Robert Altman's Soundtracks

Free Radicals in Biology and Medicine has become a classic text in the field of free radical and antioxidant research. Now in its fifth edition, the book has been comprehensively rewritten and updated whilst maintaining the clarity of its predecessors. Two new chapters discuss 'in vivo' and 'dietary' antioxidants, the first emphasising the role of peroxiredoxins and integrated defence mechanisms which allow useful roles for ROS, and the second containing newinformation on the role of fruits, vegetables, and vitamins in health and disease. This new edition also contains expanded coverage of the mechanisms of oxidative damage to lipids, DNA, and proteins (and the repair of such damage), and the roles played by reactive species in signal transduction, cellsurvival, death, human reproduction, defence mechanisms of animals and plants against pathogens, and other important biological events. The methodologies available to measure reactive species and oxidative damage (and their potential pitfalls) have been fully updated, as have the topics of phagocyte ROS production, NADPH oxidase enzymes, and toxicology. There is a detailed and critical evaluation of the role of free radicals and other reactive species in human diseases, especially cancer,cardiovascular, chronic inflammatory and neurodegenerative diseases. New aspects of ageing are discussed in the context of the free radical theory of ageing. This book is recommended as a comprehensive introduction to the field for students, educators, clinicians, and researchers. It will also be an invaluable companion to all those interested in the role of free radicals in the life and biomedical sciences.American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his feature films, Altman worked in theater, opera, and the emerging field of cable television. His treatment of sound is a hallmark of his films, alongside overlappingdialogue, improvisation, and large ensemble casts. Several of his best-known films integrate musical performances into the central plot, including Nashville (1975), Popeye (1980), Short Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie Home Companion (2006), his final film. Even such non-musicalsas McCabe and Mrs. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson's evocative phrase, as "musicals without people singing." Robert Altman's Soundtracks considers Altman's celebrated, innovative uses of music and sound in several of his most acclaimed and lesser-known works. In so doing, these case studies serve as a window not only into Altman's considerable and varied output, but also the changing film industry over nearly four decades, from the heyday of the New Hollywood in the late 1960s through the "Indiewood" boom of the 1990s and its bust in the early 2000s. As its frame, the book will consider thecontinuing attractions of auteurism inside and outside of scholarly discourse, by considering Altman's career in terms of the director's own self-promotion as a visionary and artist; the film industry's promotion of Altman the auteur; the emphasis on Altman's individual style, including his use of music, bythe director, critics, scholars, and within the industry; and the processes, tensions, and boundaries of collaboration.