first_imgPrincipal Duties: Job no: 227898-ASWork type: Faculty Full or Part Time, Faculty-Full Time,Faculty-Part TimeDepartment: SMPH/RADIOLOGY/RADIOLOGYLocation: MadisonCategories: Health Care, Medical, Social Services,Instructional The University of Wisconsin-Madison is engaged in a Title and TotalCompensation (TTC) Project to redesign job titles and compensationstructures. As a result of the TTC project, official job titles oncurrent job postings may change in Fall 2020. Job duties andresponsibilities will remain the same. For more information pleasevisit: will require a criminal background check. It will alsorequire you and your references to answer questions regardingsexual violence and sexual harassment.The University of Wisconsin System will not reveal the identitiesof applicants who request confidentiality in writing, except thatthe identity of the successful candidate will be released. See Wis.Stat. sec. 19.36(7).The Annual Security and FireSafety Report contains current campus safety and disciplinarypolicies, crime statistics for the previous 3 calendar years, andon-campus student housing fire safety policies and fire statisticsfor the previous 3 calendar years. UW-Madison will provide a papercopy upon request; please contact the University of Wisconsin PoliceDepartment . Contact: Diversity is a source of strength, creativity, and innovation forUW-Madison. We value the contributions of each person and respectthe profound ways their identity, culture, background, experience,status, abilities, and opinion enrich the university community. Wecommit ourselves to the pursuit of excellence in teaching,research, outreach, and diversity as inextricably linkedgoals.The University of Wisconsin-Madison fulfills its public mission bycreating a welcoming and inclusive community for people from everybackground – people who as students, faculty, and staff serveWisconsin and the world.For more information on diversity and inclusion on campus, pleasevisit: Diversity andInclusion The University of Wisconsin is an Equal Opportunity andAffirmative Action Employer. We promote excellence throughdiversity and encourage all qualified individuals to apply.If you need to request an accommodation because of a disability,you can find information about how to make a request at thefollowing website: Salary: License or Certificate: Job Number: Minimum Years and Type of Relevant Work Experience: MD or DONuclear Medicine & Molecular Imaging or Radiology withadditional training in Nuclear Medicine Degree and Area of Specialization: Work Type: Additional Information: The School of Medicine and Public Health has a deep and profoundcommitment to diversity both as an end in itself but, also as avaluable means for eliminating health disparities. As such, westrongly encourage applications from candidates who foster andpromote the values of diversity and inclusion. Anticipated Begin Date: Instructions to Applicants: Board Certified or Board Eligible in Diagnostic Radiology and/orNuclear Medicine.Fellowship training in Molecular Imaging preferred.For appointment at Associate Professor or Professor rank on CHSTrack, candidates will meet criteria established by the departmentand as outlined in the School of Medicine and Public Healthguidelines for promotion or appointment to Associate or Professoron the CHS Track Track. 227898-AS Wisconsin medical licensure required prior to start date.center_img Official Title: Full or Part Time: 50% – 100% Department(s): PROFESSOR (CHS)(D01NN) or ASSOC PROFESSOR (CHS)(D02NN) or ASSTPROFESSOR (CHS)(D03NN) NegotiableANNUAL (12 months) APRIL 01, 2021 Your application must be received through the Jobs at UW portal tobe considered as a candidate. To apply for this position, pleaseclick on the “” button. You will be asked to upload a CV, personalstatement/cover letter, and you will need to provide referencesprior to the interview process.The deadline for assuring full consideration is December 1, 2020,however positions will remain open and applications may beconsidered until the position is filled. Appointment Type, Duration: Sheena [email protected] Access (WTRS): 7-1-1 (out-of-state: TTY: 800.947.3529, STS:800.833.7637) and above Phone number (See RELAY_SERVICE for furtherinformation. ) A539300-MEDICAL SCHOOL/RADIOLOGY/RADIOLOGY Position Summary: The Department of Radiology, with University of Wisconsin-MadisonSchool of Medicine & Public Health, is seeking a full timeNuclear Medicine Faculty member. This faculty will pursue anacademic career in Molecular Imaging and Radiotheranostics at therank of Assistant, Associate or full Professor on the CHSTrack.The University of Wisconsin Section of Nuclear Medicine andMolecular Imaging provides image interpretation of a wide range ofnuclear medicine procedures including positron emission tomography(PET) examinations. The section is composed of experts in multipleareas including general nuclear medicine and PET imaging, nuclearcardiology, PET/MR, prostate cancer imaging and therapy, and theimaging and treatment of patients with thyroid cancer. Therapies inpatients with various forms of cancer are routinely performed withunsealed sources, such as radioactive iodine in patients withthyroid disease and 177-Lu-DOTATATE for patients withneuroendocrine tumors. The section is part of an expandingtheranostics program using both clinically approved andinvestigational agents. This is a growing area with plan for afuture theranostics center. The section has state-of-the-artimaging equipment including PET/CT, PET/MR, and SPECT/CT. Ongoing/Renewable Employment Class: Institutional Statement on Diversity: Clinical duties will be assigned in the Nuclear Medicine andMolecular Imaging Section and will include covering the clinicalnuclear medicine and PET services, bone mineral density exams andthe nuclear cardiology studies.This position will play a central part in the teaching program forthe radiology residents and nuclear medicine residents and willalso participate in medical student teaching.The successful applicant will participate in administrative andcommittee work to support the clinical and scholarly missions of UWHealth and the School of Medicine and Public Health. Clinical orbasic research is required. University and community service arealso expected as appropriate.An essential part of these duties willbe working in a collegial relationship with other facultymembers. Academic Staff-Renewable Applications Open: Oct 9 2020 Central Daylight TimeApplications Close:last_img read more

