Beginning withLost Highway, director David Lynch "swerved" in a new direction, one in which very disorienting images of the physical world take center stage in his films. Seeking to understand this ...unusual emphasis in his work, noted Lynch scholar Martha Nochimson engaged Lynch in a long conversation of unprecedented openness, during which he shared his vision of the physical world as an uncertain place that masks important universal realities. He described how he derives this vision from the Holy Vedas of the Hindu religion, as well as from his layman's fascination with modern physics.
With this deep insight, Nochimson forges a startlingly original template for analyzing Lynch's later films-the seemingly unlikely combination of the spiritual landscape envisioned in the Holy Vedas and the material landscape evoked by quantum mechanics and relativity. InDavid Lynch Swerves, Nochimson navigates the complexities ofLost Highway,The Straight Story,Mulholland Drive, andInland Empirewith uncanny skill, shedding light on the beauty of their organic compositions; their thematic critiques of the immense dangers of modern materialism; and their hopeful conceptions of human potential. She concludes with excerpts from the wide-ranging interview in which Lynch discussed his vision with her, as well as an interview with Columbia University physicist David Albert, who was one of Nochimson's principal tutors in the discipline of quantum physics.
Dans ce que Laura Rascaroli (2009) appelle le cinéma subjectif et Alain Ber-gala (1988), Jean-Pierre Esquenazi et Alain Gardies (2006) le cinéma de soi, on retrouve des documentaires ...métacinématiques, à la fois (auto)réflexifs et sur le cinéma en général. Dans cette catégorie, l’hybridité formelle et de contenu se ressent notamment dans Le film essai Film et l’Autoportrait, qui montrent le cinéaste comme un professionnel du cinéma au travail. Dans les deux cas, il y a auto-représentation, le cinéaste s’interprétant selon des contours autobiographiques. Dans certaines situations, nous pouvons tomber dans le film d’art poétique (du latin ars poetica), selon Yannick Mouren (2009), qui manifeste la pratique cinématographique de l’artiste de manière consciente et discursive ; ou encore dans le Film Testament, revue artistique du créateur lui-même à la fin de sa carrière. La manière dont ces concepts et pratiques s’entrecroisent de manière de plus en plus hybride m’amène à défendre le concept de Ciné-graphies, formes d’écriture cinématographiques, à la fois expressives et centrées sur le Soi de l’artiste. Le dernier long métrage de Jean Cocteau, Le testament d’Orphée, ou ne me demandez pas pourquoi ! (1960), sera l’étude de cas en question, qui me permettra de conclure que les ciné-graphies sont des documents authentiques qui attestent de leur existence concrète – bien que leur rapport au réel soit assez douteux – mais qui fonc-tionnent avant tout comme des textes.
Naquilo que Laura Rascaroli (2009) designa como cinema subjectivo e Alain Ber-gala (1988), Jean-Pierre Esquenazi e Alain Gardies (2006) apelidam de cinema do Eu encon-tramos documentários metacinematográficos, simultaneamente (auto)reflexivos e sobre o cinema em geral. Nesta categoria, o hibridismo formal e de conteúdo faz-se sentir sobretudo no Filme-ensaio e no Auto-retrato que mostram o cineasta como um profissional de cinema em plena actividade. Em ambos os casos existe auto-representação, sendo que o cineasta se interpreta a si mesmo com contornos autobiográficos. Em algumas situações podemos desaguar no Filme de Arte Poética (do latim ars poetica) segundo Yannick Mouren (2009), que manifesta de modo autoconsciente e discursivo a práxis cinematográfica do artista; ou então no Filme Testamento, uma resenha artística do próprio criador em fim de carreira. O modo como estes conceitos e práticas se intersectam de forma cada vez mais híbrida, leva--me a defender o conceito de Cine-Grafias, aplicado a formas cinematográficas de escrita, a um tempo expressivas e voltadas para o Eu do artista. A última longa-metragem de Jean Cocteau, Le testament d’Orphée, ou ne me demandez pas pourquoi! (1960), será o estudo de caso em apreço, permitindo-me concluir que as cine-grafias são autênticos documentos – que atestam de uma existência concreta – não obstante a sua relação com o real ser batente duvidosa – mas que funcionam prioritariamente como textos.
