Descripciones mejoradas de Syndetics:

The Fifth Edition of this best-selling handbook offers, in a major revision, the latest information and techniques on: all aspects of color production; studio and ENG-EFP equipment; digital production equipment; VTR systems and postproduction; and more.

Tabla de contenidos provista por Syndetics

• Photo Credits(p. xxi)
• About the Author(p. xxiii)
• Preface(p. xxiv)
• Chapter 1 The Television Production Process(p. 2)
• Section 1.1 What Television Production Is All About(p. 4)
• The Basic Television System(p. 4)
• The Expanded Studio and Electronic Field Production Systems(p. 5)
• System Elements of Studio Production(p. 5)
• The Studio System in Action(p. 7)
• System Elements of Field Production(p. 7)
• Production Elements(p. 8)
• The Camera(p. 8)
• Lighting(p. 10)
• Audio(p. 11)
• Videotape Recording(p. 13)
• The Switcher(p. 14)
• Postproduction Editing(p. 14)
• Special Effects(p. 15)
• Section 1.2 Studios, Master Control, and Support Areas(p. 17)
• The Television Studio(p. 17)
• Physical Layout(p. 17)
• Major Installations(p. 18)
• The Studio Control Room(p. 19)
• Program Control(p. 20)
• Image Control(p. 21)
• Audio Control(p. 21)
• Lighting Control(p. 21)
• Master Control(p. 22)
• Program Input(p. 22)
• Program Storage(p. 23)
• Program Retrieval(p. 23)
• Studio Support Areas(p. 23)
• Scenery and Properties(p. 23)
• Makeup and Dressing Rooms(p. 24)
• Chapter 2 Analog and Digital Television(p. 26)
• Section 2.1 Analog and Digital Television(p. 28)
• Basic Image Creation(p. 28)
• Basic Colors of the Video Display(p. 30)
• What Digital is all About(p. 30)
• Why Digital?(p. 30)
• The Difference Between Analog and Digital(p. 30)
• The Process of Digitization(p. 30)
• Benefits of Digital Television(p. 32)
• Quality(p. 32)
• Computer Compatibility and Flexibility(p. 33)
• Signal Transport(p. 33)
• Compression(p. 33)
• Aspect Ratio(p. 34)
• The 4 [times] 3 Aspect Ratio(p. 34)
• The 16 [times] 9 Aspect Ratio(p. 34)
• Section 2.2 DTV Scanning Systems(p. 36)
• Progressive and Interlaced Scanning(p. 36)
• The Progressive Scanning System(p. 36)
• The Interlaced Scanning System(p. 37)
• DTV Systems(p. 37)
• The 480p System(p. 38)
• The 720p System(p. 38)
• The 1080i System(p. 38)
• Flat-Panel Displays(p. 38)
• Plasma Display Panel(p. 38)
• Liquid Crystal Display(p. 38)
• Chapter 3 The Television Camera(p. 40)
• Section 3.1 How Television Cameras Work(p. 42)
• Parts of the Camera(p. 42)
• From Light to Video Signal(p. 43)
• The Beam Splitter(p. 44)
• The Imaging Device(p. 44)
• The Camera Chain(p. 45)
• The Camera Control Unit(p. 45)
• The Sync Generator and Power Supply(p. 46)
• Types of Cameras(p. 46)
• Analog and Digital Cameras(p. 46)
• Studio Cameras(p. 47)
• ENG/EFP Cameras and Camcorders(p. 48)
• Consumer Camcorders(p. 49)
• Electronic Characteristics(p. 50)
• Aspect Ratio(p. 50)
• Resolution(p. 50)
• Light Sensitivity and Operating Light Level(p. 52)
• Gain(p. 53)
• Video Noise and Signal-to-Noise Ratio(p. 54)
• Image Blur and Electronic Shutter(p. 54)
• Smear and Moire(p. 54)
• Contrast(p. 54)
• Operational Characteristics(p. 55)
• Operational Items and Controls: Studio Cameras(p. 55)
• Operational Items: ENG/EFP Cameras and Camcorders(p. 57)
• Operational Controls: ENG/EFP Cameras and Camcorders(p. 59)
• Section 3.2 From Light to Video Image(p. 61)
