Film Stars

We present the results of a mid-infrared survey of 11 outer Galaxy massive star-forming regions and 3 open clusters with data from the Wide-field Infrared Survey Explorer (WISE). Using a newly developed photometric scheme to identify young stellar objects and exclude extragalactic contamination, we have studied the distribution of young stars within each region. These data tend to support the hypothesis that latter generations may be triggered by the interaction of winds and radiation from the first burst of massive star formation with the molecular cloud material leftover from that earlier generation of stars. We dub this process the "fireworks hypothesis" since star formation by this mechanism would proceed rapidly and resemble a burst of fireworks. We have also analyzed small cutout WISE images of the structures around the edges of these massive star-forming regions. We observe large (1-3 pc size) pillar and trunk-like structures of diffuse emission nebulosity tracing excited polycyclic aromatic hydrocarbon molecules and small dust grains at the perimeter of the massive star-forming regions. These structures contain small clusters of emerging Class I and Class II sources, but some are forming only a single to a few new stars.

The Taurus Molecular Cloud subtends a large solid angle on the sky, in excess of 250 square degrees. The search for legitimate Taurus members to date has been limited by sky coverage as well as the challenge of distinguishing members from field interlopers. The Wide-field Infrared Survey Explorer (WISE) has recently observed the entire sky, and we take advantage of the opportunity to search for young stellar object (YSO) candidate Taurus members from a ∼260 square degree region designed to encompass previously-identified Taurus members. We use nearand mid-infrared colors to select objects with apparent infrared excesses and incorporate other catalogs of ancillary data to present: a list of rediscovered Taurus YSOs with infrared excesses (taken to be due to circumstellar disks), a list of rejected YSO candidates (largely galaxies), and a list of 94 surviving candidate new YSO-like Taurus members. There is likely to be contamination lingering in this candidate list, and follow-up spectra are warranted.

Esta tese investiga a atuação da Móveis CIMO S.A. no fornecimento de poltronas para salas de cinema entre as décadas de 1940 e 1960, com especial atenção ao mercado exibidor cinematográfico da cidade de São Paulo. A partir de uma abordagem interdisciplinar, a pesquisa articula e propõe aproximações entre a História e o Design, a História e a Imprensa e a História da Exibição Cinematográfica. Assim, pretende-se analisar as poltronas não apenas como objetos funcionais, mas como dispositivos que possuem sua biografia e tensões. A poltrona é compreendida enquanto artefato técnico e simbólico, que sugere uma mediação da experiência estética do cinema, e participa e se insere em dinâmicas industriais, comerciais e de comunicação. A pesquisa mobiliza um extenso volume de fontes primárias, como arquivos empresariais e documentação técnica, assim como anúncios publicitários, oriundos, em grande medida, de um conjunto de jornais e revistas especializados (Cine-Repórter: Semanário Cinematográfico e a Revista O Exibidor), publicações da própria fábrica (Revista Móveis CIMO) e na imprensa diária. Um dos aspectos observados na documentação é a formação e a manutenção de redes de sociabilidade e negócios estabelecidas por agentes como Martin Zipperer e representantes comerciais que atuaram em diversas regiões do Brasil. A análise dessas redes revela as estratégias da empresa para consolidar sua posição no mercado, desde a primeira encomenda de cadeiras em 1921 até a presença da marca em milhares de salas de cinema e auditórios pelo país. A tese está estruturada em quatro capítulos que buscam compreender: (1) o estabelecimento das redes e das escolhas comerciais; (2) a presença das poltronas no discurso publicitário; (3) a inserção material das poltronas nas salas de exibição como parte do dispositivo cinematográfico; e (4) as imagens relacionadas às poltronas durante os festejos do IV Centenário da cidade de São Paulo. O estudo também explora como a Móveis CIMO S.A. se valeu da retórica da tradição, da modernização tecnológica e da associação com a história do cinema. Ao acompanhar os deslocamentos materiais, discursivos e simbólicos das poltronas, a pesquisa contribui para uma compreensão ampliada dos estudos de cinemas no Brasil, especificando um dos itens necessários aos espaços de exibição e suas materialidades. Nesse percurso, evidencia-se a importância das indústrias correlatas – no caso, a indústria moveleira – na constituição da experiência cinematográfica moderna, e reafirma-se o potencial heurístico de objetos cotidianos na análise histórica.

Since a majority of young low-mass stars are members of multiple systems, the study of their stellar and disk configurations is crucial to our understanding of both star and planet formation processes. Here we present near-infrared adaptive optics observations of the young multiple star system VW Cha. The previously known 0 ′′ • 7 binary is clearly resolved already in our raw J and K band images. We report the discovery of a new, faint companion to the secondary, at an apparent separation of only 0 ′′ • 1 or 16 AU. Our high-resolution photometric observations also make it possible to measure the J -K colors of each of the three components individually. We detect an infrared excess in the primary, consistent with theoretical models of a circumprimary disk. Analytical and numerical calculations of orbital stability show that VW Cha may be a stable triple system.

