Part A
1. My research document is entitled ‘Airport Security’. It is an independent report commissioned by the UK government, and prepared by the retired UK politician the honorable sir John Wheeler.
2. The report documents I review of present of security arrangement in UK airports include threats from terrorist and organized crime.
3. The report was accepted by government in principle, with each of the reports recommendations accepted.
4. Twenty-three recommendations were made. Two relating to the area of serious and organized crime, six relating to strategic direction and co-ordination at UK airports, four relating to the formal designation of air port areas, three dealing with powers within airport areas, two on the possible establishment of a special branch to assist with placing within airport areas for dealing with CCTV and automatic number plate recognition and other technologies and the two on vulnerabilities in the area of employed stuff.
5. I have identified four journalistic articles which report on aspects of the wheeler security report.
a. Article dated Sunday 01 12 2002, entitled airlines cautious about ‘Sky Marshals’ as reported on BBC. On this occasion, the article focused only on one aspect of the report, mentioning that ‘the sky marshals idea was one the recommendations’ in the Wheeler security report.
The article mentions no other aspects of the report, no consider any other recommendations made in the report.
b. On the 4th Aug 2005, the professional security magazine online presented an article entitled 'Aussie Airport Review'. This article mentions that sir John ‘conducted a review of security at major airports across the UK, including Heathrow’ but makes no mention of any of the recommendations mentioned in the Wheeler security report no any other detail from the report itself.
c. On 25th Sep 2005, Times Online presented an article entitled 'Australia Airports Shame'. On this occasion the article went so far as to make a direct quotation from the body of the report itself, but made no mention of these specific recommendations set out in the report.
d. Finally, again on 25th Sep 2005, Times Online presented another article entitled ‘Direction: In Brief’, here, the article mentions the author of the report and again presents a direct short quotation from the report but does not mention any other recommendations nor any other detail set out in the report.
Part B
1. It is clear that translation of lengthy and detailed reports involving research and/or review processes can be made more accessible to a much wider audience by use of translation into short journalistic articles. As the example above much of these report, specifically the main body of the report and review material relating to individual airport and source material, could be considered in relevant or no interest to the wide community.
2. What is of interest and relevant to the wide community can be translated, reduced or boiled down to sizeable and more digestible news articles. This reduction or translation of a body of material into journalistic material is in a fact ‘translation in practice’.
This original research paper:
http://www.dft.gov.uk/pgr/security/aviation/airport/airportsecurityreportbythert4872
Translation from BBC:
http://news.bbc.co.uk/1/hi/uk/2531749.stm
Translation from Times Online:
http://travel.timesonline.co.uk/tol/life_and_style/travel/news/article570983.ece
http://travel.timesonline.co.uk/tol/life_and_style/travel/article569852.ece
Translation from Professional Security Magazine Online:
http://www.professionalsecurity.co.uk/newsdetails.aspx?NewsArticleID=3811&imgID=2
Sunday, 17 February 2008
Friday, 15 February 2008
A Critical Review on The Film 'Control'
TABLE OF CONTENTS
1. MUSIC AND VIDEO DIRECTOR, ANTON CORBIJN
2. THE FILM ‘CONTROL’
3. DO WE REALLY KNOW EACH OTHER?
3.1 Debbie Curtis
3.2 Relationship with Innik
4. Epilepsy
5. Accumulating Pressures - Suicide
6. BIBLIOGRAPHY
1. MUSIC AND VIDEO DIRECTOR, ANTON CORBIJN
Anton Corbijn is a photographer, movie and video director fromStrijen in theNetherlands. He commenced his career by taking photographs during a live concert in 1972 and then moved from Europe to the United Kingdom in 1979 where he commenced his professional career as a music photographer. He is known for directing, mainly music videos of bands such as U2 and Depeche Mode. He became widely known, however, for his work with the post punk band, ‘Joy Division’ (hereafter, the ‘Band’). The Band is the subject and topic of this film, ‘Control’.
Significantly, Corbijn exhibited photographic work featuring members of the Band on two separate occasions. Personal exposure to the Band members during these photographic shoots gave Corbijn a first hand and rare insight into the Band members and subsequent characters to the film. In all respects, Corbijn is eminently qualified to direct a film about the Band.