• The CCD Process(p. 61)
• The Nature of Color(p. 62)
• Color Attributes(p. 62)
• Color Mixing(p. 62)
• Chrominance and Luminance Channels(p. 62)
• Chrominance Channel(p. 62)
• Luminance Channel(p. 63)
• The Encoder(p. 63)
• Chapter 4 Lenses(p. 64)
• Section 4.1 What Lenses Are(p. 66)
• Types of Zoom Lenses(p. 66)
• Studio and Field Lenses(p. 66)
• Zoom Range(p. 66)
• Lens Format(p. 68)
• Optical Characteristics of Lenses(p. 69)
• Focal Length(p. 69)
• Focus(p. 70)
• Light Transmission: Iris and f-stop(p. 71)
• Depth of Field(p. 73)
• Operational Controls(p. 74)
• Zoom Control(p. 75)
• Digital Zoom Lens(p. 76)
• Focus Control(p. 76)
• Section 4.2 What Lenses See(p. 78)
• How Lenses see the World(p. 78)
• The Wide-Angle Lens(p. 78)
• The Normal Lens(p. 81)
• The Narrow-Angle, or Telephoto, Lens(p. 82)
• Chapter 5 Camera Mounting Equipment(p. 86)
• Section 5.1 Standard Camera Mounts and Movements(p. 88)
• Basic Camera Mounts(p. 88)
• The Handheld and Shoulder-Mounted Camera(p. 88)
• The Monopod and Tripod(p. 89)
• The Studio Pedestal(p. 90)
• Camera Mounting (Pan-And-Tilt) Heads(p. 92)
• Fluid Heads(p. 92)
• Cam Heads(p. 93)
• Plate and Wedge Mount(p. 93)
• Camera Movements(p. 94)
• Section 5.2 Special Camera Mounts(p. 97)
• Special Mounting Devices(p. 97)
• High Hat(p. 97)
• Bean Bag(p. 97)
• Steadicam(p. 98)
• Short and Long Jibs(p. 98)
• Studio Crane(p. 99)
• Robot Pedestals and Mounting Heads(p. 100)
• Chapter 6 Camera Operation and Picture Composition(p. 102)
• Section 6.1 Working the Camera(p. 104)
• Working the Camcorder and EFP Camera(p. 104)
• Some Basic Camera "Don'ts"(p. 105)
• Before the Shoot(p. 105)
• During the Shoot(p. 106)
• After the Shoot(p. 109)
• Working the Studio Camera(p. 109)
• Before the Show(p. 110)
• During the Show(p. 110)
• After the Show(p. 112)
• Section 6.2 Framing Effective Shots(p. 113)
• Screen Size and Field of View(p. 113)
• Screen Size(p. 114)
• Field of View(p. 114)
• Framing A Shot(p. 115)
• Dealing With Height and Width(p. 115)
• Close-ups(p. 117)
• Headroom(p. 118)
• Noseroom and Leadroom(p. 118)
• Closure(p. 119)
• Depth(p. 122)
• Screen Motion(p. 123)
• Chapter 7 Lighting(p. 126)
• Section 7.1 Lighting Instruments and Lighting Controls(p. 128)
• Studio Lighting Instruments(p. 128)
• Spotlights(p. 128)
• Floodlights(p. 131)
• Field Lighting Instruments(p. 134)
• Spotlights(p. 134)
• Floodlights(p. 137)
• Handheld Lights(p. 138)
• Lighting Control Equipment(p. 139)
• Mounting Devices(p. 139)
• Directional Controls(p. 143)
• Intensity Controls: Diffusers and Reflectors(p. 144)
• Intensity Controls: Electronic Dimmers(p. 145)
• Color Temperature(p. 148)
• How to Control Color Temperature(p. 149)
• Section 7.2 Light Intensity, Lamps, and Color Media(p. 151)
• Light Intensity(p. 151)
• Lux and Foot-candles(p. 151)
• Incident Light(p. 152)
• Reflected Light(p. 152)
• Calculating Light Intensity(p. 153)
• Operating Light Level: Baselight(p. 153)
• Baselight Levels(p. 154)
• Types of Lamps(p. 154)
• Incandescent(p. 155)
• Quartz, or Tungsten-Halogen(p. 155)
• HMI(p. 155)
• Fluorescent(p. 155)
• Color Media(p. 155)
• How to Use Color Media(p. 155)
• Mixing Color Gels(p. 155)
• Chapter 8 Techniques of Television Lighting(p. 158)
• Section 8.1 Lighting in the Studio(p. 160)
• Types of Light(p. 160)
• Main Light Sources(p. 161)
