Thin film polarizers are optical components designed to selectively transmit light of a specific polarization while reflecting light with the orthogonal ...

Goulding was one of 11 directors who received credit for Paramount on Parade (1930). He then made The Devil’s Holiday (1930) and Reaching for the Moon (1930), the latter an ur-screwball comedy starring Douglas Fairbanks as a Wall Street millionaire who courts an aviator (Bebe Daniels) during an ocean voyage. The Night Angel (1931) came next, but it was Grand Hotel (1932) that established Goulding as one of the screen’s top directors. The archetypal all-star melodrama, based on Vicki Baum’s novel, featured some of the most luminous work of Garbo, John Barrymore, and especially Crawford. It was a huge hit for MGM and won an Academy Award for best picture, although neither Goulding nor any of the actors were nominated. (Goulding never received an Oscar nomination during his lengthy career.) That triumph was followed by the comedy Blondie of the Follies (1932), starring Marion Davies, and Riptide (1934), a romantic drama featuring Norma Shearer, Robert Montgomery, and Herbert Marshall.

Edmund Goulding (born March 20, 1891, Feltham, Middlesex, England—died December 24, 1959, Los Angeles, California, U.S.) was a British-born American director and screenwriter who first gained notice for films aimed at a female audience but proved adept at a wide range of genres.

The study, led by Manisha Bahl, MD, MPH, of Duke University, and published in the December edition of the American Journal of Roentgenology (AJR), placed the positive predictive value of architectural distortion for malignancy at 74.5 percent.

Returning to the more familiar terrain of the soap opera, Goulding made two pictures starring Davis in 1939. Dark Victory was a tearjerker about a haughty socialite who learns humility as she starts to go blind from a fatal illness; both Davis and the picture earned Oscar nominations. The period melodrama The Old Maid benefited from the palpable dislike Davis and costar Miriam Hopkins had for each other. Almost as fine was We Are Not Alone (1939), starring Paul Muni as a man accused of murdering his wife to be with a governess (Jane Bryan).

Gouldings’s first films of the 1950s were comedies. Mister 880 (1950) starred Burt Lancaster as a treasury agent on the trail of a benign elderly counterfeiter (Edmund Gwenn), and We’re Not Married (1952) was a Nunnally Johnson-penned concoction about five couples who discover that their wedding ceremonies were not performed legally; the cast included Eve Arden, Fred Allen, Eddie Bracken, Zsa Zsa Gabor, and Marilyn Monroe. After directing the musical Down Among the Sheltering Palms, he made Teenage Rebel (1956), which, despite its exploitative title, was a cogent drama about a mother (Ginger Rogers) who reconnects with her estranged teenage daughter. Goulding’s last film was Mardi Gras (1958), a musical starring Pat Boone. After suffering several years of declining health, Goulding died in 1959.

Intermodulationdistortion

Field of view is how much of our specimen we will be able to see through a microscope. It is simple the observable area in millimeters that we see through the ...

Of the benign architectural-distortion cases (94 of 369, 25.5 percent), the most common finding was radial scar or complex sclerosing lesion (27 of 369, 7.3 percent).

At MGM, Goulding directed his first film, Sun-Up (1925). His next movies included Paris (1926) with Joan Crawford, and in 1927 he worked with Greta Garbo on Love, an adaptation of Leo Tolstoy’s Anna Karenina. In 1929 he made his first talking picture, The Trespasser, a melodrama starring Gloria Swanson. Goulding also penned the screenplay, and throughout his career he would often write stories and scripts for the screen. In addition, he became involved with other facets of filmmaking, composing incidental music, overseeing costuming and makeup, setting lights, and producing; much of this work, however, was uncredited.

“Several studies have shown that architectural distortion is a common presentation of nonpalpable breast cancer, but there are limited data on the risk of malignancy associated with architectural distortion,” write Bahl et al. “Further, to our knowledge, there are no published data on the likelihood of malignancy in the presence or absence of a sonographic correlate. The information from this study can be used to counsel patients and inform clinicians about expected pathologic outcomes.”

CMS has more than doubled the CCTA payment rate from $175 to $357.13. The move, expected to have a significant impact on the utilization of cardiac CT, received immediate praise from imaging specialists.

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For example, humans at a temperature of 37°C emit most of their radiant heat in the infrared range, as can be seen in Figure 1. Figure 2. Carbon dioxide is able ...

5 meanings: 1. without colour 2. capable of reflecting or refracting light without chromatic aberration 3. cytology a. not.... Click for more definitions.

In the 10-year study behind this conclusion, malignancy-suggestive architectural distortion was observed in 435 of 231,051 (0.2 percent) mammographic exams performed on women between 27 and 92 years old (mean age, 58 years).

Of the 369 worrisome architectural-distortion cases they retrospectively reviewed, 275 had invasive adenocarcinoma or ductal carcinoma in situ (DCIS) — hence the PPV of 74.5 percent.

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The newly cleared offering, AutoChamber, was designed with opportunistic screening in mind. It can evaluate many different kinds of CT images, including those originally gathered to screen patients for lung cancer.