The film was presented as a premier at the 2007 Cannes Film Festival and received rave reviews by audiences with an interest in the Band as well as fans seeking a presentation of his professional style which exhibits raw emotion and stark black and white imagery.[1]
2. THE FILM ‘CONTROL’
Utilising the biography work of Deborah Woodruff[2] entitled ‘Touching from a Distance’[3], Corbijn attempts to tell a story about a ‘tragic love relationship’.[4] Specifically, the life of the lead singer of the Band, Ian Curtis ‘who was confounded in a relationship outside of his marriage’.[5] He also struggled with epilepsy which was portrayed as ‘the part of his life that he could not control’.[6]
The director indicates that he had been thinking about making the film for a long time because of his interest in the medium, specifically the use of film and black and white imagery but that the film was not intended to be produced for commercial reasons.[7]
He identifies the Band as being one aspect, only, of the life of the artist, intending that the film not be labelled as a rock and roll film but more a portrayal of life, new love, and the tragedy of confinement and personal isolation. The issues of depression, use of alcohol and youth suicide also feature in the original work.
3. DO WE REALLY KNOW EACH OTHER?
When considering this film, from a critical analysis perspective, it is difficult not to incorporate some greater analysis of the true life story which sits behind it.
Given that the film is based on the biography work, it is clear that the director intended that the film portray, to some extent, true life events. One example of this intention is the directors insistence on the actors who play the other members of the band learning how to play the musical instruments that the young members of the real life Band would have struggled with themselves.
It is possible that this attempt to stay true to the story as confined by the base biography may have boxed the film, to some extent, so that the audience is left with a disjointed and potentially unsupported journey. A portrayal of his life as seen through the eyes of one person only. Clearly, it may be suggested that this single perspective is unlikely to have fully captured what was happening in this man’s mind.
Of particular interest, and significance in my view, are the relationships, as portrayed, between the main character and his wife and also his relationship with his lover, Innik. It is possible that the audience may struggle to grasp the dynamics of each of these separate liaisons which seem, on their face, to be of the sole making of the main character.
3.1 Debbie Curtis
The director portrays the main actor, the young Ian Curtis as a shy and almost introverted teenager. He develops a close and affectionate relationship with a young woman. At 16 they marry at his request. They later have a baby, again at his request.
Ian, now older, is working as a job employment consultant and their young married life is portrayed as simple. He does, however, seem to be totally in control of their relationship. This is evidenced, or at least portrayed, by the director as the two defining moments in Ian’s young married life. On the first occasion the director shows Ian asking Debbie to marry him but not in a structured or supported sense. Debbie responds by saying ‘alright’[8], seemingly surprised and after only a moment of thought. On the second occasion, some years later, Ian says ‘I think we should have a baby’[9] and Debbie provides a similarly thoughtful response of ‘ok’[10].
It seems evident that Ian is totally in control of the relationship and that there is no indication or further presentation in the film to provide the audience with reasons why Ian might, or should be unhappy or depressed. Some greater focus of building Debbie’s character and providing the audience with something to grasp at the early stages of the film may have assisted to ‘lead’ the viewer into the later scenes, which include his relationship with Innik and struggles with his medical condition and mounting musical responsibilities.
This loose use of character building in the early stages of the film may potentially contribute to the audience experiencing difficulty in grasping the full context and dynamics of marring young and living in a small community in that era.
3.2 Relationship with Innik
Ian develops a relationship with a part time journalist who he met while the Band was travelling on tour.
He describes her in one scene as a ‘free and independent woman’[11]. It is left to the audience, however, to contrast her character with that of Ian’s wife. It seems possible that the relationship started, in addition too, not as a replacement of, his relationship with his wife. This however, is unlikely, and may be due solely to the confined approach taken by the director in developing the characters and story.
The director moves the relationships every quickly and with very little dialog. One analogy that is evident in both relationships, is that both female characters seem to be smiling the whole way through the majority of their scenes. It may be difficult for the audience to understand or contrast the two women in this sense as they both look equally happy most of the time.
What is not difficult for the audience to grasp, however, is the substance of the dialog between the two characters, which is substantially different. It seems evident that Ian interacts with Innik on a more equal footing and it is clear that his interest in this woman transcends any physical connection or attraction, towards perhaps, something resembling a physiological dependence.
Ian is confronted by Debbie and volunteers that he will break it off with Innik. It is not evident, however, from the directors portrayal whether this move is motivated by Ian’s desire not to hurt Debbie as opposed to any suggestion that he did not want to be with Innik.