Neste trabalho, buscamos resgatar a trajetória do transformista Darwin nos cineteatros brasileiros nas primeiras décadas do século XX e, a partir disso, refletir sobre as relações e dinâmicas entre atrações de palco e tela. Para isso, utilizamos a pesquisa em arquivos, com consulta, principalmente, aos periódicos disponibilizados na Hemeroteca Digital da Biblioteca Nacional. Refazemos o percurso de Darwin pelos cineteatros de 1914 a 1937, investigamos seus espetáculos, compreendemos sua participação na comédia Augusto Annibal quer casar (Luiz de Barros, 1923), analisamos o seu público e escrevemos a biografia do artista. A partir disso, concluímos que o sucesso tanto dos cineteatros quanto dos espetáculos de Darwin se dava por ambos atenderem à lógica da sociedade brasileira da época, que desejava a modernidade, ao mesmo tempo em que não abandonava as tradições. O artista combinava em seus espetáculos a imitação de mulheres, a apresentação de canções modernas e a exibição de figurinos de luxo. Suas apresentações eram assistidas por homens, mulheres e crianças, tanto das classes mais altas, quanto das mais baixas, assim como por brancos e negros. Todo esse destaque o levou a participar da comédia de Barros. Por fim, ao recontarmos a história do transformista que tanto fez sucesso no início do século XX, esperamos que mais pessoas o conheçam e que mais pesquisas sejam realizadas.

In this paper we seek to recover the trajectory of the female impersonator Darwin in Brazilian movie theaters in the early decades of the 20th century and, from this, reflect on the relationships and dynamics between stage and screen attractions. To do this, we used archival research, mainly consulting the periodicals available in the National Library's Digital Library. We retraced Darwin's journey through theaters from 1914 to 1937, investigated his shows, understood his participation in the comedy Augusto Annibal quer casar (Luiz de Barros, 1923), analyzed his audience and wrote a biography of the artist. From this, we concluded that the success of both the movie theaters and Darwin's shows was due to the fact that they both responded to the logic of Brazilian society at the time, which wanted modernity while at the same time not abandoning traditions. In his shows, the artist combined the imitation of women, the presentation of modern songs and the display of luxurious costumes. His performances were attended by men, women and children from both the upper and lower classes, as well as blacks and whites. All this prominence led him to take part in Barros' comedy. Finally, by retelling the story of the female impersonator who was so successful at the beginning of the 20th century, we hope that more people will get to know him and that more research will be carried out.

parte prima iL CLaSSiCO e L'iNattUaLe 15 Spartito per immagini. Pratiche teatrali e problema della visione nel primo cinema di Max Ophuls di Chiara Tognolotti 28 Europa Fugiens. Sguardo e visione nel cinema di Max Ophuls di Adone Brandalise 38 Continuità e rotture nel melodramma di Max Ophuls. Tre donne, tre film: Sans lendemain (1939), Lettera da una sconosciuta (1948), Lola Montès (1955) di Thea Rimini 51 «Non è solamente una storia d'amore». Werther dal romanzo di Goethe al Roman di Max Ophuls di Simone Costagli parte SeCONda La fUNziONe OphULS 65 La signora di tutti da Gotta a Ophuls di Attilio Motta Il volume è stato pubblicato con il contributo del

This article maps the journey of Bengali music from the 1980s, and divides our songs from this period into three main categories, and they are named (somewhat playfully) songs of innocence, songs of transition, and songs of experience. The first phase is identified with 1980s, the second with 1990s and the third phase is identified with 2000s and 2010s.

We present the analysis of a 100 ks INTEGRAL (3-100 keV) observation of the transient X-ray pulsar V 0332+53 in outburst. The source is pulsating at P Pulse = 4.3751 ± 0.0002 s with a clear double pulse from 6 keV to 60 keV. The average flux was ∼550 mCrab between 20 keV and 60 keV. We modeled the broad band continuum from 5 keV to 100 keV with a power-law modified by an exponential cut off. We observe three cyclotron lines: the fundamental line at 24.9 +0.1 -0.1 keV, the first harmonic at 50.5 +0.1 -0.1 keV as well as the second harmonic at 71.7 +0.7 -0.8 keV, thus confirming the discovery of the harmonic lines by in RXTE data.

Observations of light scattered ("reflected") over interstellar distances-reflection nebulae, diffuse galactic light, and time-resolved light echoes-provide a geometry-encoded return signal that preserves phase, spectrum, polarization, and timing over parsec scales. We synthesize standard radiative transfer for dust scattering with Omniological Resonance Theory (ORT), the Ω-Predictive Model (ΩPM), and the Cooper Disparity Law (CDL). Empirically anchored case studies (e.g., V838 Monocerotis, SN 1987A, and η Carinae light echoes) show that returned photons carry a structured "field memory" of the medium. We formalize this as a Resonant Echo Kernel K(τ,λ) and introduce a CDL optical-disparity functional on Stokes parameters. We derive testable predictions for polarization geometry, color gradients, time-delay surfaces, and brightness laws, and outline falsifiable protocols linking astronomical scattering observables to ORT/ΩPM/ CDL parameters.

The atmospheres of chemically peculiar stars can be highly structured in both the horizontal and vertical dimensions. While most prevalent in the magnetic stars, these structures can also exist in non-magnetic stars. In addition to providing an important window to understanding the physical processes at play in these complex atmospheres, they can also be exploited to study stellar pulsations. This article reviews contributions to the session “A 3D look into the atmosphere” of the Joint Discussion “Progress in understanding the physics of Ap and related stars”. It is divided into 3 sections: “Magnetic field and surface structures”, “Pulsations in the atmospheres of roAp stars/inversions”, and “Spectral synthesis/atmospheric models”.