• Types of Lighting Instruments(p. 161)
• Functions of Main Light Sources(p. 161)
• The Photographic Principle, or Triangle Lighting(p. 165)
• Specific Lighting Techniques(p. 166)
• Continuous-Action Lighting(p. 166)
• Large-Area Lighting(p. 168)
• Cameo Lighting(p. 168)
• Silhouette Lighting(p. 169)
• Chroma-Key Area Lighting(p. 169)
• Controlling Eye and Boom Shadows(p. 170)
• Contrast(p. 172)
• Contrast Ratio(p. 172)
• Shading(p. 172)
• Auto-Iris(p. 173)
• Measuring Contrast(p. 173)
• Limiting Contrast(p. 173)
• Balancing Intensities(p. 173)
• Key-to-Back-Light Ratio(p. 174)
• Key-to-Fill-Light Ratio(p. 174)
• The Light Plot(p. 175)
• Operation of Studio Lights(p. 176)
• Safety(p. 176)
• Preserving Lamps and Power(p. 176)
• Using a Studio Monitor(p. 176)
• Section 8.2 Lighting in the Field(p. 178)
• Eng Lighting(p. 178)
• Shooting in Outdoor Light(p. 179)
• Shooting at Night(p. 180)
• Shooting in Indoor Light(p. 181)
• Efp Lighting(p. 183)
• Safety(p. 184)
• Power Supply(p. 184)
• Location Survey(p. 184)
• Lighting Setup(p. 186)
• Chapter 9 Audio: Sound Pickup(p. 190)
• Section 9.1 How Microphones Hear(p. 192)
• Electronic Characteristics of Microphones(p. 192)
• Sound-Generating Element(p. 192)
• Pickup Patterns(p. 193)
• Special Microphone Features(p. 195)
• Operational Characteristics of Microphones(p. 195)
• Lavaliere Microphones(p. 195)
• Hand Microphones(p. 198)
• Boom Microphones(p. 200)
• Headset Microphones(p. 204)
• Wireless Microphones(p. 204)
• Desk Microphones(p. 206)
• Stand Microphones(p. 208)
• Hanging Microphones(p. 209)
• Hidden Microphones(p. 210)
• Long-distance Microphones(p. 211)
• Section 9.2 How Microphones Work(p. 213)
• Sound-Generating Elements(p. 213)
• Dynamic Microphones(p. 213)
• Condenser Microphones(p. 214)
• Ribbon Microphones(p. 214)
• Sound Quality(p. 214)
• Special Microphone Features(p. 214)
• Impedance(p. 214)
• Frequency Response(p. 218)
• Balanced and Unbalanced Mics and Cables, and Audio Connectors(p. 218)
• Mic Setups for Music Pickup(p. 218)
• Microphone Setup for Singer and Acoustic Guitar(p. 218)
• Microphone Setup for Singer and Piano(p. 219)
• Microphone Setup for Small Rock Group and Direct Insertion(p. 219)
• Microphone Use Specific to Eng/Efp(p. 219)
• Microphone Use Specific to the Studio(p. 221)
• Chapter 10 Audio: Sound Control(p. 224)
• Section 10.1 Sound Controls and How to Use Them(p. 226)
• Audio Control Areas: Studio(p. 226)
• Audio Control Booth(p. 226)
• Audio Production Room(p. 227)
• Audio Production Equipment: Studio(p. 228)
• Audio Console(p. 228)
• Patchbay(p. 232)
• Audio Recording Systems(p. 234)
• Analog Recording Systems(p. 234)
• Digital Recording Systems(p. 235)
• Audio/Video Postproduction(p. 238)
• Audio Production Equipment: Field(p. 239)
• Mixer(p. 239)
• Section 10.2 Mixing and Sound Aesthetics(p. 241)
• Basic Audio Operation(p. 241)
• Volume Control(p. 241)
• Live and Postproduction Mixing(p. 243)
• Live Studio Mixing(p. 243)
• Live Mixing in ENG/EFP(p. 244)
• Postproduction Mixing(p. 245)
• Controlling Sound Quality(p. 245)
• Aesthetic Factors(p. 246)
• Environment(p. 246)
• Figure-ground(p. 246)
• Perspective(p. 246)
• Continuity(p. 247)
• Energy(p. 247)
• Surround Sound(p. 247)
• Chapter 11 Switching, or Instantaneous Editing(p. 250)
• Section 11.1 How Switchers Work(p. 252)
