Most migrating songbirds are required to stopover to rest and replenish their fat reserves, and suitable stopover habitat is vitally important to their survival and success securing territories at their breeding and wintering grounds. Identifying and protecting stopover locations and movement corridors is essential to connecting all life stages of these species, yet there remain significant knowledge gaps regarding the utilization of stopover sites and fine-scale movements during migration, particularly at inland stopover areas. We investigated the factors that influence stopover duration and migration rate of ten migratory songbirds within the Silvio O. Conte National Fish and Wildlife Refuge in the Northeastern United States during two fall and spring seasons in 2015 and 2016 at 5 banding sites using automated telemetry. We expected that fat and mass would influence stopover duration and migration rate, in that birds with larger fat stores and greater masses would make shorter stopovers, and migrate faster than leaner birds. We also expected that birds would move faster in spring, and minimize time later in the season, by making shorter stopovers and migrating faster as the season progresses. A lower percentage of our focal species departed the banding sites within 24 hours compared to other studies in coastal and urban sites, indicating that more birds made stopovers. Sixteen percent of birds made prolonged stopovers (> 7 days) in spring, and 38 % in fall, highlighting the importance of the refuge for long term refueling. Spring birds made shorter stopovers, and traveled at faster rates than fall birds, suggesting there is may be more pressure for early arrival at breeding grounds. Spring birds captured with significant fat loads made shorter stopovers, and traveled faster than leaner birds. Spring birds also appeared to employ a time minimization strategy, with birds captured later in the season making shorter stopovers. Migration rate of spring birds decreased with distance from the capture site, indicating many birds needed to make additional stopovers. Fall birds that made longer stopovers migrated at faster rates. Fall birds captured later in the season made longer stopovers, and subsequently traveled at faster rates once they departed to possibly minimize time on migration. Variation in stopover behavior was evident among sites and species and this may suggest habitat or site characteristics that affect their value for migrating birds, which should be taken into consideration when conservation planning or vulnerable species. The extensive use of this inland National fish and wildlife refuge by migratory birds, and the fact that birds are acquiring energy reserves that are facilitating successful migration suggests this region is an important corridor for migrating songbirds.

Barcelone, 1962, les routes de Lorenzo Soler et de Juan Piquer, issus de la génération de La Posguerra, se croisent de nouveau. Dans leur ville natale, Valence, ils avaient fréquenté le même collège huppé… et subi les mêmes souffrances, liées aux injustices de la société franquiste. Une amitié solide va naître. Juan Piquer est réalisateur. Sous son influence, Lorenzo Soler fondera une société de production cinématographique. Le 29 juillet 1963, une bombe éclate à La Puerta del Sol, au coeur de Madrid. Les deux jeunes Valenciens sont profondément choqués. Lorenzo Soler décide de produire un documentaire sur la période opaque de la pré-Guerre civile, l’ investissement des deux amis sera exemplaire. La première partie de la thèse dévoilera l’histoire du documentaire, tourné en 35 mm, reconstituée, en l’absence de copie, à partir des dossiers de censure. 1965, Juan Piquer repart travailler à Madrid. Dès 1964, le producteur s’était lancé dans la réalisation en tournant en 16 mm. Octobre 1965, la Mairie de Barcelone veut mettre en exergue sa politique du logement à l’égard des immigrants venus de l’Espagne du Sud, Lorenzo Soler est chargé de la réalisation de l’oeuvre de commande. Lors du tournage, il découvre el barraquismo, la gorge nouée, il tourne, mais l’oeuvre, une fois réalisée, sera mise sous séquestre. La décision du cinéaste se fera alors irrévocable, ses images témoigneront. La seconde partie de la thèse recouvrira la période 1965 - 1970 et traitera du parcours du précurseur d’un cinéma nouveau : « el cine [documental] independiente ». / In 1962, in Barcelona, Lorenzo Soler’s path crossed again Juan Piquer’s, by chance. Both were from the Posguerra generation. In their hometown, Valencia, they had attended the same posh college… and suffered the same experiences, because of the injustices of the Franco’s society. Their reunion marked the beginning of a close friendship. Juan Piquer was a film maker. Under his influence, Lorenzo Soler founded a movie production company. On July 29th 1963, a bomb exploded in downtown Madrid. The two young men were deeply shocked by the bomb attack. Lorenzo Soler then decided to produce a documentary on the obscure period that preceded the Civil War. The two friends’ commitment was exemplary. The first part of the thesis unveils the story of the documentary, from the study of the censure, because there is no copy of the movie, shot as a 35 mm film. In 1965, Juan Piquer went back to Madrid for work. In 1964, the producer started directing movies, using a 16 mm camera. In October 1965, Barcelona town council decided to promote its housing policy toward the southern Spain immigrants, Lorenzo Soler was in charge of a commissioned documentary. While shooting, he discovered el barraquismo, a lump in his throat, he shot, but his work was confiscated. Then the film maker’s decision became irrevocable, his work had to testify. The second part of the thesis deals with the career, from 1965 to 1970, of the precursor of a new cinema in Spain : el cine [documental] independiente.