GHz VLA survey of 91 recently discovered lithium-rich late-type stars from the ROSAT All-Sky Survey and pointed observations is presented. These objects lie in the vicinity of the Taurus-Auriga star-forming region (d ^140 pc) ; however, some are dispersed nearly 30¡ from known active starforming cloud cores. This sample represents a spatially complete, Ñux-limited population of X-rayÈbright young stars both within and away from the primary Tau-Aur stellar nurseries. Of the 91 sources, 29 are detected in this radio survey with a sensitivity limit of D0.15 mJy. If they are at the distance of the star-forming clouds, we Ðnd that 32% of widely distributed young stars with ergs s~1 L X º 5 ] 1028 have radio luminosity densities in excess of 3.5 ] 1015 ergs s~1 Hz~1. This detection rate, the ranges of radio and X-ray luminosities, and the ratios are consistent with known young weak-lined T Tauri L R /L X stars (ages D106 yr) that reside within the Taurus molecular clouds, but they are considerably higher than a zero-age main-sequence population such as the Pleiades (age ^7 ] 107 yr). The radio properties thus support the preÈmain-sequence classiÐcation of the stars. They Ðtted well among other active young stars on the empirical versus diagram, implying that solar-type gyrosynchrotron activity is the L R L X radio emission mechanism.

We present ∼2Љ-4Љ aperture synthesis observations of the circumstellar disk surrounding the nearby young star TW Hya in the CO and lines and associated dust continuum obtained with the partially J p 2-1 J p 3-2 completed Submillimeter Array. The extent and peak flux of the 230 and 345 GHz dust emission follow closely the predictions of the irradiated accretion disk model of Calvet et al. The resolved molecular line emission extends to a radius of at least 200 AU, the full extent of the disk visible in scattered light, and shows a clear pattern of Keplerian rotation. Comparison of the images with two-dimensional Monte Carlo models constrains the disk inclination angle to . The CO emission is optically thick in both lines, and the kinetic temperature in the 7Њ ‫ע‬ 1Њ line formation region is ∼20 K. Substantial CO depletion, by an order of magnitude or more from canonical dark cloud values, is required to explain the characteristics of the line emission.

Particularly during the Cold War years, you will find that the entire Eastern side was absolutely seduced by Indian cinema. I remember the one time we all went to the former Soviet Union as part of the Indian delegation for the Moscow Film Festival. We were travelling from Moscow to St. Petersburg by overnight train. There was a special coupe in which the Czars used to travel that was brought out and attached to the train; why? Because Raj Kapoor was travelling with us. And Raj Kapoor being Raj Kapoor, he invited many of us in that coupe where the Russians had provided him with an endless supply of champagne, cognac, and fruit. Their own leaders never got the kind of treatment that Raj Kapoor received.-Shyam Benegal, veteran film director and producer 1 Raj Kapoor, as the anecdote emphasizes, was a revered star in the Soviet Union when a newly independent India was trying to establish itself as a non-aligned nation in the context of the Cold War. 2 His film Awāra (The Vagabond, 1951) was an unexpected hit that endeared Soviet viewers to Indian cinema. Concurrently, the Soviets appreciated a few other major stars such as Dev Anand and Dilip Kumar, whose films Rahi (The Wayfarer, 1952, dir. Khwaja Ahmad Abbas) and Naya Daur (The New Era, 1957, dir. B. R. Chopra) also got Soviet releases. This chapter traces the history of Indian Hindi cinema's industrial exchange and globalization, from the 1950s to the 1980s, spanning the decades of the Cold War up to the beginnings of perestroika in the Union of Soviet Socialist Republics, commonly referred
to as the Soviet Union. In recounting this history, it focuses on crucial
star nodes and their nodal power within Indian Hindi cinema’s formative
industrial structure after independence. While recounting this history of
star switching power, this chapter also situates how stars came to be Hindi
cinema’s global anchors with the most industrial power, when, during the late
1940s and early 1950s, the studio system that existed under British rule broke
down. Indian Hindi cinema’s post-independence industrial structure, we will
see, was marked by significant transformations. The studios were replaced
by a new structural formation wherein small independent film clusters
dominated the production landscape. As the industry adapted to national
and international developments after independence, a few megastars emerged as critical instigators of changes in the industry business and products that mobilized Hindi cinema to traverse global boundaries.

This paper critically examines Tiger Nageswara Rao (2023), a Telugu-language biographical action film directed by Vamsi Krishna Naidu, as a cinematic portrayal of subaltern resistance and social justice in 1970s India. Set in Stuartpuram—a village historically stigmatized for its association with criminality—the film recounts the life of Nageswara Rao, a bandit-turned-hero whose Robin Hood-like actions blur the boundaries between legality and morality. Through an analysis of the protagonist’s transformation and the socio-political context that shapes his trajectory, the study explores how the film narrativizes themes of poverty, caste-based exclusion, and systemic injustice. The paper argues that the film functions not merely as entertainment but as a politically charged cultural text that reflects and critiques the lived realities of marginalised communities in postcolonial India. Drawing on frameworks from subaltern studies, film theory, and political ethics, the study positions Nageswara Rao as a symbolic agent of grassroots justice, whose defiance of institutional authority foregrounds the moral dilemmas inherent in social reform. Ultimately, this paper contributes to the broader discourse on regional cinema’s role in articulating resistance, reimagining heroism, and fostering narratives of dignity and empowerment for the historically oppressed.