Dentro de lo que Laura Rascaroli (2009) llama cine subjetivo y Alain Berga-la (1988), Jean-Pierre Esquenazi y Alain Gardies (2006) llaman cine del yo, encontramos documentales metacinemáticos, a la vez (auto)reflexivos y sobre cine. En esta categoría general, la hibridación formal y de contenidos se deja sentir especialmente en el Cine En-sayo y el Autorretrato, que muestran al cineasta como un profesional del cine en plena actividad. En ambos casos hay autorrepresentación, interpretándose el cineasta a sí mismo con contornos autobiográficos. En algunas situaciones podemos desembocar en el Cine de Arte Poético (del latín ars poetica) según Yannick Mouren (2009), que manifiesta la praxis cinematográfica del artista de manera autoconsciente y discursiva; o en Film Testament, un repaso artístico del propio creador al final de su carrera. La forma en que estos conceptos y prácticas se cruzan de una manera cada vez más híbrida me lleva a defender el concepto de Cine-Grafias, empleado a formas cinematográficas de escritura, tanto expresivas como centradas en el Yo del artista. El último largometraje de Jean Cocteau, Le testament d’Or-phée, ou ne me demandez pas pourquoi ! (1960), será el caso de estudio en cuestión, lo que me permitirá concluir que las cinegrafías son documentos autênticos, que dan fe de su exis-tencia concreta – apesar de que su relación com la realidade sea bastante dudosa – pero que funcionam principalmente como textos
In what Laura Rascaroli (2009) calls subjective cinema and Alain Bergala (1988) and Jean-Pierre Esquenazi & Alain Gardies (2006) label cinema of the self (le cinéma du Je) one finds metacinematic documentaries, both (self-)reflexive and about cinema in general. In this broad category, the hybridity of form and contents is mostly felt in the Essay films and in Self-portraits that convey the director at work as a film professional. In both cases there is self-representation since the filmmaker portrays him- or herself with an autobiogra-phic leaning. Some situations, derived from these, may result in the Poetic Art Film (from the Latin ars poetica), which manifest the artist’s cinematic praxis together with a self-cons-cious discourse on it, as claimed by Yannick Mouren (2009). Or else they result in the Film Testament, an artistic overview undertaken by the creators themselves at the end of their cinematic careers. The way these practices intersect in an increasingly hybrid fashion, leads me to advocate for the concept of Cine-Writings, standing for cinematic writing practices, at once expressive and turned towards the artist’s Self. Jean Cocteau’s last feature film Le testament d’Orphée, ou ne me demandez pas pourquoi! Orpheus’ Testament, or Do Not Ask Me Why! 1960), will be the case study analyzed here, enabling me to conclude that cine--writings are true documents, regardless of their dubious relationship with the real.
Purpose:
Radiochromic film provides dose measurement at high spatial resolution, but often is not preferred for routine evaluation of patient-specific intensity modulated radiation therapy (IMRT) ...plans owing to ease-of-use factors. The authors have established an efficient protocol that combines calibration and measurement in a single scan and enables measurement results to be obtained in less than 30 min. This avoids complications due to postexposure changes in radiochromic film that delay the completion of a measurement, often for up to 24 h, in commonly used methods. In addition, the protocol addresses the accuracy and integrity of the measurement by eliminating environmental and interscan variability issues.
Methods:
The authors collected dose–response data from six production lots of Gafchromic EBT3 film and three production lots of EBT2 film at doses up to 480 cGy. In this work, the authors used seven different scanners of two different models—Epson 10000XL and V700; postexposure times before scanning from 30 min to 9 days; ambient temperatures for scanning spanning 11 °C; and two film orientations. Scanning was in 48-bit RGB format at 72 dpi resolution. Dose evaluation was conducted using a triple-channel dosimetry method. To evaluate the measurement protocol, patient specific IMRT and volumetric modulated arc therapy (VMAT) plans were exposed onto EBT3 films on a Varian Trilogy Linac. Film scanning was done following the protocol under a number of different conditions and the dose maps were analyzed to demonstrate the equivalence of results.
