Performance comparison of an active matrix flat panel imager, computed radiography system, and a screen-film system at four standard radiation qualities.

Four standard radiation qualities (from RQA 3 to RQA 9) were used to compare the imaging performance of a computed radiography (CR) system (general purpose and high resolution phosphor plates of a Kodak CR 9000 system), a selenium-based direct flat panel detector (Kodak Direct View DR 9000), and a conventional screen-film system (Kodak T-MAT L/RA film with a 3M Trimax Regular screen of speed 400) in conventional radiography. Reference exposure levels were chosen according to the manufacturer's recommendations to be representative of clinical practice (exposure index of 1700 for digital systems and a film optical density of 1.4). With the exception of the RQA 3 beam quality, the exposure levels needed to produce a mean digital signal of 1700 were higher than those needed to obtain a mean film optical density of 1.4. In spite of intense developments in the field of digital detectors, screen-film systems are still very efficient detectors for most of the beam qualities used in radiology. An important outcome of this study is the behavior of the detective quantum efficiency of the digital radiography (DR) system as a function of beam energy. The practice of users to increase beam energy when switching from a screen-film system to a CR system, in order to improve the compromise between patient dose and image quality, might not be appropriate when switching from screen-film to selenium-based DR systems.

Respiratory responses associated with affective processing of film stimuli

We investigated respiratory responses during film clip viewing and their relation to the affective dimensions of valence and arousal. Seventy-six subjects participated in a study using a between groups design. To begin with, all participants viewed an emotionally neutral film clip. Then, they were presented with one out of four emotional film clips: a positive high-arousal, a positive low-arousal, a negative high-arousal and a negative low-arousal clip. Respiration, skin conductance level, heart rate, corrugator activity and affective judgments were measured. Expiratory time was shorter and inspiratory duty cycle, mean expiratory flow and minute ventilation were larger during the high-arousal clips compared to the low-arousal clips. The pleasantness of the stimuli had no influence on any respiratory measure. These findings confirm the importance of arousal in respiratory responding but also evidence differences in comparison to previous studies using visual and auditory stimuli. [Authors]

A comparison of the performance of modern screen-film and digital mammography systems.

This work compares the detector performance and image quality of the new Kodak Min-R EV mammography screen-film system with the Fuji CR Profect detector and with other current mammography screen-film systems from Agfa, Fuji and Kodak. Basic image quality parameters (MTF, NPS, NEQ and DQE) were evaluated for a 28 kV Mo/Mo (HVL = 0.646 mm Al) beam using different mAs exposure settings. Compared with other screen-film systems, the new Kodak Min-R EV detector has the highest contrast and a low intrinsic noise level, giving better NEQ and DQE results, especially at high optical density. Thus, the properties of the new mammography film approach those of a fine mammography detector, especially at low frequency range. Screen-film systems provide the best resolution. The presampling MTF of the digital detector has a value of 15% at the Nyquist frequency and, due to the spread size of the laser beam, the use of a smaller pixel size would not permit a significant improvement of the detector resolution. The dual collection reading technology increases significantly the low frequency DQE of the Fuji CR system that can at present compete with the most efficient mammography screen-film systems.

Quand le film raconte l'image. Variations cinématographiques autour de La Cène de Léonard de Vinci

Partant de l'hypothèse qu'au cinéma, un plan travaillé à la manière d'un tableau engage non pas un arrêt du récit, mais un enrichissement de la logique narrative linéaire du film par une sémiotique tabulaire et des jeux de références intermédiales, cet article analyse le cas exemplaire et récurrent des plans qui reconstituent en « tableau vivant » La Cène de Léonard de Vinci. Christus (Giulio Antamoro, 1914-1916), Ben Hur, a tale of the Christ (Fred Niblo, 1925) ou Quo Vadis (Mervyn LeRoy, 1951) y sont explorés, ainsi que d'autres productions qui replacent la composition du Cenacolo à la fois en une « phase » et une « stase » dramatique et esthétique du récit christique. Des films tels que Viridiana (Luis Buñuel, 1961) sont aussi évoqués, qui font apparaître la composition comme une pause allégorique d'un récit contemporain, enrichi sur un plan énonciatif, symbolique et iconographique.

La pose au cinéma : film et tableau en corps-à-corps

Le motif de la pose et l'arrêt du mouvement qu'elle implique ont, le plus souvent, été rejetés par le médium cinématographique. Cependant certains cinéastes se sont attelés à représenter la pose, en en faisant un véritable lieu d'expérimentation de la mise en scène du corps et de la confrontation entre les codes des arts plastiques et les codes du cinéma. Cette communication montrera comment ces « corps-à-corps » esthétiques ont déterminé le traitement filmique de la pose - tant celle qui, dans l'atelier d'artiste, précède le tableau, que celle qui le rejoue dans l'exercice du tableau vivant -, depuis La Chute de la Maison Usher (Epstein, 1928) jusqu'à La Belle Noiseuse (Rivette, 1991), en passant par La Ricotta (Pasolini, 1962) et Passion (Godard, 1981).