Abstract. We present pulse phase-resolved X-ray spectra of the high mass X-ray binary Vela X-1 using the Rossi X-ray Timing Explorer. We observed Vela X-1 in 1998 and 2000 with a total observation time of ∼90 ksec. We find an absorption feature at 23.3 +1.3 −0.6 keV in the main pulse, that we interpret as the fundamental cyclotron resonant scattering feature (CRSF). The feature is deepest in the rise of the main pulse where it has a width of 7.6 +4.4 −2.2 keV and an optical depth of 0.33+0.06 −0.13. This CRSF is also clearly detected in the secondary pulse, but it is far less significant or undetected during the pulse minima. We conclude that the well known CRSF at 50.9 +0.6 −0.7 keV, which is clearly visible even in phase-averaged spectra, is the first harmonic and not the fundamental. Thus we infer a magnetic field strength of B = 2.6 × 10 12 G.

The wind-accreting X-ray binary pulsar and cyclotron line source Vela X-1 has been observed extensively during INTEGRAL Core Program observations of the Vela region in June-July and November-December 2003. In the latter set of observations the source showed intense flaring -see also , these proceedings. We present early results on time averaged and time resolved spectra, of both epochs of observations. A cyclotron line feature at ∼53 keV is clearly detected in the INTEGRAL spectra and its broad shape is resolved in SPI spectra. The remaining issues in the calibration of the instruments do not allow to resolve the question of the disputed line feature at 20-25 keV. During the first main flare the average luminosity increases by a factor of ∼10, but the spectral shape remains very similar, except for a moderate softening.

We present pulse phase resolved spectra of the hypergiant high mass X-ray binary GX 301-2. We observed the source in 2001 October with RXTE continuously for a total on-source time of almost 200 ks. We model the continuum with both, a heavily absorbed partial covering model and a reflection model. In either case we find that the well known cyclotron resonant scattering feature (CRSF) at ∼35 keV is -although present at all pulse phases -strongly variable over the pulse: the line position varies by 25% from 30 keV in the fall of the secondary pulse to 38 keV in the fall of the main pulse where it is deepest. The line variability implies that we are seeing regions of magnetic field strength varying between 3.4 × 10 12 G and 4.2 × 10 12 G.

The study of the physical processes in the region just above the magnetic poles of strongly magnetic accreting neutron stars is essential to the understanding of stellar and binary system evolution, as well as that of the origin and evolution of neutron star magnetic fields. Recent advances in modeling these processes have resulted in direct measurement of the magnetic fields and plasma parameters in physical units as opposed to empirical ones. Understanding the behavior of matter under extreme physical conditions is one of the outstanding themes in high energy astrophysics investigations. The atmospheres at the magnetic poles of compact, rapidly rotating neutron stars accreting material from a stellar companion provide extremes of temperature, density, gravity, and magnetic field unobtainable in the terrestrial environment. Neutron stars are the compact remnants of the stellar evolution of stars with masses 8 M , where M is the mass of our Sun. With masses of ∼1.4 M , radii of ∼10 km, only slightly above their Schwarzschild radius, and corresponding densities comparable to the nuclear density, ρ 10 14 g cm -3 , they are the most compact "normal" objects in the universe. The origin of the magnetic field of neutron stars is one of the big mysteries of modern astrophysics. As summarized, e.g., by , current theories posit that the magnetic fields are the remnant of the magnetic field of the progenitor star, which was created by a dynamo process in the center of the star. Conservation of magnetic flux, Φ B ∝ BR 2 , during the core collapse of the progenitor then amplifies the magnetic field, resulting in estimated neutron star magnetic fields on the order of 10 11 -10 15 G. Magnetic fields are of fundamental importance for the behavior and evolution of neutron stars in X-ray binary systems. In these systems, matter from a normal star accretes onto the neutron star. Due to its angular momentum, a disk forms in which the material falls on quasi-Keplerian orbits towards the neutron star, getting heated up to temperatures such that the peak of the emission is in the UV and soft X-ray bands . The behavior at the inner edge of this accretion disk depends on the neutron star's magnetic field: 1. If the neutron star has a strong magnetic field, the accreted plasma couples onto the magnetic field at a significant distance away from the neutron star (several 100 neutron star radii) and then falls along the B-

In the annals of cinema history, certain names have long been relegated to the periphery, overshadowed by their male counterparts. Among these is Alice Guy, a trailblazer in silent cinema whose innovative work was once dismissed or forgotten. This paper investigates the transformative impact of feminist rediscovery on early female filmmakers, with a special focus on Guy, whose pioneering contributions are now being reevaluated through contemporary feminist lenses.
The theme of transformation is central to understanding this reappraisal. Feminist scholars and activists from the 1970s, and those continuing today, have initiated a profound shift in how we perceive the contributions of early women in film. Their work reveals not only the historical oversight of these filmmakers but also how their rediscovery challenges prevailing narratives about gender and creativity.
This exploration goes beyond mere historical correction; it confronts the very frameworks through which we understand artistic achievement and gendered innovation. By reevaluating early female filmmakers, we are not simply revisiting their past contributions but actively transforming our present understanding of cinematic history and gender dynamics. This process of reappraisal exposes the ideological barriers that once obscured these pioneering women and highlights how feminist scholarship continues to reshape the cultural and historical landscape of early cinema.
Through this lens, the paper will examine the dual process of rediscovery and transformation, exploring how feminist critique has redefined the significance of early female filmmakers and what this means for ongoing discussions about representation and equality in the arts. This provocative reexamination challenges us to reconsider the narratives of the past and their implications for our understanding of creativity and gender today.