• Basic Switcher Functions(p. 252)
• Simple Switcher Layout(p. 253)
• Program Bus(p. 253)
• Mix Buses(p. 253)
• Preview Bus(p. 254)
• Effects Buses(p. 254)
• Multifunction Switchers(p. 254)
• Basic Switcher Operation(p. 256)
• Cut or Take(p. 256)
• Dissolve(p. 258)
• Super(p. 259)
• Fade(p. 259)
• Additional Special-Effects Controls(p. 259)
• Section 11.2 What Switchers Do(p. 262)
• Switcher Types and Functions(p. 262)
• Production Switchers(p. 262)
• Postproduction Switchers(p. 263)
• Master Control Switchers(p. 263)
• Routing Switchers(p. 264)
• Electronic Designs(p. 264)
• Composite and Component Switchers(p. 264)
• Analog and Digital Switchers(p. 264)
• Audio-Follow-Video Switchers(p. 265)
• Chapter 12 Video-Recording and Storage Systems(p. 266)
• Section 12.1 How Video Recording Works(p. 268)
• Tape-and Disk-Based Recording Systems(p. 268)
• Analog and Digital Systems(p. 268)
• Linear and Nonlinear Systems(p. 269)
• Composite and Component Systems(p. 269)
• Compression(p. 270)
• Tape-Based Recording and Storage Systems(p. 271)
• How Videotape Recording Works(p. 271)
• Operational Controls and Electronic Features(p. 273)
• Major Analog Videotape Recorders(p. 275)
• Major Digital Videotape Recorders(p. 277)
• Disk-Based Recording and Storage Systems(p. 280)
• Hard Disk Systems(p. 280)
• Read/Write Optical Discs(p. 281)
• Data Transfer(p. 281)
• Section 12.2 How Video Recording Is Done(p. 283)
• Uses of Video Recording and Storage(p. 283)
• Building a Show(p. 283)
• Time Delay(p. 284)
• Program Duplication and Distribution(p. 284)
• Record Protection and Reference(p. 284)
• Operational Video-Recording Systems(p. 284)
• Quality Choice(p. 284)
• Operational Video Recorder Systems(p. 284)
• Video-Recording Production Factors(p. 286)
• Preproduction(p. 286)
• Production(p. 288)
• Chapter 13 Postproduction Editing(p. 294)
• Section 13.1 How Postproduction Editing Works(p. 296)
• Editing Modes: Off- and On-Line(p. 297)
• Basic Editing Systems(p. 297)
• Linear Systems(p. 297)
• Nonlinear Systems(p. 297)
• Editing Principle(p. 298)
• Linear Editing Systems(p. 298)
• Single-Source System(p. 298)
• Expanded Single-Source System(p. 299)
• Multiple-Source Systems(p. 301)
• Linear Editing Features and Techniques(p. 302)
• Assemble and Insert Editing(p. 302)
• Control Track and Time Code Editing(p. 303)
• Control Track, or Pulse-Count, Editing(p. 304)
• Time Code Editing(p. 305)
• AB Rolling and AB-Roll Editing(p. 306)
• AB Rolling(p. 306)
• AB-Roll Editing(p. 307)
• Nonlinear Editing Systems(p. 308)
• Nonlinear Editing Features and Techniques(p. 309)
• Digitizing Information(p. 309)
• Compression(p. 309)
• Storing Information(p. 309)
• Juxtaposing and Rearranging Video and Audio Files(p. 309)
• Preediting Phases(p. 310)
• Shooting Phase(p. 310)
• Review Phase(p. 311)
• Decision-Making Phase(p. 314)
• Operational Phase(p. 315)
• Section 13.2 Making Editing Decisions(p. 318)
• Editing Functions(p. 318)
• Combine(p. 318)
• Trim(p. 319)
• Correct(p. 319)
• Build(p. 319)
• Basic Transition Devices(p. 319)
• The Cut(p. 319)
• The Dissolve(p. 320)
• The Wipe(p. 320)
• The Fade(p. 320)
• Major Editing Principles(p. 320)
• Continuity Editing(p. 322)
• Complexity Editing(p. 328)
• Context(p. 328)
• Ethics(p. 329)
• Chapter 14 Visual Effects(p. 332)
• Section 14.1 Electronic Effects and How to Use Them(p. 334)
