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A chegada da televisão foi o elemento desencadeador de uma das maiores crises “existenciais” que o cinema conheceu – uma crise que mal chega ao fim agora que a supremacia do “videocinema” (definido como o fenômeno que reúne tudo os resultantes desse cinema que se oferece fora dos quadros clássicos delimitados pela projeção) é atestado pela dominação exercida pelo digital sobre o conjunto dos meios audiovisuais. Depois de ter associado esse “videocinema” a um possível “terceiro nascimento” do cinema e evocado as reflexões abordando o “telecinema” nos anos 1940-1950, os autores deste artigo propõem erigir o belinógrafo (que foi um dos primeiros aparelhos a permitir a transmissão de fotografias à distância de modo simples e rápido) como referência emblemática para apreender – no quadro, notadamente, de uma “arqueologia da imagem decomposta” – a televisão, o videógrafo e, mais amplamente, a imagem digital.

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L’article se propose d’accorder une attention specifique aux regimes scenographiques, narratologiques et mediatiques de mise en visibilite des corps dans l’expression des coleres citoyennes. Il s’appuie sur l’analyse comparative de deux mouvements politiques contestataires : d’une part, celui des Gilets jaunes, d’autre part, celui des partisans de Donald Trump dans le contexte post-electoral du scrutin presidentiel de 2020. La proposition des auteurs se concentre plus specifique­ment sur l’analyse de deux debordements « coleriques » abondamment commentes dans les medias : d’une part, la degradation de l’Arc de Triomphe le 1er decembre 2018 lors d’une manifestation des Gilets jaunes, d’autre part, l’assaut lance sur le Capitole par des partisans de Donald Trump le 6 janvier 2021. Attentif au potentiel narratogenique de ces coleres collectives et spectaculaires, l’article entend montrer comment les performances corporelles des manifestants contribuent a la reconfiguration symbolique et politique des espaces investis.

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Fig 1 Gravure provenant du journal “The Illustrated London News" 25 décembre 1858, p. 27. Souvent considérée à tort comme un simple précurseur du cinéma, la lanterne magique a constitué un média de masse très populaire, principalement en Europe et aux Etats-Unis. Alors que la lanterne est connue depuis le XVIIème siècle, son usage se développe dès le XVIIIème siècle lorsqu’elle cesse d’être employée uniquement par les colporteurs. Toutefois, c’est véritablement au XIXème siècle que la produ...

X-ray emission spectroscopy in a point-to-point focusing geometry using instruments that employ more than one analyzer crystal poses challenges with respect to mechanical design and performance. This work discusses various options for positioning the components and provides the formulas for calculating their relative placement. Ray-tracing calculations were used to determine the geometrical contributions to the energy broadening including the source volume as given by the beam footprint on the sample. The alignment of the instrument is described and examples are given for the performance.

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L’arrivée de la télévision a été l’élément déclencheur d’une des plus grandes crises « existentielles » qu’ait connues le cinéma – une crise qui se termine à peine maintenant que la suprématie du « vidéocinéma » (défini comme le phénomène qui réunit tout ce qui relève de ce cinéma qui s’offre en dehors des cadres classiques délimités par la projection) est assurée par la domination qu’exerce le numérique sur l’ensemble des médias audiovisuels. Après avoir associé ce « vidéocinéma » à une possible « troisième naissance » du cinéma et évoqué les réflexions entourant le « télécinéma » dans les années 1940-1950, les auteurs de cet article proposent d’ériger le bélinographe (qui fut l’un des premiers appareils à permettre la transmission de photographies à distance de façon simple et rapide) en point de repère emblématique pour appréhender – dans le cadre, notamment, d’une « archéologie de l’image décomposée » – la télévision, la vidéographie et, plus largement, l’image numérique., The arrival of television is the event which set in motion one of the greatest “existential” crises the cinema has known—a crisis which is barely coming to an end now that the supremacy of “videocinema” (defined as a phenomenon which brings together everything pertaining to this cinema, located outside the classical framework delineated by projection) is ensured by the domination of the digital over all audiovisual media. The authors of this article, after having associated this “videocinema” with a possible “third birth” of cinema, with reference to debate around the “telecinema” of the 1940s and 50s, propose to raise up the bélinographe (one of the earliest devices for transmitting photographs across distances in a fast and simple manner) as an emblematic benchmark for understanding television, videography and, more broadly, the digital image as part of an “archaeology of the deconstructed image.”

