Huw D. Jones – författare

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Understanding the physical and genetic structure of cereal genomes and how defined coding and non-coding regions interact with the environment to determine a phenotype are key to the future of plant breeding and agriculture. The production and characteri- tion of transgenic plants is a powerful reverse genetic strategy increasingly used in cereals research to ascribe function to defined DNA sequences. However, the techniques and resources required to conduct these investigations have, until recently, been difficult to achieve or totally lacking in wheat, barley and oat. This book brings together the l- est protocols for the transformation, regeneration and selection using both biolistic and Agrobacterium tumefaciens appropriate for these three species. It includes two chapters describing in vitro Agrobacterium co-cultivation, one leading to germ line transformation with no need for tissue culture-based regeneration. In addition, it has several chapters dedicated to the manipulation of gene expression and characterisation of the recombinant locus and transgenic plants. Finally, it tackles the issues of GM risk assessment, field trials and substantial equivalence in terms of transcriptomics, proteomics and metabolomics. Although this book is dedicated to the temperate small grain cereals wheat, barley and oats, many of the techniques described could be readily adapted for other cereals or plants generally. We thank all the contributing authors for their timely and informative chapters, the staff of Humana Press, especially John Walker for their guidance, and Helen Jenkins for her proof-reading, word processing and administrative support. v Contents Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . v Contributors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix PART I.

This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions from across the continent to explain why viewers are attracted to particular European films, nationalities, and genres, including action-adventures, family films, animations, biopics, period dramas, thrillers, comedies, contemporary drama, and romance. It also examines how these films are financed, produced, and distributed, how they represent Europe and other Europeans, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, Asterix & Obelix: God Save Britannia, and Sammy’s Adventures: A Turtle’s Tale to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, The Girl with the Dragon Tattoo, Intouchables, The Angels’ Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can sometimes improve people’s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. While some popular European arthouse films explore a wider range of nationalities, social issues, and historical events, these mainly appeal to urban-dwelling graduates. They can also sometimes accentuate tensions between Europeans instead of bringing them together. The book discusses what these findings mean for the European film industry, audiovisual policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film.