4. EPILEPSY
Ian is diagnosed with the medical condition epilepsy. He is prescribed a concoction of medications, which are shown to have substantial side effects, including potential for depression and / or mood swings. When taken with alcohol, the potential side effects are compounded.
Two aspects of this issue stand out in the film. Firstly, there is some focus on educating the audience on the ‘hit and miss’ approach to managing the medical condition at the time. A scene was devoted to the initial prescription and potential scope of the medications required with emphasis on the fact that there may be no way of managing the condition with any degree of confidence.
A further scene portrayed Ian being alarmed at the possible greater risks he was facing with the condition. Here the director shows Ian in his employment hearing on the telephone that one of his clients had suffered a fit and as a result, had died.
5. ACCUMULATING PRESSURES - SUICIDE
The film portrays each of these factors as accumulating to a point where Ian initially attempts unsuccessfully to commit suicide and then later does so. The director chooses to present this accumulation by voice-over narrative, by the main character, while events progress visually.
This seems to work very well in the sense that the audience is allowed at this point in the film to hear exactly what is going on in the mind of the main character without confusion caused by inconsistent director presentation or audience interpretation, as was evident in the development of the two main female characters.
This journey by narrative, although short in screen time, is presented clearly and in a fashion that is almost obvious. The audience is left with very little to consider and may even feel that they are spiralling with the characters themselves. The last part of the film really drags the audience along in a cloud of hopelessness with scenes involving each of the main characters and Band members.
If anything this sense of hopelessness goes some way to trigger in the audience a sense of reality of not only the triggers but also the accumulating factors that contributed, in this case, to depression and then self harm.
It is likely that this film will encourage viewers to search for a release mechanism or a safety net that could be tripped or laid out to catch a friend or someone in need who finds themselves spiralling downwards towards a similar end.
It seems obvious that the director has achieved each of the goals he set for this film and has exceeded in the sense that in addition to those goals, he has assisted to smash some of the prejudices associated with the management of medical conditions, like epepilesy, and the path that some have taken towards self harm.
It is possible that, at least in the area of self harm, this film may assist people to catch someone who may be suffering from depression or an accumulation of pressures, and assist them to seek help or manage their stresses in a way that directs them away from the outcome that this film showed to be pathetically wasteful.
It is important to remember that this film was based on a biography work. The director was confined, in this sense, to the prescriptive presentation as set out in that biography piece. There is no question that this film is a highly stimulating artistic work of superior cinematographic quality.
BIBLIOGRAPHY
1. PRIMARY SOURCES
1.1 Personal Attendance
Film, Control, Becker Films 2007, by Anton Conbijn.
Suicide TALK - a community-oriented session exploring issues in suicide prevention, Student Services, University of Dundee, 23 January 2008, 1500-1700 Hours.
2. SECONDARY SOURCES
2.1 Books
Woodruff, D. (1996) Touching from a distance. Faber and Faber.
2.2 Other
2.2.1 Internet Sources
Official site, Anton Corbijn (Online) Available from http://www.corbijn.co.uk/ [accessed 02 February 2008].
You Tube Video Interview with Anton Corbijn, May 2007, (online) Available from http://www.corbijn.co.uk/[accessed 02 February 2008].
[1] Official site, Anton Corbijn (Online) Available from http://www.corbijn.co.uk/ [accessed 02 February 2008].
[2] Deborah Woodruff Curtis (born Liverpool, England, 13 December 1956), is the widow of Joy Division vocalist and lyricist Ian Curtis, who committed suicide in 1980.
[3] Woodruff, D. (1996) Touching from a distance. Faber and Faber.
[4] You Tube Video Interview with Anton Corbijn, May 2007, (online) Available from http://www.corbijn.co.uk/[accessed 02 February 2008].
[5] Ibid.
[6] Ibid.
[7] Ibid.
[8] Film, Control, Becker Films 2007, by Anton Conbijn.
[9] Ibid.
[10] Ibid.
[11] Film, Control, Becker Films 2007, by Anton Conbijn.
