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Testing Genetic and Environmental Associations Between Personality Disorders and Cocaine Use: A Population-Based Twin Study
- Nathan A. Gillespie, Steven H. Aggen, Amanda E. Gentry, Michael C. Neale, Gun P. Knudsen, Robert F. Krueger, Susan C. South, Nikolai Czajkowski, Ragnar Nesvåg, Eivind Ystrom, Tom H. Rosenström, Fartein A. Torvik, Ted Reichborn-Kjennerud, Kenneth S. Kendler
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- Journal:
- Twin Research and Human Genetics / Volume 21 / Issue 1 / February 2018
- Published online by Cambridge University Press:
- 25 January 2018, pp. 24-32
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Until now, data have not been available to elucidate the genetic and environmental sources of comorbidity between all 10 DSM-IV personality disorders (PDs) and cocaine use. Our aim was to determine which PD traits are linked phenotypically and genetically to cocaine use. Cross-sectional data were obtained in a face-to-face interview between 1999 and 2004. Subjects were 1,419 twins (µage = 28.2 years, range = 19–36) from the Norwegian Institute of Public Health Twin Panel, with complete lifetime cocaine use and criteria for all 10 DSM-IV PDs. Stepwise multiple and Least Absolute Shrinkage and Selection Operator (LASSO) regressions were used to identify PDs related to cocaine use. Twin models were fitted to estimate genetic and environmental associations between the PD traits and cocaine use. In the multiple regression, antisocial (OR = 4.24, 95% CI [2.66, 6.86]) and borderline (OR = 2.19, 95% CI [1.35, 3.57]) PD traits were significant predictors of cocaine use. In the LASSO regression, antisocial, borderline, and histrionic were significant predictors of cocaine use. Antisocial and borderline PD traits each explained 72% and 25% of the total genetic risks in cocaine use, respectively. Genetic risks in histrionic PD were not significantly related to cocaine use. Importantly, after removing criteria referencing substance use, antisocial PD explained 65% of the total genetic variance in cocaine use, whereas borderline explained only 4%. Among PD traits, antisocial is the strongest correlate of cocaine use, for which the association is driven largely by common genetic risks.
Preface
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- By Tom Gunning
- Edited by Sarah Keller, Jason N. Paul
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- Book:
- Jean Epstein
- Published by:
- Amsterdam University Press
- Published online:
- 20 January 2021
- Print publication:
- 15 July 2012, pp 13-22
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Summary
A senior film scholar once told me that when attending a conference on a famous American avant-garde filmmaker she asked one of the presenters why he hadn't mentioned the influence of Epstein.
The presenter looked confused: “Did you say, ‘Eisenstein’?” he asked.
The films and writings of Jean Epstein still remain one of the best-kept secrets of film studies, especially outside of France. Hopefully this rich and insightful new anthology may sound the trumpet blast that starts the walls of isolation tumbling. While I and a few other film scholars have enjoyed a certain sense of privileged pleasure in knowing the work of this extraordinary cineaste, I can only find this persistent neglect puzzling. To my mind Jean Epstein is not only the most original and the most poetic silent filmmaker in France, surpassing impressive figures like Abel Gance, Jacques Feyder, Marcel L’Herbier and even Louis Feuillade; I also consider him one of the finest film theorists of the silent era, worthy to be placed alongside the Soviet theorists (Eisenstein, Vertov and Kuleshov) and the equal of the extraordinary German-language cinema theorist, Béla Balázs. I recently amused another senior scholar when I claimed I thought an English translation of Epstein's writings on cinema could revolutionize American film studies. My interlocutor, who greatly admires Epstein, shook his head and replied, “I wish I had as high an opinion of American film studies as you do!”