This chapter examines the hitherto-neglected socio-political underpinnings that shaped the rise of cinema stars in mid-century Iranian popular cinema amid post-war and post-1953 coup anxieties. In their articles and film reviews published in film magazines, Iranian cultural trendsetters countered the dominant Hollywood trend of commodifying film stars for their glamour and sex appeal. Instead, reflecting the left-leaning proclivities of the time, they celebrated Iranian stars for their social engagement, artistic integrity, modesty, education, and humanitarianism, qualities that grounded them as cosmopolitan-Iranian artists. Expressing Marxist views, these critics rejected the capitalist commodification of stardom and the logic of capital in filmmaking, envisioning a more humanist and politically engaged cinematic culture. The imagination of an alternative stardom (and hence cinema) continued to shape Iranian cinema in the decades that followed.

This is an anthology of four critical essays on four regional cinemas of South India: Kannada, Tamil, Malayalam and Telugu. The authors of the essays are MK Raghavendra (also the editor) on Kannada cinema, N Kalyan Raman on Tamil Cinema, Meena T Pillai on Malayalam Cinema and E Sathya Prakash on Telugu Cinema. The introduction by MK Raghavendra makes a comparison of South Indian Cinema with Hindi cinema from Mumbai.

Lauréat de nombreux prix dont celui du meilleur documentaire décerné par l’African Movie Academy Awards de Lagos, “L’arbre sans fruit” est un long-métrage écrit et réalisé en 2016 par Aïcha Macky, jeune réalisatrice nigérienne qui, par ce premier film, laisse entrevoir une belle carrière. Ce film met en lumière les difficultés du quotidien de femme mariée et sans enfant, une situation commune à celle de nombreuses femmes mais qui est très mal acceptée dans un Niger contemporain empreint de gouvernance morale par les hommes et par la religion.

Les présidents du Mont Rushmore Vient de paraître dans la Revue Considérant Les présidents du Mont Rushmore, Les « élus » de l'Amérique https://classiques-garnier.com/considerant-2020-revue-du-droit-imagine-n-2-varia.html en voici les premières lignes « J'ai toujours voulu faire une séquence de poursuite sur les visages des présidents du Mont Rushmore », propos d'Alfred Hitchcock, rapporté par le scénariste de La Mort aux trousses, Ernest Lehman[1]. La scène est célèbre. À la fin de La Mort aux trousses (North by Northwest en version originale), Roger Thornhill (Cary Grant) et Eve Kendall (Eva Marie-Saint) courent au milieu des têtes des présidents américains, sculptées sur le Mont Rushmore, pour échapper à des espions. Le but d'Hitchcock était de montrer la victoire de la démocratie sur l'autel de la démocratie… car telle serait la signification de ce monument. Situé dans le Dakota du Sud, l'endroit en question est aujourd'hui un parc national qui accueille plus de 2 millions de visiteurs par an[2]. À l'origine du projet, en 1923, on trouve un historien natif de cet État, Doane Robinson, qui espère créer un lieu touristique propre à développer économiquement la région. Avant de commencer les travaux, il faut résoudre deux questions : d'une part, obtenir les autorisations nécessaires au niveau fédéral et au niveau fédéré, d'autre part, trouver les moyens de financer le projet. En 1925, l'aspect administratif est résolu. Deux ans plus tard, un budget ayant été réuni, les travaux peuvent commencer. Le projet initial prévoyait quatre sculptures monumentales représentant des portraits des présidents en pied. Le coût global étant trop important, Gutzon Borglum[3], le sculpteur, se résout à ne réaliser que des visages. Le premier livré est celui de George Washington, le 4 juillet 1930. Les trois autres sont inaugurés par le président Franklin Delano Roosevelt, le 30 août 1936 pour Thomas Jefferson, le 17 septembre 1937 pour Abraham Lincoln et le 2 juillet 1939 pour Theodore Roosevelt. Borglum meurt le 6 mars 1941, à Chicago, laissant son fils Lincoln terminer les derniers détails. Au-delà des difficultés du travail lui-même, on peut relever plusieurs modifications significatives en ce qui concerne l'encadrement et l'organisation du monument. En 1933, Roosevelt rattache le Mont Rushmore au service des parcs nationaux, entraînant de fait la nomination d'un ingénieur, Julian Spotts, pour superviser les travaux. En retour, Borglum réussit à faire nommer une nouvelle commission avec la même compétence, en 1938, dans la perspective de retrouver une totale liberté dans la réalisation. Son but est de compléter les visages en ajoutant derrière le monument une vaste salle ouverte au public pour accueillir les grands documents de l'histoire américaine. La réaction hostile du congrès face à des dépenses supplémentaires met un terme à ce projet. Un autre aspect a été abandonné pour des raisons identiques, une sculpture qui devait comporter une liste de dates en lien avec les transformations géographiques de l'union. Finalement, le monument comporte seulement les visages de quatre présidents, de gauche à droite : Jefferson, Washington, Roosevelt et Lincoln. Tous les quatre ont été élus pour occuper la fonction présidentielle. Au-delà de son aspect touristique, cette immense réalisation constitue un véritable symbole aux États-Unis. Elle a été conçue pour célébrer quatre individus qui, dans l'imaginaire du pays, s'inscrivent dans une histoire commune en grande partie mythifiée. Les sculptures du Mont Rushmore nous fournissent l'occasion idéale d'explorer l'idée d'élus aux États-Unis, non seulement au regard de l'histoire personnelle des individus et de leur contribution à la construction des États-Unis (I), mais aussi en raison de la force symbolique qu'ils représentent, en véhiculant une certaine image de ce pays (II).