1. MUSIC AND VIDEO DIRECTOR, ANTON CORBIJN
2. THE FILM ‘CONTROL’
3. DO WE REALLY KNOW EACH OTHER?
3.1 Debbie Curtis
3.2 Relationship with Innik
4. Epilepsy
5. Accumulating Pressures - Suicide
6. BIBLIOGRAPHY
1. MUSIC AND VIDEO DIRECTOR, ANTON CORBIJN
Anton Corbijn is a photographer, movie and video director fromStrijen in theNetherlands. He commenced his career by taking photographs during a live concert in 1972 and then moved from Europe to the United Kingdom in 1979 where he commenced his professional career as a music photographer. He is known for directing, mainly music videos of bands such as U2 and Depeche Mode. He became widely known, however, for his work with the post punk band, ‘Joy Division’ (hereafter, the ‘Band’). The Band is the subject and topic of this film, ‘Control’.
Significantly, Corbijn exhibited photographic work featuring members of the Band on two separate occasions. Personal exposure to the Band members during these photographic shoots gave Corbijn a first hand and rare insight into the Band members and subsequent characters to the film. In all respects, Corbijn is eminently qualified to direct a film about the Band.
The film was presented as a premier at the 2007 Cannes Film Festival and received rave reviews by audiences with an interest in the Band as well as fans seeking a presentation of his professional style which exhibits raw emotion and stark black and white imagery.[1]
2. THE FILM ‘CONTROL’
Utilising the biography work of Deborah Woodruff[2] entitled ‘Touching from a Distance’[3], Corbijn attempts to tell a story about a ‘tragic love relationship’.[4] Specifically, the life of the lead singer of the Band, Ian Curtis ‘who was confounded in a relationship outside of his marriage’.[5] He also struggled with epilepsy which was portrayed as ‘the part of his life that he could not control’.[6]
The director indicates that he had been thinking about making the film for a long time because of his interest in the medium, specifically the use of film and black and white imagery but that the film was not intended to be produced for commercial reasons.[7]
He identifies the Band as being one aspect, only, of the life of the artist, intending that the film not be labelled as a rock and roll film but more a portrayal of life, new love, and the tragedy of confinement and personal isolation. The issues of depression, use of alcohol and youth suicide also feature in the original work.
3. DO WE REALLY KNOW EACH OTHER?
When considering this film, from a critical analysis perspective, it is difficult not to incorporate some greater analysis of the true life story which sits behind it.
Given that the film is based on the biography work, it is clear that the director intended that the film portray, to some extent, true life events. One example of this intention is the directors insistence on the actors who play the other members of the band learning how to play the musical instruments that the young members of the real life Band would have struggled with themselves.
It is possible that this attempt to stay true to the story as confined by the base biography may have boxed the film, to some extent, so that the audience is left with a disjointed and potentially unsupported journey. A portrayal of his life as seen through the eyes of one person only. Clearly, it may be suggested that this single perspective is unlikely to have fully captured what was happening in this man’s mind.
Of particular interest, and significance in my view, are the relationships, as portrayed, between the main character and his wife and also his relationship with his lover, Innik. It is possible that the audience may struggle to grasp the dynamics of each of these separate liaisons which seem, on their face, to be of the sole making of the main character.
3.1 Debbie Curtis
The director portrays the main actor, the young Ian Curtis as a shy and almost introverted teenager. He develops a close and affectionate relationship with a young woman. At 16 they marry at his request. They later have a baby, again at his request.
Ian, now older, is working as a job employment consultant and their young married life is portrayed as simple. He does, however, seem to be totally in control of their relationship. This is evidenced, or at least portrayed, by the director as the two defining moments in Ian’s young married life. On the first occasion the director shows Ian asking Debbie to marry him but not in a structured or supported sense. Debbie responds by saying ‘alright’[8], seemingly surprised and after only a moment of thought. On the second occasion, some years later, Ian says ‘I think we should have a baby’[9] and Debbie provides a similarly thoughtful response of ‘ok’[10].
It seems evident that Ian is totally in control of the relationship and that there is no indication or further presentation in the film to provide the audience with reasons why Ian might, or should be unhappy or depressed. Some greater focus of building Debbie’s character and providing the audience with something to grasp at the early stages of the film may have assisted to ‘lead’ the viewer into the later scenes, which include his relationship with Innik and struggles with his medical condition and mounting musical responsibilities.
This loose use of character building in the early stages of the film may potentially contribute to the audience experiencing difficulty in grasping the full context and dynamics of marring young and living in a small community in that era.
