Nancy Naumburg

On September 25, 1934, Irving Lerner devoted an entire column in New Masses to “the first [film] to come out of the revolutionary movement,” a “dramatic documentary” on the farm crisis that had just been screened at the headquarters of the radical collective Film & Photo League. Sheriffed was a three-reel 16mm silent motion picture that had been written, directed, and photographed by Nancy Naumburg and James Guy. Lerner was not entirely happy with the film, which lacked the technical skill of Vertov or Dovzhenko, the obvious models for this sort of genre. The farmers played themselves as best they could, while the filmmakers fought a losing battle against a series of technical deficiencies. But the “vitality, freshness, and honesty that springs from its revolutionary convictions” was undeniably impressive (30)

Albert Capellani dans les studios américains

Albert Capellani arriva en Amérique le 22 mars 1915 dans le cadre d’un contrat en vue de réaliser des films pour la société Peerless Feature Producing Co. Il savait que l’industrie cinémato- graphique française qu’il quittait était en proie à une période de troubles sans précédent. En revanche, il ne s’était peut-être pas attendu aux troubles qu’il trouverait dans une Amérique où, en dépit d’une industrie en pleine expansion, il aurait l’occasion de voir entreprises et carrières passer de l’e..

Ir ao cinema em São Paulo nos anos 20

As críticas cinematográficas de Octávio Gabus Mendes publicadas na década de 1920 em Cinearte, revista carioca dedicada ao cinema, permitem conhecer o panorama do que era exibido em São Paulo, mas também as aspirações cinematográficas do crítico e os projetos para o cinema brasileiro.Mostram a relação entre as possibilidades de desenvolvimento do cinema brasileiro e as imagens que deveria mostrar do Brasil, e o papel central que as salas de cinema tinham na constituição da atividade cinematográfica no país. Pleiteando a constituição de salas ricas em bairros de freqüência burguesa, o cinema, nas aspirações do crítico, torna-se espaço de diferenciação social, e não de inclusão.Mostram já nos anos 20 a dicotomia entre as possibilidades de constituição do cinema popular, e as aspirações elitistas que deveriam norteá-lo tanto na constituição das imagens que deveria veicular, como na sua freqüentação e distribuição espacial na cidade.<br>In the 20's, Octavio Gabus Mendes published film critics in Cinearte, a magazine on movies. His texts present an extensive coverage of the movie scene in São Paulo, as well as of his film-making ideas and his projects for Brazilian cinema. They show the relationship between the development of the Brazilian movie industry and the images they might construct about the country, and also the central role of movie theaters in the constitution of cinematographic activity in Brazil. As they look for rich theaters in rich places, movies might represent social exclusion rather than inclusion. In this process,we can see even in the 20's a dicothomy between the constitution of cinema as a popular activity and its elitist aspirations as shown by images, spaces and frequency

Towards universal comparability of pericoronary adipose tissue attenuation: a coronary computed tomography angiography phantom study

Objectives: Different computed tomography (CT) scanners, variations in acquisition protocols, and technical parameters employed for image reconstruction may introduce bias in the analysis of pericoronary adipose tissue (PCAT) attenuation derived from coronary computed tomography angiography (CCTA). Therefore, the aim of this study was to establish the effect of tube voltage, measured as kilovoltage peak (kVp), and iterative reconstruction on PCAT mean attenuation (PCATMA). Methods: Twelve healthy ex vivo porcine hearts were injected with iodine-enriched agar-agar to allow for ex vivo CCTA imaging on a 256-slice CT and a dual-source CT system. Images were acquired at tube voltages of 80, 100, 120, and 140 kVp and reconstructed by using both filtered back projection and iterative reconstruction algorithms. PCATMA was measured semi-automatically on CCTA images in the proximal segment of coronary arteries. Results: The tube voltage showed a significant effect on PCATMA measurements on both the 256-slice CT scanner (p < 0.001) and the dual-source CT system (p = 0.013), resulting in higher attenuation values with increasing tube voltage. Similarly, the use of iterative reconstructions was associated with a significant increase of PCATMA (256-slice CT: p < 0.001 and dual-source CT: p = 0.014). Averaged conversion factors to correct PCATMA measurements for tube voltage other than 120 kVp were 1.267, 1.080 and 0.947 for 80, 100, and 140 kVp, respectively. Conclusion: PCATMA values are significantly affected by acquisition and reconstruction parameters. The same tube voltage and reconstruction type are recommended when PCAT attenuation is used in multicenter and longitudinal studies. Key points: • The tube voltage used for CCTA acquisition affects pericoronary adipose tissue attenuation, resulting in higher attenuation values of fat with increasing tube voltage. • Conversion factors for pericoronary adipose tissue attenuation values could be used to adjust for differences in attenuation between scans performed at different tube voltages. • In longitudinal CCTA studies employing pericoronary adipose tissue attenuation as imaging endpoint, it is recommended to maintain tube voltage and image reconstruction type constant across serial scans. Keywords: Adipose tissue; Computed tomography angiography; Coronary arteries; Image reconstruction