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Objective Describe the development and psychometric validation of a brief scale (the Sleep Condition Indicator (SCI)) to evaluate insomnia disorder in everyday clinical practice. Design The SCI was evaluated across five study samples. Content validity, internal consistency and concurrent validity were investigated. Participants 30 941 individuals (71% female) completed the SCI along with other descriptive demographic and clinical information. Setting Data acquired on dedicated websites. Results The eight-item SCI (concerns about getting to sleep, remaining asleep, sleep quality, daytime personal functioning, daytime performance, duration of sleep problem, nights per week having a sleep problem and extent troubled by poor sleep) had robust internal consistency (α≥0.86) and showed convergent validity with the Pittsburgh Sleep Quality Index and Insomnia Severity Index. A two-item short-form (SCI-02: nights per week having a sleep problem, extent troubled by poor sleep), derived using linear regression modelling, correlated strongly with the SCI total score (r=0.90). Conclusions The SCI has potential as a clinical screening tool for appraising insomnia symptoms against Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (DSM-5) criteria.

The first study in English to examine key themes and traditions of Czech and Slovak cinema. Linking interwar and postwar cinemas together with developments during the post-Communist period, the volume considers interactions among theme, genre, and visual style and the way in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak cinema are a unique avenue into Central European film history.

Sleepio is a proven digital sleep improvement program based on cognitive behavioral therapy techniques. Users have the option to join an online community that includes weekly expert discussions, peer-to-peer discussion forums, and personal message walls. The aim of this study was to conduct an online survey to (1) explore the reasons for deciding to engage with the Sleepio online community, (2) explore the potential benefits arising from engagement with the online community, and (3) identify and describe any problematic issues related to use of the online community. We developed an online survey and posted an invitation to the community discussion forum inviting users to participate. In addition, we sent an email invitation to 970 individuals who had previously or were currently working through the Sleepio program to participate in this study. In total, 100 respondents (70/100, 70% female; mean age 51 years, range 26-82 years) completed the online survey. Most respondents had started Sleepio with chronic sleep problems (59/100, 59% up to 10 years; 35/100, 35% >10 years) and had actively engaged with the online community (85/100, 85%) had made a discussion or wall post). At the time of the survey, respondents had used Sleepio for a median of 12 weeks (range from 3 weeks to 2 years). We analyzed responses to the open-ended questions using thematic analysis. This analysis revealed 5 initial drivers for engagement: (1) the desire to connect with people facing similar issues, (2) seeking personalized advice, (3) curiosity, (4) being invited by other members, and (5) wanting to use all available sleep improvement tools. Advantages of engagement included access to continuous support, a reduced sense of isolation, being part of a nonjudgmental community, personalized advice, positive comparisons with others, encouragement to keep going, and altruism. We found 5 potential disadvantages: design and navigation issues, uncertain quality of user-generated content, negative comparisons with others, excessive time commitments, and data privacy concerns. Participants related their community experiences to engagement with the Sleepio program, with many stating it had supported their efforts to improve their sleep, as well as helping with adherence and commitment to the program. Despite some concerns, members regarded the Sleepio community as a valuable resource. Online communities may be a useful means through which to support long-term engagement with Web-based therapy for insomnia.

1968 and Global Cinema addresses a notable gap in film studies. Although scholarship exists on the late 1950s and 1960s New Wave films, research that puts cinemas on 1968 into dialogue with one another across national boundaries is surprisingly lacking. Only in recent years have histories of 1968 begun to consider the interplay among social movements globally. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements. Focusing on history, aesthetics, and politics, each contribution illuminates conventional understandings of the relationship of cinema to the events of 1968, or \"the long Sixties.\" The volume is organized chronologically, highlighting the shifts and developments in ideology in different geographic contexts. The first section, \"The Long Sixties: Cinematic New Waves, \" examines both the visuals of new cinemas, as well as new readings of the period's politics in various geopolitical iterations. This half of the book begins with an argument that while the impact of Italian Neorealism and the French New Wave on subsequent global new waves is undeniable, the influence of cinemas of the so-called Global South is pivotal for the era's cinema as well. The second section, \"Aftershocks, \" considers the lasting impact of 1968 and related cinematic new waves into the 1970s. The essays in this section range from China's Cultural Revolution in cinema to militancy and industrial struggle in 1970s worker's films in Spain. In these ways, the volume provides fresh takes and allows for new discoveries of the cinemas of the long 1968. 1968 and Global Cinema aims to achieve balance between new readings of well-known films, filmmakers, and movements, as well as new research that engages lesser-known bodies of films and film texts. The volume is ideal for graduate and undergraduate courses on the long sixties, political cinema, 1968, and new waves in art history, cultural studies, and film and media studies.