3.2 Relationship with Innik
Ian develops a relationship with a part time journalist who he met while the Band was travelling on tour.
He describes her in one scene as a ‘free and independent woman’[11]. It is left to the audience, however, to contrast her character with that of Ian’s wife. It seems possible that the relationship started, in addition too, not as a replacement of, his relationship with his wife. This however, is unlikely, and may be due solely to the confined approach taken by the director in developing the characters and story.
The director moves the relationships every quickly and with very little dialog. One analogy that is evident in both relationships, is that both female characters seem to be smiling the whole way through the majority of their scenes. It may be difficult for the audience to understand or contrast the two women in this sense as they both look equally happy most of the time.
What is not difficult for the audience to grasp, however, is the substance of the dialog between the two characters, which is substantially different. It seems evident that Ian interacts with Innik on a more equal footing and it is clear that his interest in this woman transcends any physical connection or attraction, towards perhaps, something resembling a physiological dependence.
Ian is confronted by Debbie and volunteers that he will break it off with Innik. It is not evident, however, from the directors portrayal whether this move is motivated by Ian’s desire not to hurt Debbie as opposed to any suggestion that he did not want to be with Innik.
4. EPILEPSY
Ian is diagnosed with the medical condition epilepsy. He is prescribed a concoction of medications, which are shown to have substantial side effects, including potential for depression and / or mood swings. When taken with alcohol, the potential side effects are compounded.
Two aspects of this issue stand out in the film. Firstly, there is some focus on educating the audience on the ‘hit and miss’ approach to managing the medical condition at the time. A scene was devoted to the initial prescription and potential scope of the medications required with emphasis on the fact that there may be no way of managing the condition with any degree of confidence.
A further scene portrayed Ian being alarmed at the possible greater risks he was facing with the condition. Here the director shows Ian in his employment hearing on the telephone that one of his clients had suffered a fit and as a result, had died.
5. ACCUMULATING PRESSURES - SUICIDE
The film portrays each of these factors as accumulating to a point where Ian initially attempts unsuccessfully to commit suicide and then later does so. The director chooses to present this accumulation by voice-over narrative, by the main character, while events progress visually.
This seems to work very well in the sense that the audience is allowed at this point in the film to hear exactly what is going on in the mind of the main character without confusion caused by inconsistent director presentation or audience interpretation, as was evident in the development of the two main female characters.
This journey by narrative, although short in screen time, is presented clearly and in a fashion that is almost obvious. The audience is left with very little to consider and may even feel that they are spiralling with the characters themselves. The last part of the film really drags the audience along in a cloud of hopelessness with scenes involving each of the main characters and Band members.
If anything this sense of hopelessness goes some way to trigger in the audience a sense of reality of not only the triggers but also the accumulating factors that contributed, in this case, to depression and then self harm.
It is likely that this film will encourage viewers to search for a release mechanism or a safety net that could be tripped or laid out to catch a friend or someone in need who finds themselves spiralling downwards towards a similar end.
It seems obvious that the director has achieved each of the goals he set for this film and has exceeded in the sense that in addition to those goals, he has assisted to smash some of the prejudices associated with the management of medical conditions, like epepilesy, and the path that some have taken towards self harm.
It is possible that, at least in the area of self harm, this film may assist people to catch someone who may be suffering from depression or an accumulation of pressures, and assist them to seek help or manage their stresses in a way that directs them away from the outcome that this film showed to be pathetically wasteful.
It is important to remember that this film was based on a biography work. The director was confined, in this sense, to the prescriptive presentation as set out in that biography piece. There is no question that this film is a highly stimulating artistic work of superior cinematographic quality.
BIBLIOGRAPHY
1. PRIMARY SOURCES
1.1 Personal Attendance
Film, Control, Becker Films 2007, by Anton Conbijn.
Suicide TALK - a community-oriented session exploring issues in suicide prevention, Student Services, University of Dundee, 23 January 2008, 1500-1700 Hours.
2. SECONDARY SOURCES
2.1 Books
Woodruff, D. (1996) Touching from a distance. Faber and Faber.
2.2 Other
2.2.1 Internet Sources
Official site, Anton Corbijn (Online) Available from http://www.corbijn.co.uk/ [accessed 02 February 2008].
You Tube Video Interview with Anton Corbijn, May 2007, (online) Available from http://www.corbijn.co.uk/[accessed 02 February 2008].
