Multi-joint rate of force development testing protocol affects reliability and the smallest detectible difference

Isometric tests have been used to assess rate of force development (RFD), however variation in testing methodologies are known to affect performance outcomes. The aim of this study was to assess the RFD in the isometric squat (ISqT) using two test protocols and two testing angles. Eleven participants (age: 26.8 ± 4.5 years, strength training experience: 7.1 ± 3.03 years) completed test and retest sessions one week apart, whereby two test protocols with respect to duration and instructions were compared. Isometric peak force (ISqT^peak) and isometric explosive force (ISqT^exp) tests were assessed at two joint angles (knee flexion angle 100° and 125°). Force-time traces were sampled and subsequently analysed for RFD measures. Average and instantaneous RFD variables did not meet reliability minimum criteria in ISqT^peak at 100° or 125°. The ISqT^exp test at 100° met reliability criteria in the RFD 0–200 and 0–250ms variables. The ISqT^exp test at 125° met reliability criteria in the RFD 0–150, 0–200 and 0–250ms variables. Force-time characteristics were optimized at the higher knee joint angle. Average and instantaneous RFD measures obtained using a traditional peak force test do not meet basic reliability criteria. Researchers assessing multi-joint RFD should employ the explosive RFD test protocol as opposed to the traditional isometric peak force protocol.     

It’s (Not) in His Kiss: Gay Kisses and Camera Angles in Contemporary US Network Television Comedy

Although the number of gay male representations on American situation comedies has increased, an examination of the ways same-sex intimacy operates within sitcoms is of paramount importance. This article traces a brief history of same-sex intimacy in sitcoms, then uses film and television stylistic analysis of the contemporary sitcoms Modern Family, Happy Endings, and The New Normal to argue that the positioning of the camera and the spatial relationship between actors is deliberate and conveys critical information. The article argues that sitcoms in the 21st century obscure same-sex kisses through camera angles, particularly the over-the-shoulder shot, and that the public/private dichotomy factors prominently into the spaces where same-sex intimacy is permissible and how such intimacy is filmed within the televisual home. Ultimately, gay representation in American network television comedy retains a conservative approach to same-sex intimacy even as it continues to include gay male characters in greater numbers.