This essay begins by considering the tension that exists between special effects and “trucages.” Indeed, while the latter seeks concealment and integration, the former are far more exhibitionist in openly revealing themselves. This distinction then leads the author to reflect on a type of special effect that has now become commonplace, namely motion/ performance capture imagery. Using the example of The Adventures of Tintin (Spielberg, 2011), he shows how this effect maintains a constant “photorealist pressurization,” all the while managing to emancipate itself from the photographic nature of camera-produced images. Next, images produced by motion capture are compared with those created with the use of GoPro cameras, as both stand together in our digital age as means to exercise mastery (as “capture”) over some exhaustively recordable reality.

Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.

Objective/Background: Breast cancer patients display high rates of insomnia and chemotherapy treatments appear to contribute significantly to the development of sleep disturbances among this popula...

O conceito de intervalo, à medida que existe apenas negativamente, através de uma ausência, torna possível explorar a genealogia da mídia e a intermidialidade a partir de uma nova perspectiva, e mais particularmente, no presente caso, examinar nosso entendimento do cinema com respeito aos muitos e mutantes modos como ele ocupa seu espaço no ambiente de mídia. Para isso, o presente artigo propõe examinar o conceito de intervalo da perspectiva do conceito de séries culturais. A instituição, como um agente para definir a identidade de cada mídia, e como fiadora do “RG” da mídia, frequentemente age como um administrador dos intervalos de identidade que separam e distinguem as mídias. Nesse sentido, a sala de cinema, no entender de alguns, fornece o intervalo de identidade decisivo para distinguir o cinema de outras formas de imagens em movimento. De nossa parte, argumentamos em favor de uma leitura serial que clama para que os aspectos fixos desses intervalos institucionalizados separando as mídias sejam transcendidos e para que a categoria dos intervalos de mídia sejam revisados e reorganizados – não hesitando, no processo, em reinterpreta-los ou modificá-los ou criar novos para as necessidades da pesquisa.

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A novel fast and automatic methodology for the hierarchical classification and similarity matching of mid-infrared spectra of paint samples based on the principles of Soft Independent Modelling of Class Analogy (SIMCA) and on the definition and properties of the Mahalanobis distance is here proposed. This approach was tested in a so-called market study (i.e., targeting products largely accessible to the general public and conceived for a considerably wide range of usages) conducted across the surroundings of the city of Lille, in France, and has permitted not only to successfully achieve the chemical characterisation of most of the analysed samples but also to discover specific commonality patterns among specimens sharing the same chemical features.

International audience; This publication investigates indirect in-situ bioleaching as an alternative mining technology for minimizing waste production, environmental impact, and chemical consumption. The process consists in injecting a leaching solution into a targeted ore body for dissolving base metal bearing minerals, while iron-oxidizing microorganisms regenerate the solution. In this contribution, we present laboratory column experiments that investigate the impact of grain size on the action of an acidic oxidizing solution in contact with ore samples crushed at different grain sizes. These results are used for developing a one-dimensional reactive transport model based on PhreeqC software. In this model, porous and fractured media are approached by a dual porosity reactive transport model where dissolution reactions are described by kinetics. Column experiments are used as a reference for calibrating the key parameters of the numerical models, which include the relative volume of mobile and immobile zones within the dual porosity medium and the exchange rate between these two volumes. This model is then adapted to in-situ conditions by considering the preferential flow of fluids through natural or artificial fractures of enhanced hydraulic conductivity. These models are used to discuss key elements affecting the feasibility of coupling bioleaching and in-situ recovery for improving the sustainability of mining, especially for deep and complex ore deposits.