[1] Official site, Anton Corbijn (Online) Available from http://www.corbijn.co.uk/ [accessed 02 February 2008].
[2] Deborah Woodruff Curtis (born Liverpool, England, 13 December 1956), is the widow of Joy Division vocalist and lyricist Ian Curtis, who committed suicide in 1980.
[3] Woodruff, D. (1996) Touching from a distance. Faber and Faber.
[4] You Tube Video Interview with Anton Corbijn, May 2007, (online) Available from http://www.corbijn.co.uk/[accessed 02 February 2008].
[5] Ibid.
[6] Ibid.
[7] Ibid.
[8] Film, Control, Becker Films 2007, by Anton Conbijn.
[9] Ibid.
[10] Ibid.
[11] Film, Control, Becker Films 2007, by Anton Conbijn.
Tuesday, 12 February 2008
Ideas of My Exhibits in Our Studio
How to express my research topic - suicide in a little block of a shelf in our studio? It also should be creatvie, visual and clear. I gave some thoughts today and decided to set a theme for my exhibit - a girl killed herself, and I will also tell her story via background pictures and exhibits.
Foreground: a pair of red high heel and two alcohol bottles.
Hangings: common suicide tools - an injector, a sharp knife, a bottle of drugs, and a rope.
Background: bloody tearing pictures of the character's life (story telling)
Pictures I might use in the background:
Foreground: a pair of red high heel and two alcohol bottles.
Hangings: common suicide tools - an injector, a sharp knife, a bottle of drugs, and a rope.
Background: bloody tearing pictures of the character's life (story telling)
Pictures I might use in the background:
Tuesday, 5 February 2008
Reflection on Tutorial 05 2 08
This time we did a group tutorial which I think is interesting and effective as well. Actually I just talked to Mike yesterday, and had skimed the book 'New Approaches to Proventing Suicide', from the book, I came out four aspects which is possible for me to do additional researches. But by talking to Hazel today, I found Hazel was trying to help me clarify my research result and put them in order. I also noticed that young people suicide is a significant problem which reflected from my researche result. So Hazel tended to encourage me to do addtional research on young people suicide. However by taking Mike's suggestion, it's better for me to transfer my target from suicidal group in other stakeholders, so I think I should read through the book 'New Approaches to Proventing Suicide' and see if I can find new problems and came out new ideas from it.
Monday, 4 February 2008
Reflection on Tutorial 04 2 08
It seems like my initial idea is difficult to access. By talking to Mike today, I was reminded to think about my last project homosexuality. The reason why I had to change to another topic is because I couldn't get approach to the focus group (homosexuals), so I couldn't do researches towards my focus group properly. That is an inaccessible topic, and I would avoid the same problem when I started my current project.
Actually it is not easy for me to think about other focus groups except for suicidal people, however this community of people is extremely difficult to get approach, one hand it is hard for me to find suicidal people, on the other hand, even I can find some, because of the ethical problem, I am not allowed to talk to them. In addition, I am not a professional who is familiar with the approaching ways and methods towards suicidal people, so if I talk to them perhaps it is also harm for my own wellbeing.
So Mike gave me a piece of advice, to consider other stakeholders such as A+E Department, stuffs in hospital, clinic and GPs. Also I should have a look on the second level groups such as people around suiciders and people who might be involved in the suicide issues.
He told me his own experience which about his feelings and his actions after one of his student killed himself, this story gave some a concept on how people around a suicider be influenced.
I am ready to change my approaching methods and perspectives I researched, sometime I see my first idea is a valuable and I like it very much, but most of time my first idea is not matual and not so realistic. So the better thing for me is forget my first possession and look for my second one.
Saturday, 2 February 2008
Friday, 1 February 2008
Reading Notes
I finished two books recently:
Claire Wallerstein (2004), Need to Know Teenage Suicide. United Kingdom, Roger Coote Publishing.
Helen Spandler (2001), Who's Hurting Who? Young People, Self-harm and Suicide. United Kingdom, Handsell Publishing.
The following is the reading note of these two books:
Claire Wallerstein (2004), Need to Know Teenage Suicide. United Kingdom, Roger Coote Publishing.
Helen Spandler (2001), Who's Hurting Who? Young People, Self-harm and Suicide. United Kingdom, Handsell Publishing.
The following is the reading note of these two books:
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