Background Previous research has demonstrated that digital CBT (dCBT), delivered via the Internet, is a scalable and effective intervention for treating insomnia in otherwise healthy adults and leads to significant improvements in primary outcomes relating to sleep. The majority of people with insomnia, however, seek help because of the functional impact and daytime consequences of poor sleep, not because of sleep discontinuity per se. Although some secondary analyses suggest that dCBT may have wider health benefits, no adequately powered study has investigated these as a primary endpoint. This study specifically aims to investigate the impact of dCBT for insomnia upon health and well-being, and will investigate sleep-related changes as mediating factors. Methods/design We propose a pragmatic, parallel-group, randomised controlled trial of 1000 community participants meeting criteria for insomnia disorder. In the DIALS trial (Digital Insomnia therapy to Assist your Life as well as your Sleep), participants will be randomised to dCBT delivered using web and/or mobile channels (in addition to treatment as usual (TAU)) or to sleep hygiene education (SHE), comprising a website plus a downloadable booklet (in addition to TAU). Online assessments will take place at 0 (baseline), 4 (mid-treatment), 8 (post-treatment), and 24 (follow-up) weeks. At week 25 all participants allocated to SHE will be offered dCBT, at which point the controlled element of the trial will be complete. Naturalistic follow-up will be invited at weeks 36 and 48. Primary outcomes are functional health and well-being at 8 weeks. Secondary outcomes are mood, fatigue, sleepiness, cognitive function, productivity and social functioning. All main analyses will be carried out at the end of the final controlled follow-up assessments and will be based on the intention-to-treat principle. Further analyses will determine whether observed changes in functional health and well-being are mediated by changes in sleep. The trial is funded by Big Health Ltd. Discussion This study will be the first large-scale, specifically designed investigation of the health and well-being benefits of CBT for insomnia, and the first examination of the association between CBT-mediated sleep improvement and health status. Trial registration ISRCTN60530898 .

Věra Chytilová stated in many an interview that she demanded absolute freedom to create films according to her own conceptions. There is no reason to doubt this but it is also evident that it is a privilege granted to only a few filmmakers, and that the work of such ‘auteurs’ is usually achieved within generic or narrative convention. Yet films such as Chytilová’s Sedmikrásky (Daisies, 1966) and Ovoce stromů rajských jíme (The Fruit of Paradise, 1969) make even the work of a Godard or Antonioni seem somewhat normal. Even her later films, despite political constraints, found ways of breaking with

As one of the most formally inventive directors of the Czechoslovak New Wave, Věra Chytilová was almost bound to experience difficulties with production companies both under communism and subsequently. This chapter examines her shifting relationship with the Barrandov Studios from the 1960s through her departure from the studios in the 1970s, her letter to President Husák regarding her treatment, to her controversial return with Panelstory (Prefab Story, 1979) and Kalamita (Calamity, 1981). It also discusses the environment of creative sympathy she experienced while working on her first two features, O něčem jinem (Something Different, 1963) and Sedmikrasky (Daisies, 1966) during the period of creative freedom leading to the Prague Spring of 1968 and her later defense of the nationalized system.Keywords: Barrandov Studios, censorship, gender and film, Normalization, Věra ChytilováVěra Chytilová stated in many an interview that she demanded absolute freedom to create films according to her own conceptions. There is no reason to doubt this but it is also evident that it is a privilege granted to only a few filmmakers, and that the work of such ‘auteurs’ is usually achieved within generic or narrative convention. Yet films such as Chytilová's Sedmikrásky (Daisies, 1966) and Ovoce stromů rajskych jime (The Fruit of Paradise, 1969) make even the work of a Godard or Antonioni seem somewhat normal. Even her later films, despite political constraints, found ways of breaking with the molds for which they had been created.It would be difficult to imagine Chytilová working in a fully commercial system and, in fact, she was only able to complete four feature films outside the protection of a nationalized industry in the fourteen years between 1992 and her last feature film in 2006. The supposed ‘discipline’ of the market imposes limitations that – if rigorously applied to other art forms – would prove equally restrictive.Yet the individuality of Chytilová's films in the 1960s did not come from nowhere – they had to be nurtured and supervised by producers, authorized by the management of the Barrandov Studios, and approved by the Communist Party's ideological commission. They were also subject to censorship and distribution of the final product had to be approved. The extraordinary determination of one woman and a succession of ‘accidental’ decisions cannot provide the only explanation for her achievements.