I try not to assume that my own passions are universal, and it may still be some time before the name of Epstein sounds as familiar as Eisenstein. Nonetheless, I cannot help but welcome this new anthology of essays and translations as a possibly transformative contribution to media studies. And I say media studies rather than simply film studies or film history advisedly. Although Epstein's place in film history remains central and complex, I cannot regard him simply as a historical figure. Epstein entered cinema at its moment of greatest excitement and discovery – a period in which its possibilities seemed boundless and its implications yet to be theorized. We now are witnessing a moment in which the nature of moving images and sound, of media in general, is undergoing a similarly radical transformation – and Epstein's writings seem to me more relevant than ever.
Loïe Fuller and the Art of Motion: Body, Light, Electricity and the Origins of Cinema
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- By Tom Gunning
- Edited by Richard Allen, Malcolm Turvey
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- Book:
- Camera Obscura, Camera Lucida
- Published by:
- Amsterdam University Press
- Published online:
- 25 January 2021
- Print publication:
- 03 February 2003, pp 75-90
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‘O body swayed to music, O brightening glance How can we know the dancer from the dance?’
William Butler Yeats, Among School ChildrenAs we enter the twenty-first century, one of our tasks in recovering the history of cinema in the previous century (and its brief, but crucial, nineteenth century prologue) must be to recover the utopian penumbra cast by cinema's advent. Like the range of new media appearing today, the emergence and transformation of cinema that took place in its first two decades not only introduced new technologies and modes of representation, but also inspired people to think broadly about the way the invention of motion pictures interacted with new ways of conceiving the world and new ways of making art. Roman Jakobson has described how thinking about the cinema in the teens not only inspired the aesthetics of Russian Futurism in its belief that ‘static perception is a fiction’ but also his own critique of the dichotomy of synchrony and diachrony in Saussure's linguistics:
In criticizing this conception, I referred, by no means accidentally, to the example of cinematographic perception. If a spectator is asked a question of synchronic order (for example, ‘What do you see at this instant on the movie screen?’) he will inevitably give a synchronic answer, but not a static one. For at that instance he sees horses running, a clown turning somersaults, a bandit hit by bullets. In other words, these two effective oppositions, synchrony/diachrony and static/dynamic do not coincide in reality. Synchrony contains many a dynamic element, and it is necessary to take this into account when using a synchronic approach.
Writers and thinkers in the early part of the twentieth century proclaimed the cinema, among other things, the first art of the machine, the art form of the twentieth century, and a universal language – all appellations that carried utopian if not millennial overtones. Utopian aspects of the past should never be judged in terms of their realization (or the lack of it), but rather as expressions of broad desires that radiate from the discovery of new horizons of experience. Unrealized aspirations harbor the continued promise of forgotten utopias, an asymptotic vision of artistic, social, and perceptual possibilities.
Foreword: Through Carroll's Looking Glass of Criticism
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- By Tom Gunning
- Noel Carroll, University of Wisconsin, Madison
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- Book:
- Interpreting the Moving Image
- Published online:
- 05 June 2012
- Print publication:
- 13 May 1998, pp xi-xviii
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“I meant by ‘impenetrability’ that we've had enough of that subject, and it would be just as well if you'd mention what you mean to do next, as I suppose you don't mean to stop here all the rest of your life.”
“That's a great deal to make one word mean,” Alice said in a thoughtful tone.
“When I make a word do a lot of work like that,” said Humpty Dumpty, “I always pay it extra.”
– Lewis Carroll, Through the Looking GlassIn a critique of the film theory of André Bazin that is both penetrating in its logic and devastating to Bazin's theoretical argument and yet seems somehow nearly irrelevant to what most of us would agree is the importance of Bazin to film studies, Noël Carroll proposes a distinction between film theory and film criticism. Redefining Bazin's theory of cinematic realism, Carroll claims it is best approached as an argument in favor of a particular film style rather than definition of the essence of cinema. Instead of a coherent argument about the nature of the film image, Bazin offers, as Carroll puts it, “an astute appreciation of an important stylistic shift.” Acknowledging that the weakness of Bazin's theoretical metalogic does not gainsay his deep insight into a stylistic change in film history, Carroll admits, with the sort of disarming candor that so often strikes one in his work, “What fails as theory may excel as criticism.”