The mining industry needs effective techniques to meet the future challenges of resources extraction. As the deposits become more and more complex, a very good knowledge of an orebody is necessary. Mineralogical characterization is an essential contribution to improve the knowledge on the ore and wastes for a given mining project. It could bring major advances in ore extraction, mineral processing, and integrated waste management. However, mineralogical analyses can be very tedious, when done manually. Consequently, automated mineralogy was developed during the last three decades to improve the rapidity of mineralogical characterization, so that mineralogical information can be routinely obtained. Nowadays, the systems commonly used are based on expensive equipment including scanning electron microscopes (SEM) with energy dispersive X-ray analyzers (EDX). Optical Microscopy (OM) is neglected, although this route can provide reliable and quick results, yet cheaper. In this study, the possibility of using optical microscopy in reflected light mode to automatically characterize opaque minerals is explored. The identification and quantification of six common sulfides from polymetallic ores (arsenopyrite, chalcopyrite, galena, pyrite, pyrrhotite, and sphalerite) were automatically accomplished on a polished section by optical microscopy. Six spectral images were acquired for multispectral image analysis. Five of them were acquired under a white light source, equipped with four different excitation filters (436 nm, 480 nm, 605 nm, and 650 nm). The sixth image was acquired under an UV-light source at 365 nm, after modifying the optical pathway to detect the reflectance of the minerals in the UV-spectrum without changing the acquiring camera. Two image analysis software solutions were then tested to automatically classify and quantify the six sulfide minerals. The classification was systematically done on the acquired multispectral images by grey thresholding with the Clemex Vision PE® software. The GOCAD® software used principal component analysis (PCA) analysis and a supervised K-means clustering method to classify the minerals. Then, the obtained results were compared to the SEM-EDS quantification, considered here as the reference. The differences between the computed surface areas were mainly due to the artifacts of the polished sections preparation. The two software solutions present promising results and could be fully exploited to proceed to other mineralogical analyses, such as mineral liberation, mineral associations, textures identification, and particle size distribution. This study is an initial step towards differentiate and identify sulfides via an optical route arguably reliable and cheaper to characterize mine products.

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Around a reflection borrowed from political history, the study proposes to reflect on the relations between public authorities and the sport movement through sport tourism associations. It is then a question of analyzing the cooperative dynamics between field actors and public actors linked to the development of uses of tourist destinations for sports purposes. The aim is to report on the efforts undertaken by these two types of actors, particularly around the construction of reception infrastructures and sports facilities, which are essential to develop a sports tourism offer with a social vocation for young people. It is then a question of questioning the evolution of their reciprocal relations, according to the important national policies, in order to identify the direct impact on the development of the practice of outdoor sports for popular youth. The study then aims to be both national and local, since it is locally that national policies are put into practice. The archives of national ministries (Youth and Sports, Tourism, Agriculture...) were crossed with those of five outdoor associations that we selected: the National Union of Outdoor Sports Centers and its relatives, the French Nautical Union and the National Union of Mountain Centers, the French Alpine Club and the Glénans. The archives of two regions, Brittany and Rhône-Alpes, and two departments, Savoie and Finistère, are also studied to give a local dimension to the analysis of the collaboration. Through this study, the goal is then to question the links between the different actors during our period to question to what extent they manage to achieve their goal of democratization of outdoor sports that they have given themselves; Autour d’une réflexion empruntée à l’histoire politique, l’étude propose de réfléchir aux relations entre pouvoirs publics et mouvement sportif à travers les associations de tourisme sportif. Il s'agit alors d'analyser les dynamiques coopératives entre acteurs de terrains et acteurs publics liées au développement des usages des destinations touristiques à des fins sportives. Le but est de rendre compte des efforts entrepris par ces deux types d'acteurs notamment autour de la construction d'infrastructures d'accueil et d'équipements sportifs indispensables pour prétendre développer une offre de tourisme sportif à vocation sociale pour les jeunes. Il s’agit alors de se questionner quant à l’évolution de leurs relations réciproques, en fonction des politiques nationales importantes, pour cerner l’impact direct sur le développement de la pratique des sports de plein-air pour la jeunesse populaire. L'étude se veut alors à la fois nationale et locale puisque c'est localement que les politiques nationales se concrétisent. Il s'agit alors de croiser les archives de Ministères Nationaux (Jeunesse et Sports, Tourisme, Agriculture...) avec celles de cinq associations de plein air que nous avons sélectionnées : l'Union Nationale des Centres Sportifs de Plein Air et ses parentes, l’Union Nautique Française et l’Union Nationale des Centres de Montagne, le Club Alpin Français et les Glénans. Les archives de deux régions, Bretagne et Rhône-Alpes, et de deux départements, Savoie et Finistère, sont également étudiées pour donner une dimension locale à l’analyse de la collaboration. À travers cette étude, le but est alors d’interroger les liens entre les différents acteurs durant notre période pour questionner jusqu’à quel point ils parviennent à réaliser leur but de démocratisation des sports de plein-air qu’ils se sont donnés