazine programmes such as Panorama and Huw Wheldon's Monitor continued to be shaped by social realism — and the still prevalent Reithian patrician principle of public service broadcasting. The popular genre of the action adventure series with its various sub-categories was all too often dismissed as imitative of American television, and lacking the social realist import or the literary pedigree seen as the hallmark of the 'best' (meaning the most critically respectable), British television. When a popular genre did receive some critical acclaim, it was not done on the basis of its own generic characteristics, but through its perceived relation to the realist tradition (as in the case of Doctor Who).
The cultural status of the action adventure genre is controlled by attitudes to high and popular culture, and what constitutes art and quality. The Avengers, like many popular shows, was not taken seriously by most television critics of the 1960s, and was believed to be ephemeral because it privileged style over content and refused to engage with the 'real' world. However, Kingsley Amis suggested a different way of appreciating The Avengers that was not determined by conventional notions of narrative logic. For Amis, the absurd narrative was a sign of a sophisticated production strategy.21 In fact, the desire to avoid social reality was a deliberate production strategy of the series from 1965 onwards. Bruce Merry argues that while 'espionage fiction trips over itself to play the game of culture', it does so only to debunk the game, to deflate the signs of culture and knowledge which the text displays precisely by foregrounding them as a 'paraded literariness'.22 According to this view, a show such as The Avengers could be read as a subtle anti-literalising device, a parading of signs of value which reveals them as valueless, and furthermore calls into question the making of signs.
The Prisoner was broadcast in 1967-68 and ran for only seventeen episodes. It centres on a secret agent who resigns from his job and is then abducted and held in a mysterious 'village' where the authorities try and make him reveal the reason for his resignation.
Contemporaries did not know what to make of The Prisoner. When it began it was welcomed as a bold and innovative experiment that offered a different entertainment pattern from the formulaic norms of popular television. However, the appeal to aesthetic value was linked to a strong emphasis on the generic elements of The Prisoner as an action adventure series.
It adopted in many ways the generic conventions of the 1960s television spy series found in earlier series such as Danger Man and The Avengers. These series pitted their spy protagonists against villainous individuals and organisations, combining elements of the detective and thriller genres in the use of intriguing narratives and action-packed denouements. In the first episode, The Prisoner promised to fulfil all of these generic expectations. The opening credits showed McGoohan driving into London, entering a building and resigning. The central London setting, the costuming of McGoohan as Number Six, and the man he resigns to in a dark suit suggested a government agency. A shot of a vast underground filing system confirms this is a powerful and large, secret organisation. The exotic location to which Number Six is kidnapped to is also in keeping with the conventional use of exotic locations in Danger Man. However, although The Prisoner sets up these generic expectations, they are consistently undercut and unfulfilled. The identity of the organisation from which Number Six resigned is never revealed, and references to the spy genre are only implied rather than asserted. The Village that the prisoner is taken to may be run by a villainous organisation or by a government. Number Six may be a spy concealing information. The Village may be set in a foreign locale, but this is never confirmed.
In the 1960s, television was still a relatively new form of mass entertainment. Although it had become a force in its own right, the medium had not yet become self-reflexive. Few programmes addressed the nature and effects of television itself. The Prisoner was the first television series to be about television. It explored the technical and expressive possibilities of the medium, and probed the viewer's status as watcher. The portrayal of technology was anything but attractive and consumer-oriented – a condemnation of technology-oriented Western materialism. The essential purpose of The Prisoner was to raise questions about the relationship between self and society in the technocracy of the global village.
In Danger Man, and particularly The Prisoner, McGoohan's professional identification with the television industry was evident in his very 'visual signature' and use of the latest television technology. The earlier classic realism of Danger Man had been overwhelmed by the over-proliferation of authorship. However, the institutional rather than the personal or biographical logic of authorship in production became the key factors here. Television needs to be viewed as an industrial — rather than artistic — practice and a television production could demonstrate authorship to be unavoidably collective, and contested.
In some ways, The Avengers and The Prisoner both used an aesthetics that occupied a space beyond ideology, that of pure pleasure. The extreme self-conscious use of style attributed to both these series in the late 1960s, is explained not only through reference to individual aesthetic or cultural influences, but through attention to the transformation of the TV industry into a new transatlantic form of entertainment that depended on celluloid television. Television is a process that brings the social and technological together. The notion of ideology as the chief mediator between the televisual and the non-televisual which implies that television technology is ideologically complicit assumes that there is such a thing as a neutral technology. Although technology is not ideological in itself, it is ideological in its use in specific historical situations, and therefore, an historical examination of a technological development is required.25 Television's specificity cannot simply be defined in terms of the 'film look' and the similarity of the television genre to film genre, but must be seen in terms of the ideologies used to create such cult shows as The Avengers and The Prisoner, a combination of imperial decline, notions of Britishness, and conspicuous consumption represented by the worlds of fashion and art.
1. John Hill and Martin McLoone (eds), Big Picture, Small Screen (London: John Libbey Media, 1995), p. 62n. Desilu is a production company formed by Lucille Ball (of I Love Lucy fame) and her husband Desi Arnaz – their most famous and recognisable show was Star Trek.