A día de hoy, la primera adaptación cinematográfica de la novela de Armando Palacio Valdés "La hermana San Sulpicio" realzada por Florián Rey en 1927, se encuentra perdida casi en su totalidad. En el momento de realizar la película, Palacio Valdés, miembro de la generación de escritores realistas con la que se cierra el siglo XIX, [...] es el autor de grandes éxitos editoriales como "La hermana San Sulpicio", que vive desde su publicación en 1889 constantes reediciones de gran tirada y mantiene plenamente su vitalidad editorial en 1927. Así las cosas, no es de extrañar que fueran varios los intentos para llevar la obra a la pantalla. Pero todos se habían estrellado contra el muro de Palacio Valdés, quien opinaba que el cine es "un poderoso auxiliar de la literatura", el cual, "hasta ahora, desgraciadamente, más ha servido para el mal que para el bien; escuela de ladrones y asesinos, academia de liviandades"...

We present optical and infrared observations of CVSO 224, the sole transitional disk located within the ˜ 10 Myr year old 25 Orionis group of Orion OB1a. The Spitzer IRS spectrum reveals an optically thick disk truncated at ˜ 7 AU, with an inner region filled with optically thin dust, reminiscent of the structure of the only other ˜ 10 Myr year old transitional disk studied in detail, namely, TW Hya. As in TW Hya, the grains in this region have grown to mum sizes, significantly larger than in the inner regions of the transitional disks in Taurus. The H alpha profile in our high resolution HECTOCHELLE spectrum of CVSO 224 reveals broad wings, indicative of magnetospheric accretion, despite the previous classification of WTTS for this object. The derived mass accretion rate is about 10 times lower than in TW Hya, but consistent with expected decay of mass accretion rate with age.

In 1954, Dorothy Dandridge’s career and stardom were approaching their peak: after many years playing small roles on screen and performing on the nightclub circuit she was cast as the lead in Otto Preminger’s all-black musical Carmen Jones, a role that won her an Academy Award nomination. Despite this, Dandridge was ignored by the American fan magazines. Though major mainstream publications like Life, Cosmopolitan, Esquire and Look ran features on her, the top movie magazines such as Photoplay, Modern Screen and Motion Picture downplayed her significance, denying her stardom. This chapter examines one issue of Photoplay from February 1955, which amongst the usual content has a one-page sponsored feature in black and white about Carmen Jones. Using a detailed analysis of the content of this issue, the chapter outlines the way that the American fan magazines of the mid-1950s, in an effort to maintain the status quo, screened their mostly female audience from any political issues, which by the very nature of her race Dandridge epitomised. The result of this invisibility for Dandridge was that the progress of her career was impeded and short-lived.

Mani Ratnam considerably has a wide range of work in his career span of over four decades. He has worked in five languages, including Hindi. In Indian cinema, his work is acclaimed critically, in the context of his mark, symbolism, narrative, themes, and other structures. Whereas, Auteurship is related to the individuality mark of a filmmaker in his oeuvre. The Auteur theory of film criticism was propounded by film critic and theorist Andrew Sarris in the early 60s. This theory describes three premises that include Personal style, Interior meaning, and technical competence of a director. These dimensions can arguably assert the status of a director as an Auteur. In the study, the researchers attempt to explore Mani Ratnam's work within these three premises of auteur theory. While employing the case study method and narrative analysis approach, researchers have found the various signs and symbols of Mani Ratnam under every premise of the Auteur theory.

A perspective is the way someone sees and regards something. It is a tool used to position a person’s outlook on various situations and topics. As a result, many schools of thought concerning all ranges of issues exist. The way people see things and events creates their particular attitude towards them. In this paper, references from M Madhav Prasad’s essay, “Fan Bhakti and Subaltern Sovereignty: Enthusiasm as a Political Factor,” and Derrick Jensen’s “Silencing” are used to show how seeing differently creates a plethora of different meanings and how the knowledge of mutual consensus is harnessed. Everyone views the world through a subjective lens effectively reaffirming a belief or forming an opinion about an issue. Having an outlook lets people deduce information and appreciate different perspectives. Seeing assists meaning by taking into cognizance the inputs from our environment, resulting in actions that have consequences.

