Edwards, Blake

Edwards, Blake director. 1983. Curse of the Pink Panther. United Ardsts. 

Colquhoun, W. P., Blake, M. ]., Edwards, R. S. (1969). Experimental Studies of Shift Work III Stabilized 12-hour Shift Systems. Ergonomics 12,865-882. 

For a historiography survey, see Edward Spiers, Gallipoli , in Brian Bond (ed.), The First World War and British Military History (Oxford Clarendon Press, 1991), pp. 165-88. For Churchill s part, see Michael Howard, Churchill and the First World War , in Robert Blake and W. Roger Louis (eds.), Churchill (Oxford University Press, 1993), pp. 129-45, at pp. 137-8. For lack of staff work and Hankey s role, see Gooch, Plans of War, pp. 309-15. The best account of the campaign is Tim Travers, Gallipoli 1915 (Stroud Tempus, 2001). 

Schofield, J.N., Blake, D.J., Simmons, C., Morris, G.E., Tinsley, J.M., Davies, K.E., and Edwards, Y.H., 1994, Apo-dystrophin-1 and apo-dystrophin-2, products of the Duchenne muscular dystrophy locus expression during mouse embryogenesis and in cultured cell lines, Hum Mol Genet, 3, pp 1309—1316. 

Figure 17 Substrates and processes coupled to Fe reduction-oxidation. Circled numbers refer to recent reviews of the role of microbial processes in various iron transformations. (1) Lovley and Anderson (2000), Thamdrup (2000), Johnson (1998), Blake and Johnson (2000), Kiisel et al. (1999), and Peine et al. (2000). (2) Thamdrup et al, (1993), Lovely and Phillips (1994a, Schipper and J0rgensen (2002), Blake and Johnson (2000), Pronk and Johnson (1992). (3) Emerson (2000), Johnson (1998), Blake and Johnson (2000), Edwards et al. (2000b), and Roden et al. (in press). (4) Straub et al. (2001). (after Tebo and He, 1999 Roden et al., in press).

In 1983, six new productions were underway, ranging from the pedes-trian-though-violent (Arthur Hill s body-strewn Octopussy) to the genuinely macabre (Wes Craven s supernatural take on Live And Let Die) to the bizarre (Alec Baldwin s performance in the Blake Edwards production of Goldfinger, which could never seem to decide whether to be funny or serious). 

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