Composing for the Red Screen

In contrast to most anatomic radiographic imaging techniques, nuclear medicine permits real time, non-invasive imaging of human physiology and pathophysiology and also allows for exquisite targeting of disease with therapeutic radiology. To open this window to the processes of human disease, one must first understand the physical processes behind radioactive decay and emission, as well the principles of radiation detection. Practical Nuclear Medicine Physics providesresidents and practitioners in nuclear medicine and radiology a readable explanation of the physics concepts underpinning nuclear imaging and how they impact the utilization and interpretation of those images. Following a brief introductory section, the book provides numerous case examples,illustrating various imaging artifacts and pitfalls that can be recognized and remedied with a solid understanding of the physics behind the procedure. Understanding and applying the physics behind nuclear medicine is essential to maximizing not only diagnostic and therapeutic accuracy for providing optimal patient care, but "Practical Physics" is a required portion of radiology residency education and a designated area of the board exams.Sound film captivated Sergey Prokofiev during the final two decades of his life: he considered composing for nearly two dozen pictures, eventually undertaking eight of them, all Soviet productions. Hollywood luminaries such as Gloria Swanson tempted him with commissions, and arguably more people heard his film music than his efforts in all other genres combined. Films for which Prokofiev composed, in particular those of Sergey Eisenstein, are now classics of worldcinema. Drawing on newly available sources, Composing for the Red Screen examines - for the first time - the full extent of this prodigious cinematic career. Author Kevin Bartig examines how Prokofiev's film music derived from a self-imposed challenge: to compose "serious" music for a broad audience. The picture that emerges is of a composer seeking an individual film-music voice, shunning Hollywood models and objecting to his Soviet colleagues' ideologically expedient film songs. Looking at Prokofiev's film music as a whole - with well-known blockbusters like Alexander Nevsky considered alongside more obscure or aborted projects - revealsthat there were multiple solutions to the challenge, each with varying degrees of success. Prokofiev carefully balanced his own populist agenda, the perceived aesthetic demands of the films themselves, and, later on, Soviet bureaucratic demands for accessibility.