• Standard Analog Video Effects(p. 334)
• Superimposition(p. 334)
• Key(p. 335)
• Chroma Key(p. 337)
• Wipe(p. 339)
• Digital Video Effects(p. 341)
• Computer-Manipulated Effects(p. 341)
• Image Size, Shape, Light, and Color(p. 342)
• Motion(p. 344)
• Multi-Images(p. 346)
• Computer-Generated Effects(p. 347)
• Section 14.2 Nonelectronic Effects and How to Use Them(p. 349)
• Optical Effects(p. 350)
• Television Gobos(p. 350)
• Reflections(p. 350)
• Star Filter(p. 351)
• Diffusion Filters(p. 351)
• Defocus(p. 352)
• Mechanical Effects(p. 352)
• Rain(p. 352)
• Snow(p. 352)
• Fog(p. 352)
• Wind(p. 352)
• Smoke(p. 353)
• Fire(p. 353)
• Lightning(p. 353)
• Explosions(p. 353)
• Chapter 15 Design(p. 354)
• Section 15.1 Designing and Using Television Graphics(p. 356)
• Specifications of Television Graphics(p. 356)
• Aspect Ratio(p. 357)
• Scanning and Essential Areas(p. 357)
• Out-of-Aspect-Ratio Graphics and Moving Images(p. 358)
• Information Density and Readability(p. 361)
• Color(p. 362)
• Style(p. 365)
• Graphics Equipment(p. 365)
• Character Generator(p. 365)
• Graphics Generator(p. 366)
• Section 15.2 Scenery and Props(p. 370)
• Television Scenery(p. 370)
• Standard Set Units(p. 370)
• Hanging Units(p. 372)
• Platforms and Wagons(p. 373)
• Set Pieces(p. 374)
• Properties and Set Dressings(p. 375)
• Stage Props(p. 375)
• Set Dressings(p. 375)
• Hand Properties(p. 376)
• Prop List(p. 376)
• Elements of Scene Design(p. 376)
• The Floor Plan(p. 377)
• Set Backgrounds and Platforms(p. 379)
• Studio Floor Treatments(p. 379)
• Chapter 16 Production People(p. 382)
• Section 16.1 What Production People Do(p. 384)
• Production (Nontechnical) Personnel(p. 384)
• Technical Personnel and Crew(p. 386)
• News Production Personnel(p. 387)
• Television Talent(p. 389)
• Performance Techniques(p. 389)
• Performer and Camera(p. 390)
• Performer and Audio(p. 391)
• Performer and Timing(p. 392)
• Performer and Postproduction(p. 392)
• Floor Manager's Cues(p. 392)
• Prompting Devices(p. 397)
• Acting Techniques(p. 399)
• Audience(p. 399)
• Blocking(p. 400)
• Memorizing Lines(p. 400)
• Timing(p. 400)
• The Actor and Postproduction(p. 400)
• The Director/Actor Relationship(p. 401)
• Auditions(p. 401)
• Section 16.2 How to Do Makeup and What to Wear(p. 403)
• Makeup(p. 403)
• Technical Requirements(p. 404)
• Materials(p. 404)
• Techniques(p. 405)
• Clothing and Costuming(p. 405)
• Clothing(p. 405)
• Costuming(p. 406)
• Chapter 17 Producing(p. 408)
• Section 17.1 What Producing Is All About(p. 410)
• Preproduction Planning: From Idea to Script(p. 410)
• Program Ideas(p. 411)
• Production Models(p. 412)
• Writing the Program Proposal(p. 413)
• Preparing a Budget(p. 415)
• Presenting the Proposal(p. 419)
• Writing the Script(p. 419)
• Preproduction Planning: Coordination(p. 419)
• People(p. 419)
• Facilities Request(p. 420)
• Schedules(p. 421)
• Permits and Clearances(p. 421)
• Publicity and Promotion(p. 421)
• Production: Host and Critical Observation(p. 422)
• Playing Host(p. 422)
• Watching the Production Flow(p. 422)
• Evaluating the Production(p. 422)
• Postproduction Activities(p. 422)
• Postproduction Editing(p. 422)
• Evaluation and Feedback(p. 422)
• Recordkeeping(p. 423)
• Section 17.2 Dealing With Schedules, Legal Matters, and Ratings(p. 424)
• Production Schedule(p. 424)