Human trafficking and sex work in India are often represented in films and media through narratives shaped by structural inequalities, including poverty, weak legal enforcement, and patriarchal social systems. These representations intersect with broader issues of race, gender, and power, reflecting or disrupting prevailing social and political narratives. The study investigates the role of visual media in shaping public perceptions of human trafficking and explores how these depictions influence both societal attitudes and policy responses. It also examines the socio-cultural factors contributing to these portrayals, with particular attention to how the media either reinforces harmful structures or creates spaces for critical reflection and advocacy for change. This paper examines pivotal Indian films which depict the socioeconomic and psychological struggles of sex workers and trafficked individuals. The theoretical framework is grounded in feminist theory, postcolonial theory, and media studies. These interdisciplinary perspectives offer a nuanced understanding of how race, gender, and class intersect in the portrayal of human trafficking and sex work. One of the primary research objectives is to analyze how Indian films depict the relationship between patriarchy and prostitution, particularly in representations of sex workers as victims of poverty, familial pressure, and patriarchal control. A further objective is to investigate the portrayal of social stakeholders in contemporary media, particularly those involved in combatting human trafficking. This aspect of the research employs network analysis to map the relationships between traffickers, victims, law enforcement agencies, non-governmental organizations (NGOs), and international organizations as depicted in films. Through an integrated methodology of case studies, content analysis, and network analysis, the research seeks to provide a comprehensive analysis of how media representations shape public perceptions and policy responses to trafficking. Ultimately, the research aims to contribute to ongoing debates about the role of visual culture in combating human trafficking and promoting social justice.

Networked Bollywood provides an interdisciplinary analysis of the role of the stars in the transformation of Hindi cinema into a global entertainment industry. The first Indian film was made in 1913. However, filmmaking was recognized as an industry almost a hundred years later. Yet, Indian films have been circulating globally since their inception. This book unearths this oft-elided history of Bollywood's globalization through multilingual, transnational research and discursive cultural analysis. The author illustrates how over the decades, a handful of primarily male megastars, as the heads of the industry's most prominent productions and corporations, combined overwhelming charismatic affect with unparalleled business influence. Through their “star switching power,” theorized here as a deeply gendered phenomenon and manifesting broader social inequalities, India's most prominent stars instigated new flows of cinema, industrial collaborations, structured distinctive business models, influenced state policy and diplomatic exchange, thereby defining the future of Bollywood's globalization.

Chandra and VLA observations of the symbiotic star R Aqr in 2004 reveal significant changes over the three to four year interval between these observations and previous observations taken in with the VLA in 1999 and with Chandra in 2000. This paper reports on the evolution of the outer thermal X-ray lobe-jets and radio jets. The emission from the outer X-ray lobe-jets lies farther away from the central binary than the outer radio jets, and comes from material interpreted as being shock heated to ≃ 10 6 K, a likely result of collision between high speed material ejected from the central binary and regions of enhanced gas density. Between 2000 and 2004, the Northeast (NE) outer X-ray lobe-jet moved out away from the central binary, with an apparent projected motion of ≃ 580 km s -1 . The Southwest (SW) outer X-ray lobe-jet almost disappeared between 2000 and 2004, presumably due to adiabatic expansion and cooling. The NE radio bright spot also moved away from the central binary between 2000 and 2004, but with a smaller apparent velocity than of the NE X-ray bright spot. The SW outer lobe-jet was not detected in the radio in either 1999 or 2004. The density and mass of the X-ray emitting material is estimated.Cooling times, shock speeds, pressure and confinement are discussed.

Bu çalışmada, Sovyet tipi ekonominin ana özelliklerine değinilmiş ve Sovyetler Birliği'nin son dönemindeki M. Gorbaçov'un reformları ele alınmıştır. Sovyet sonrası kurulan Rusya Federasyonu'nun ekonomisi ve dış ticareti hakkında genel bilgiler verilmiş ve piyasa ekonomisine geçiş reformlarına ve özelleştirme sürecine değinilmiştir. Ayrıca Rusya pazarının Türkiye açısından büyük potansiyel oluşturduğu bulgularına ulaşılmış ve rekabetten ziyade stratejik işbirliğinin esas olduğu kanısına varılmıştır. Sonuç kısmında her iki ülkenin bulunduğu bölgede güçlü ve birbirlerini tamamlayan ekonomilere sahip oldukları belirtilmiştir.

This review offers an analysis of the Turkish television series Adsız Aşıklar (Lovers Anonymous, 2025), focusing on its portrayal of romantic love. The series represents complex relationships of love and explores the emotional journeys of the characters, highlighting themes of resilience, growth, and understanding. 
The analysis examines how the main characters experience and are affected by the complexities of love, detailing their struggles and development.  Finally, the review considers the series' exploration of the possibility of recovery within the framework presented, and assesses its success in engaging viewers while prompting reflection.

