Previous work has shown that exposure to images of nature results in elevated state body appreciation, but static images may lack ecological validity. Here, we examined the impact of exposure to short films of simulated, first-person walks in natural or built environments. Thirty-six university students completed a measure of state body appreciation before and after watching films of either a walk in a natural or a built environment created specifically for the present study. Two weeks later, they completed the same task but watched the other film type. Results indicated that exposure to the film of a natural environment resulted in significantly elevated state body appreciation (d = 0.66). There was no significant change in state body appreciation following exposure to the film of the built environment (d = 0.14). These findings suggest that exposure to films depicting the natural environment may promote immediate, moderate-sized improvements in state body image.

This paper introduces a cross-disciplinary collaboration that has brought together the disciplines of film (art) and midwifery (art and science) in the utilization of creative documentary to evaluate new learning opportunities and reflective practice for student midwives. The case study film, The Golden Window, (filmed in a Neonatal, Intensive Care Unit [NICU] over 72 hours), was screened to a group of second year midwifery students in the Cambridge Arts Picturehouse, Cambridge, UK prior to their placements in NICU. The students recorded their thoughts and impressions of the film. Their responses are summarised and reflected upon within this paper with the underlying intent to examine whether this innovative interaction between art and

proportional hazards models were generated for OS, DFS, LRC using predictors found to be significant (p<0.05) on univariate models. Results: A total of 205 patients were included: 150 had HPV DNA PCR testing, 120 (80%) were positive, and 114 had a known HPV type. Ninetynine of 114 (87%) were positive for HPV16 and fifteen (13%) were positive for HPV-non16. p16 immunohistochemistry was available in 35 patients and positive in 97% of HPV16 and 100% of HPV-non16 patients. There were no significant differences in age, ECOG performance status, oropharynx subsite, AJCC 7th/8th Edition stage, smoking or alcohol use between HPV-16 and HPV-non16 patients. 3-year OS, DFS, and LRC for HPV16 and HPV-non16 was 84% v. 69% (pZ0.02), 80% v. 63% (pZ0.04), and 82% v. 62% (pZ0.01), respectively. Multivariable models including ECOG, smoking status, AJCC 8th Edition stage, and treatment found HPV16 associated with OS (aHR 0.31, 95% CI 0.10-0.95, pZ0.04) and LRC (aHR 0.33, 95% CI 0.11-0.99, pZ0.05). Conclusion: This study provides insight into the outcomes of HPV positive oropharyngeal squamous cell carcinoma stratified by HPV16 and HPV-non16 subtypes. These data suggest that patients with HPV-non16-associated OPSCC may have worse outcomes including decreased survival and locoregional control compared to patients who carry the HPV16 subtype.

This article explores the impact of drone regulations on the narrative potential of drone filming. The central focus of this exploration is a Case Study analysis of the production of a multi-screen audio-visual digital installation, The Crossing (Patel, 2016). The Crossing [1], filmed in central London, utilized the use of a heavy weight Unmanned Aerial System (UAS) also known as a drone with a 5-kilo weight load capacity with the Alexa Mini WCU-4. Combined with the CForce Mini lens control system, the UAS gave unparalleled camera and lens control at extended ranges, providing complete pan, tilt and lens control and allowing dynamic moves in the air. The result was the ability to navigate through spaces to give intimate and playful shots that give the viewer ‘alternate’ versions of reality that only a ‘machine’ can provide. Artists, performers and filmmakers are finding new kinds of beauty through automated programming where the drones are not just capturing the story but the machines themselves become the story. However, the operational scope of drones is limited by legal and health and safety regulations, particularly within built up urban environments. These regulations govern the vertical and horizontal distance from objects and people, line of sight, time constraints, weather conditions as well as security implications. Further restrictions include requiring a trained and fully licensed crew with permission from the relevant aviation bodies. This article seeks to answer whether these restrictions limit the creativity of the artist or challenge the creator to consider alternate ways of using these Autonomous Art Systems to inform the aesthetic scope of the captured image. This article will draw on a combination of original filming and broadcast examples to examine how legal and security restrictions on UAS inform the narrative and aesthetic realization of the final art form and subsequent emotional and physical response of the spectator.

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