Ever since television became practical in the early 1950s, closed-circuit television (CCTV) in conjunction with the light microscope has provided large screen display, raised image contrast, and made the images formed by ultraviolet and infrared rays visible. With the introduction of large-scale integrated circuits in the last decade, TV equipment has improved by leaps and bounds, as has its application in microscopy. With modem CCTV, sometimes with the help of digital computers, we can distill the image from a scene that appears to be nothing but noise; capture fluorescence too dim to be seen; visualize structures far below the limit of resolution; crispen images hidden in fog; measure, count, and sort objects; and record in time-lapsed and high-speed sequences through the light microscope without great difficulty. In fact, video is becoming indispensable for harnessing the fullest capacity of the light microscope, a capacity that itself is much greater than could have been envisioned just a few years ago. The time seemed ripe then to review the basics of video, and of microscopy, and to examine how the two could best be combined to accomplish these tasks. The Marine Biological Laboratory short courses on Analytical and Quantitative Light Microscopy in Biology, Medicine, and the Materials Sciences, and the many inquiries I received on video microscopy, supported such an effort, and Kirk Jensen of Plenum Press persuaded me of its worth.

Between 1895 and 1929, more than 15,000 motion pictures were made in the United States. We call these works “silent films,” but they were accompanied by an enormous body of music, including works adapted or arranged from pre-existing works, as well as newly composed pieces for theater orchestras, organists, or pianists. While many films and pieces are lost, a considerable amount of material remains extant and available for use in research and performance. Music for Silent Film: A Guide to North American Resources is a unique resource on North American archives and English-language materials available in for those interested in this repertoire. Part I contains information about archives of primary source materials including full and compiled scores, sheet music, published anthologies of music, interviews with cinema musicians, periodicals, and instruction books. Part II surveys the English-language scholarship on silent film music in articles, book chapters, essay collections, and monographs through 2015. The book is fully indexed for ease of access to these important sources on film music.

This user-friendly textbook offers comprehensive insights into all facets of audiovisual translation and media localisation. Serving as a comprehensive guide spanning seven chapters, it begins by introducing audiovisual translation (AVT). It goes on to explore the historical backdrop and highlights the distinctions from traditional written text translation. The authors expertly navigate you through the primary AVT modalities: interlingual subtitling, dubbing, voice-over, subtitling for the deaf and hard of hearing, live subtitling, and audio description. A blend of theoretical concepts and practical, real-world examples in various languages ensures a seamless understanding of the fundamental principles of AVT. The book clearly guides you through the most important aspects of each type of AVT. Designed for those exploring various AVT forms, budding audiovisual translators, and those interested in contemporary AVT trends and research, this book is an invaluable resource for students of translation and linguistics and for educators in AVT across higher education and media localisation programmes.