The nuclear imaging isotope shortage of molybdenum-99 may be over now that the sidelined reactor is restarting. ASNC's president says PET and new SPECT technologies helped cardiac imaging labs better weather the storm.

Distract meaning

Architectural distortion seen in the breast of a 67-year-old woman who presented for screening mammography. Surgical pathology revealed invasive ductal adenocarcinoma. Image from AJR

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Goulding began acting onstage when he was 12, gradually transitioning to playwriting and directing over the next 10 years. He made his New York stage debut in 1915 and acted in a handful of silent films before joining the British army to serve during World War I. After the war he resumed his career and soon moved to Hollywood. As a screenwriter, his silent-film credits included Tol’able David (1921) and Dante’s Inferno (1924). He also wrote the novel Fury (1922), which he adapted for a 1923 film.

Distortion

Flatness is the difference between the highest and lowest points of a surface located between two ideal flat (planar) surfaces. The distance between the two ...

These multilayer anti-reflective coatings are designed to reduce the reflectivity of a component to near-zero for one very specific wavelength. from 39 $.

Bahl and colleagues excluded 66 cases from the 435 because these were either associated with a mass (62) or had no available pathology results (4).

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Specifically, the most common pathologic finding was invasive ductal adenocarcinoma with or without lobular features (195 of 369, 52.8 percent), followed by invasive lobular adenocarcinoma with or without ductal features (64 of 369, 17.3 percent), invasive adenocarcinoma with mixed ductal and lobular features (1 of 369, 0.3 percent) and DCIS (15 of 369, 4.1 percent).

After directing The Flame Within (1935), Goulding moved to Warner Brothers for That Certain Woman (1937), a remake of The Trespasser. It was a showcase for Bette Davis, whom Goulding would direct in several other films. White Banners (1938), with Claude Rains as an exploited inventor, did not make much of a splash, but Goulding’s remake of The Dawn Patrol (1938) was a major hit. Errol Flynn gave one of his best performances as the squadron leader who cannot bear to see inexperienced pilots sent on dangerous missions; Basil Rathbone and David Niven provided fine support. Goulding’s version of the film, which included memorable aerial sequences, is superior to that of the 1930 original version, directed by Howard Hawks.

CCD/CMOS/NMOS image sensors for UV-VIS-NIR used for semiconductors, analytical instrumentation, spectroscopy applications and color measurement.

Architectural distortion, the non-mass but potentially ominous clinical feature observed in many breast imaging procedures, is less likely to signal malignancy when it is detected on screening mammography rather than diagnostic mammography or when it does not correlate with a subsequent targeted breast ultrasound exam.

Goulding subsequently moved to Twentieth Century-Fox, where he would finish his career. His first project there was an adaptation of another Maugham novel, The Razor’s Edge. The 1946 drama was nominated for an Academy Award as best picture, and it was one of Goulding’s finest films. A hardened Tyrone Power was surprisingly convincing as the hero on a spiritual quest, and he was well supported by Gene Tierney, Anne Baxter, Elsa Lanchester, and Clifton Webb. Nightmare Alley (1947) was a radical departure for Goulding. The film noir featured Power as a carnival con man whose scheming leads to a horrendous end. Everybody Does It (1949) was based on a comic story by James M. Cain; Paul Douglas, Linda Darnell, and Celeste Holm played the bickering aspiring singers.

Goulding had less success with ’Til We Meet Again (1940), a melodrama featuring George Brent and Merle Oberon. However, The Great Lie (1941) showed Davis to sublime effect again. (Except for William Wyler, arguably no director served her as well as Goulding.) This acclaimed drama centres on a socialite (Davis) and a concert pianist (Mary Astor) who are in love with the same man (Brent). After codirecting Forever and a Day (1943), Goulding made The Constant Nymph (1943), a solid soap opera in which Charles Boyer played a composer whose greatest work is inspired by the love of a smitten young girl (Joan Fontaine). Just as emotional, if less grand, was Claudia (1943), a marital comedy with Robert Young and Dorothy McGuire. Goulding then spent several years away from Hollywood to write, produce, and direct the play The Ryan Girl. He returned to the big screen in 1946 with an adaptation of W. Somerset Maugham’s Of Human Bondage. Although the drama paled in comparison with the acclaimed 1934 version, it was generally considered an entertaining production.

Dave P. has worked in journalism, marketing and public relations for more than 30 years, frequently concentrating on hospitals, healthcare technology and Catholic communications. He has also specialized in fundraising communications, ghostwriting for CEOs of local, national and global charities, nonprofits and foundations.

During his lengthy career, Goulding developed a reputation as an accomplished technician. He was comfortable crossing genres and directed almost any assignment that came to him. However, he never developed a unique, recognizable style, visual or otherwise, that helped viewers know they were seeing a Goulding film, and as a result he has often been overlooked by critics and audiences.

1. Manisha Bahl, Jay A. Baker, Emily N. Kinsey and Sujata V. Ghate. Architectural Distortion on Mammography: Correlation With Pathologic Outcomes and Predictors of Malignancy. American Journal of Roentgenology. 2015;205: 1339-1345. 10.2214/AJR.15.14628.