Kate Jones

The moving frame of a tracking or crane shot, or of a camera tilt or pan, can affect the way we engage with a film narrative. In this paper, I argue that certain uses of the moving frame in narrative fiction film prescribe us to imagine ourselves moving through the world of the film. The existence of such an imaginative prescription ultimately threatens the necessity of the cinematic narrator. In light of the standard indeterminacy of our means of access to fictions, the prescription to imagine moving is not accompanied by a prescription to imagine a narrator providing us with a moving view

In the life of any species, extinction is the final evolutionary process. It is a common one at present, as the world is entering a major extinction crisis. The pattern of extinction and threat is very non-random, with some taxa being more vulnerable than others. Explaining why some taxa are affected and some escape is a major goal of conservation biology. More ambitiously, a predictive model could, in principle, be built by integrating comparable studies of past and present extinctions. We review progress towards both explanatory and predictive frameworks, comparing correlates of extinction in different groups at different times. Progress towards explanatory models for the current crisis is promising, at least in some well-studied taxa, but the development of a truly predictive model is hampered by the formidable difficulties of integrating studies of present and past extinctions. BioEssays 22:1123–1133, 2000. © 2000 John Wiley & Sons, Inc.