All the World’s a Screen: Substance versus style: how the ‘single take’ lost its original meaning

first_img“Apocalypse Now,” for example, is told through the perspective of Martin Sheen’s character, Captain Willard. You don’t need to watch much of the film to gather that Willard’s narration is married to the visual style of the whole movie. The film opens with a psychedelic montage of Willard getting drunk in his room with images of Vietnam explosions cutting into the action and superimposed on his face, all set to The Doors. Willard is not just telling us his story — we’re in his head.  The single take — and, really, any other aesthetic decision — should be made for a reason that supports the perspective of the film and adds to its themes. Viewed from this angle, “1917” had good intentions — to make us feel like we’re in this neverending wasteland with these men. It’s our reaction to it that wrongly emphasizes the marvel of its cinematography over any of its dialogue or characters. I say this because I did it, and the only reason any of my friends want to see “1917” is to see camera tricks, not story.  Thinking about aesthetics does not detract from how you can express a story in film; I believe it makes a film more engaging because every part of it is geared to one goal, one vision for how the story ought to be told. If every stylistic and narrative choice in your movie is directly tied to the perspective, feelings, characters and themes of your story, I believe you’ve made a better movie than if it had one scene without any edits. Movies that explicitly use a single point of view don’t always need narration to show it. In “Meek’s Cutoff,” director Kelly Reichardt presents the story in a tight, square-aspect ratio because we are meant to see things from the restricted perspective of the female characters — their view is limited because they’re wearing bonnets. Stroke of genius.  (Tiffany Kao | Daily Trojan) I don’t mean that as a bad thing. But, the whole point of this longwinded background on perspective is because I want to talk about how the “Oner” has lost its significance as a tool to establish a movie’s point of view. Now it’s seen as little more than a way for a director to puff his chest. In the best movies, however, every narrative and aesthetic decision can be traced back to perspective. Take a recent example: I recall seeing a tweet that lamented the success of “1917” because it meant every film student would try to shoot projects in a single take. I liked “1917,” but, at least in my opinion, its technical wonder overshadowed its gruesome story. The film became more about “How did the filmmakers do that?” than “How did the soldiers get through that?” If a movie is meant to make the audience empathize with the characters, putting technical achievement at the forefront detracts from this original purpose.   It is in this context that Scorsese deploys his famous Copacabana long take, or “Oner.” Hill and his girlfriend Karen (Lorraine Bracco) enter the famous club through the basement, across the rowdy kitchen and up to the packed main room. The whole thing is a single uncut shot, and it’s the stuff film buffs drool over.  Narration is a fascinating issue in literature and film. F. Scott Fitzgerald speaking through Carraway is like Martin Scorsese speaking through Henry Hill in “Goodfellas.” In such cases, the author really wants his readers to see the story from only this perspective. In novels, the words are supposed to be “written” by the fictional narrator, but in film every aesthetic choice ought to be subservient to the story’s perspective.  In “Goodfellas,” Ray Liotta’s Henry Hill narrates his life as a gangster, and we see his perspective reflected in the way the movie is shot, edited and soundtracked. Scorsese is pretty blatant about it too: Early on, as Hill lists his fellow gangsters, the camera glides through a restaurant and each face greets it when his name is called. They’re not greeting the audience — they’re greeting Hill. But, doesn’t it feel like they’re greeting us? We feel like insiders, excited to have access to this lavish gangster joint. Maybe Hill felt like that in the moment too. Try for a moment to think back to your 11th grade English class. With a little more effort, think of what you actually learned in that class. Doubtless, you read “The Great Gatsby” and learned that Nick Carraway is something called an “unreliable narrator.” We get the facts of Jay Gatsby’s life solely through Carraway’s narration; he sounds like an aged man recounting times past, and we can’t help but wonder if he’s embellishing or covering things up. Even in my upper-division English classes, the novel is the prototypical text on narration.  If any film students are reading this, take it with a grain of salt. I’m not a film student, but I like to think I speak from a place of equal passion as you — I drool over single takes myself, but I want to think about them the right way now.  Isa Uggetti is a junior writing about film. His column, “All the World’s a Screen,” runs every other Monday.last_img read more