Context. It is debated whether the Milky Way bulge has characteristics more similar to those of a classical bulge than those of a pseudobulge. Detailed abundance studies of bulge stars are important when investigating the origin, history, and classification of the bulge. These studies provide constraints on the star-formation history, initial mass function, and differences between stellar populations. Not many similar studies have been completed because of the large distance and high variable visual extinction along the line-of-sight towards the bulge. Therefore, near-IR investigations can provide superior results. Aims. To investigate the origin of the bulge and study its chemical abundances determined from near-IR spectra for bulge giants that have already been investigated with optical spectra. The optical spectra also provide the stellar parameters that are very important to the present study. In particular, the important CNO elements are determined more accurately in the near-IR. Oxygen and other α elements are important for investigating the star-formation history. The C and N abundances are important for determining the evolutionary stage of the giants and the origin of C in the bulge. Methods. High-resolution, near-infrared spectra in the H band were recorded using the CRIRES spectrometer mounted on the Very Large Telescope. The CNO abundances are determined from the numerous molecular lines in the wavelength range observed. Abundances of the α elements Si, S, and Ti are also determined from the near-IR spectra. Results. The abundance ratios [O/Fe], [Si/Fe], and [S/Fe] are enhanced to metallicities of at least [Fe/H] = -0.3, after which they decline. This suggests that the Milky Way bulge experienced a rapid and early burst of star formation similar to that of a classical bulge. However, a similarity between the bulge trend and the trend of the local thick disk seems to be present. This similarity suggests that the bulge could have had a pseudobulge origin. The C and N abundances suggest that our giants are first-ascent red-giants or clump stars, and that the measured oxygen abundances are those with which the stars were born. Our [C/Fe] trend does not show any increase with [Fe/H], which is expected if W-R stars contributed substantially to the C abundances. No "cosmic scatter" can be traced around our observed abundance trends: the measured scatter is expected, given the observational uncertainties.

Vega, Sirius, β Leo, α Car and α Cen A belong to a sample of twenty stellar sources used for the calibration of the detectors of the Short-Wavelength Spectrometer on board the Infrared Space Observatory (ISO-SWS). While general problems with the calibration and with the theoretical modelling of these stars are reported in , each of these stars is discussed individually in this paper. As demonstrated in , it is not possible to deduce the effective temperature, the gravity and the chemical composition from the ISO-SWS spectra of these stars. But since ISO-SWS is absolutely calibrated, the angular diameter (θ d ) of these stellar sources can be deduced from their ISO-SWS spectra, which consequently yields the stellar radius (R), the gravity-inferred mass (M g ) and the luminosity (L) for these stars. For Vega, we obtained θ d

We present infrared interferometric imaging of the S-type Mira star χ Cygni. The object was observed at four different epochs in 2005-2006 with the IOTA optical interferometer (H band). Images show up to 40% variation in the stellar diameter, as well as significant changes in the limb darkening and stellar inhomogeneities. Model fitting gave precise time-dependent values of the stellar diameter, and reveals presence and displacement of a warm molecular layer. The star radius, corrected for limb darkening, has a mean value of 12.1 mas and shows a 5.1 mas amplitude pulsation. Minimum diameter was observed at phase 0.94 ± 0.01. Maximum temperature was observed several days later at phase 1.02 ± 0.02. We also show that combining the angular acceleration of the molecular layer with CO (∆v = 3) radial velocity measurements yields a 5.9 ± 1.5 mas parallax. The constant acceleration of the CO molecules -during 80% of the pulsation cycle -lead us to argument for a free-falling layer. The acceleration is compatible with a gravitational field produced by a 2.1 +1.5 -0.7 solar mass star. This last value is in agreement with fundamental mode pulsator models. We foresee increased development of techniques consisting in combining radial velocity with interferometric angular measurements, ultimately

Aims. We undertook an H band interferometric examination of Arcturus, a star frequently used as a spatial and spectral calibrator. Methods. Using the IOTA 3 telescope interferometer, we performed spectro-interferometric observations (R ≈ 35) of Arcturus. Atmospheric models and prescriptions were fitted to the data to derive the brightness distribution of the photosphere. Image reconstruction was performed using two software algorithms: Wisard and Mira. Results. An achromatic power law proved to be a good model of the brightness distribution, with a limb darkening compatible with the one derived from atmospheric model simulations using our marcs model. A Rosseland diameter of 21.05 ± 0.21 was derived, corresponding to an effective temperature of T eff = 4295 ± 26 K. No companion was detected from the closure phases, with an upper limit on the brightness ratio of 8 × 10 -4 at 1 AU. The dynamic range at such distance from the photosphere was established as 1.5 × 10 -4 (1σ rms). An upper limit of 1.7 × 10 -3 was also derived for the level of brightness asymmetries present in the photosphere.

Aims. This paper reports on H-band interferometric observations of Betelgeuse made at the three-telescope interferometer IOTA. We image Betelgeuse and its asymmetries to understand the spatial variation of the photosphere, including its diameter, limb darkening, effective temperature, surrounding brightness, and bright (or dark) star spots. Methods. We used different theoretical simulations of the photosphere and dusty environment to model the visibility data. We made images with parametric modeling and two image reconstruction algorithms: MIRA and WISARD. Results. We measure an average limb-darkened diameter of 44.28 ± 0.15 mas with linear and quadratic models and a Rosseland diameter of 45.03 ± 0.12 mas with a MARCS model. These measurements lead us to derive an updated effective temperature of 3600 ± 66 K. We detect a fully-resolved environment to which the silicate dust shell is likely to contribute. By using two imaging reconstruction algorithms, we unveiled two bright spots on the surface of Betelgeuse. One spot has a diameter of about 11 mas and accounts for about 8.5% of the total flux. The second one is unresolved (diameter < 9 mas) with 4.5% of the total flux. Conclusions. Resolved images of Betelgeuse in the H band are asymmetric at the level of a few percent. The MOLsphere is not detected in this wavelength range. The amount of measured limb-darkening is in good agreement with model predictions. The two spots imaged at the surface of the star are potential signatures of convective cells.