2. Thomas Edison, in 'The World's Columbian Exposition Illustrated', May 1893, quoted in Gordon Hendricks, The Edison Motion Picture Myth (Berkeley and Los Angeles: University of California Press, 1961), p. 104.
3. Peter Kramer, 'The Lure of the Big Picture: Film, Television and Hollywood' in Hill and McLoone (eds), Big Picture, Small Screen, p. 16.
4. http://en.wikipedia.org/wiki/File:Telephonoscope.jpg> [accessed 19 May 2010].
5. Roy Armes, On Video (London: Routledge, 1988) p.34.
6. William Boddy, 'The Shining Centre of the Home: Ontologies of Television in the Golden Age', in Television in Transition, ed. by Phillip Drummond and Richard Paterson (London: BFI, 1986), p.131.
7. Nigel Kneale,' Not Quite So Intimate', Sight and Sound, 28 (1959), 86-88 (p.87).
8. Richard Patterson, 'Introduction', in Television: An International History, ed. By Richard Patterson and Anthony Smith, 2nd edn (Oxford and New York: Oxford University Press, 1998), pp. 1–6; p. 3.
9. Philip Mackie, 'Six Hundred Hours a Week', Sight and Sound, 24 (1954), 45–48 (p. 48).
10. Quoted in D. J. Kimbley, 'Survival of celluloid in the age of the microelectronic in television', The Journal of the Royal Television Society (September–October 1981), 21–24 (p. 21).
11. Stuart Hall, 'Television and Culture', Sight and Sound, 45 (1976), 246–252 (p. 249).
12. Pierre Macherey, A Theory of Literary Production, (London: Routledge, 1978), p.49.
13. 'An interview with Pierre Macherey', Red Letters, 5 (1977), 3–9 (p. 7).
14. Alan Hume, 'Filming for Colour Television Series', British Kinematograph Sound and Television, 50 (1968), 3–5 (p. 3, 5).
15. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: Random House, 1981).
16. Steve Neale, Genre (London: British Film Institute, 1980), p. 48.
18. Harry Craig, as quoted in Buxton, p. 98.
19. John Caughie, Television Drama: Realism, Modernism and British Culture (Oxford: Oxford University Press, 2000), p. 54.
20. Peter Black, 'Undercover and out of mind except for that Mrs Gale', Daily Mail, 13 October 1962, p. 4.
21. As quoted in TV Times, 9–15 February 1964, p. 7.
22. Bruce Merry, Anatomy of the Spy Thriller (Dublin: Gill and Macmillan, 1977), pp. 162–3.
23. 'New on Southern This Week', TV Times, 30 September – 6 October 1967, p. 4.
24. Alain Carraze and Helene Oswald, The Prisoner (London: Virgin, 1990), p. 53.
25. James Spellerberg, Technology and the Film Industry: The Adoption of Cinemascope (Ann Arbor, MI: University Microfilms International, 1980), n.p.
Armes, Roy, On Video (London: Routledge, 1988).
Black, Peter, 'Undercover and Out Of Mind Except for That Mrs Gale', Daily Mail, 13 October 1962, p. 4.
Carraze, Alain, and Oswald, Helene, The Prisoner (London: Virgin, 1990).
Caughie, John, Television Drama: Realism, Modernism and British Culture (Oxford: Oxford University Press, 2000).
Drummond, Phillip, and Patterson, Richard, Television in Transition (London: BFI, 1986).
Hall, Stuart, 'Television and Culture', Sight and Sound, 45 (1976), 246–52.
Nigel Kneale, 'Not Quite So Intimate', Sight and Sound, 28 (1959), 86–88.
Hendricks, Gordon, The Edison Motion Picture Myth (Berkeley and Los Angeles: University of California Press, 1961).
Hill, John, and McLoone, Martin (eds), Big Picture, Small Screen (London: John Libbey Media, 1995).
Hume, Alan, 'Filming for Colour Television Series', British Kinematograph Sound and Television, 50 (1968), 3–5.
D. J. Kimbley, 'Survival of celluloid in the age of the microelectronic in television', The Journal of the Royal Television Society (September–October 1981), 21–24 (p. 21).
Mackie, Philip, 'Six Hundred Hours a Week', Sight and Sound, 24 (1954), 45–48.
Macherey, Pierre, A Theory of Literary Production (London: Routledge, 1978).
—— 'An interview with Pierre Macherey', Red Letters, 5 (1977), 3–9.
Merry, Bruce, Anatomy of the Spy Thriller (Dublin: Gill and Macmillan, 1977).
Neale, Steve, Genre (London: British Film Institute, 1980).
Patterson, Richard, 'Introduction', in Television: An International History, ed. by Richard Patterson and Anthony Smith, 2nd edn (Oxford and New York: Oxford University Press, 1998).
Schatz, Thomas, Hollywood Genres: Formulas, Filmmaking, and the Studio System (New York: Random House, 1981).
Spellerberg, James, Technology and the Film Industry: The Adoption of Cinemascope (Ann Arbor, MI: University Microfilms International, 1980), n.p.

industry_corpus2: Film & Entertainment


text:
I added A record and point to the dedicated IP from our new server from HostGator, this is work when the sub-site is still single site, I cannot add the domain to the multisite..
Sorry for my poor Eng..
Can you respond in the other thread you started, rather than opening a new thread.
I'll copy your post there & close this one.