• Information Resources(p. 425)
• Program Types(p. 426)
• Unions and Legal Matters(p. 426)
• Unions(p. 426)
• Copyrights and Clearances(p. 426)
• Other Legal Considerations(p. 427)
• Audience and Ratings(p. 427)
• Target Audience(p. 427)
• Ratings and Share(p. 428)
• Chapter 18 The Director in Preproduction(p. 430)
• Section 18.1 How a Director Prepares(p. 432)
• The Director's Roles(p. 432)
• Director as Artist(p. 432)
• Director as Psychologist(p. 433)
• Director as Technical Adviser(p. 433)
• Director as Coordinator(p. 433)
• Preproduction Activities(p. 433)
• Process Message(p. 434)
• Production Method(p. 434)
• Production Team and Communication(p. 434)
• Scheduling(p. 434)
• Script Formats(p. 434)
• Script Marking(p. 436)
• Floor Plan and Location Sketch(p. 445)
• Facilities Request(p. 446)
• Support Staff(p. 446)
• Floor Manager(p. 446)
• Assistant, or Associate, Director(p. 448)
• Production Assistant(p. 449)
• Section 18.2 Moving from Script to Screen(p. 450)
• Visualization and Sequencing(p. 450)
• Formulating the Process Message(p. 451)
• Medium Requirements(p. 451)
• Interpreting the Floor Plan and Location Sketch(p. 457)
• Script Analysis(p. 459)
• Locking-In Point and Translation(p. 459)
• The Storyboard(p. 460)
• Chapter 19 The Director in Production and Postproduction(p. 464)
• Section 19.1 Multicamera Studio Directing(p. 466)
• The Director's Terminology(p. 466)
• Multicamera Studio Directing(p. 467)
• Directing from the Control Room(p. 470)
• Rehearsals(p. 473)
• Time Line(p. 478)
• Directing the Show(p. 480)
• Controlling Clock Time(p. 482)
• Schedule Time and Running Time(p. 483)
• Clock Back-Timing and Front-Timing(p. 483)
• Converting Frames into Clock Time(p. 484)
• Controlling Subjective Time(p. 484)
• Studio Intercom Systems(p. 484)
• Section 19.2 Single-Camera Directing(p. 487)
• Single-Camera Directing Procedures(p. 487)
• Visualization(p. 487)
• Script Breakdown(p. 488)
• Rehearsals(p. 488)
• Videotaping(p. 488)
• Postproduction Activities(p. 490)
• Chapter 20 Field Production and Big Remotes(p. 492)
• Section 20.1 ENG, EFP, and Big Remotes(p. 494)
• Electronic News Gathering(p. 495)
• ENG Production Features(p. 495)
• SNG Production Features(p. 496)
• Electronic Field Production(p. 496)
• Preproduction(p. 497)
• Production: Equipment Check(p. 497)
• Production: Setup(p. 499)
• Production: Rehearsals(p. 499)
• Production: Videotaping(p. 500)
• Production: Strike and Equipment Check(p. 500)
• Postproduction(p. 500)
• Big Remotes(p. 500)
• Preproduction: The Remote Survey(p. 501)
• Production: Equipment Setup and Operation(p. 503)
• Production: Floor Manager and Talent Procedures(p. 508)
• Section 20.2 Covering Major Events(p. 511)
• Sports Remotes(p. 511)
• Location Sketch and Remote Setups(p. 518)
• Reading Location Sketches(p. 518)
• Production Requirements for Public Hearing (Indoor Remote)(p. 521)
• Production Requirements for Parade (Outdoor Remote)(p. 521)
• Communication Systems(p. 522)
• ENG Communication Systems(p. 524)
• EFP Communication Systems(p. 524)
• Big-Remote Communication Systems(p. 524)
• Signal Transport(p. 524)
• Microwave Transmission(p. 524)
• Communication Satellites: Frequencies, Uplinks, and Downlinks(p. 526)
• Cable Distribution(p. 527)
• Epilogue(p. 530)
• Glossary(p. 531)
• Selected Reading(p. 554)
• Index(p. 556)