Results:
The results indicated that the dose–response data could be fit by a set of related rational functions leading to the description of a generic calibration curve. A simplified dosimetry protocol was established where dose–response data for a specific film lot, scanner, and scanning conditions could be derived from two films exposed to known doses. In most cases only one calibrated exposure was required since the dose for one of the films could be zero. Using the Gamma test criterion of 2%/2 mm to evaluate the measurements, similar passing rates ranging between about 95% and 99% for the fields studied were obtained from application films digitized under a variety of conditions all of them different than the conditions under which the calibration films were scanned.
Conclusions:
The authors have developed a simplified and efficient protocol to measure doses delivered by an IMRT or VMAT plan using only the patient film, one calibration film, one unexposed film, and applying a single scan to acquire a digital image for calculation and analysis. The simplification and timesaving offer a potential practical solution for using radiochromic film for routine treatment plan quality assurance without sacrificing spatial resolution for convenience.
Der stereoskopische Unterhaltungsfilm, der sogenannte 3D-Film, ist integraler Bestandteil der Filmgeschichte. Luisa Feiersinger verfolgt in einer longue durée die sich wandelnden narrativen, ...technischen und diskursiven Anordnungen am Beispiel ausgewählter Unterhaltungsfilme. Dabei zeigt sie, dass gerade im populären Format diese Anordnungen immer wieder selbstreflexiv in die Narrationen verwoben werden. Filmwissenschaftliche Untersuchungsmethoden zur Beschreibung der nur in der Wahrnehmung existierenden stereoskopischen Bewegt- und Raumbilder dienen als exemplarischer Vorschlag zur Integration von Bewegtbildern in die Kunst- und Bildgeschichte.
Die Berliner Schule gilt als die wichtigste Strömung im deutschen Kino seit den 1970er Jahren. Gleichzeitig kann sie als wesentlicher Teil der globalen New-Wave-Filme verstanden werden, die an den ...traditionellen Rändern des Weltkinos angesiedelt sind. In 15 Essays setzen die Beiträger*innen des Bandes die Berliner Schule mit Beispielen des globalen Kinos in Verbindung - von Europa über Südostasien und den Nahen Osten bis hin zu Süd- und Nordamerika - und laden dazu ein, sie als zentralen Aspekt des Nachwende-Kinos in einem transnationalen Licht zu betrachten. Damit liefern sie zum ersten Mal eine systematische Untersuchung dieser Gattung und stellen sie als eine der wichtigsten Entwicklungen des gegenwärtigen Arthouse-Kinos heraus.
Deposition of thin films on atomic force microscopy (AFM) probes is a common technique that is used to either improve the light reflectance of the back side of the probe cantilevers or to modify the ...surface properties of the probe tips. However, this technique also affects the force constant and resonance frequency of the AFM cantilevers. The present work investigates theoretically this effect in the approximation of very thin films. The cantilever force constant changes due to the contribution of bending moment of the elastic force in the deposited film, while the resonant frequency changes due to the film contributions to the bending force and inertia of the cantilever. It is found that the relative variations of cantilever force constant and resonance frequency depend on the film to cantilever thickness, density and elasticity modulus ratios. This theoretical prediction is confirmed by the experimental investigations on mechanical properties of silicon cantilevers covered by diamond like carbon (DLC) and fluorocarbon thin films obtained by high power impulse magnetron sputtering depositions. Moreover, the effect of film depositions on the cantilever mechanical properties is used to determine the elasticity modulus and mass density of the deposited thin films.
•Diamond like carbon and fluorocarbon thin films have been deposited on commercial AFM probes.•Thermal noise measurements showed changes of force constant and resonance frequency of the AFM probe cantilevers.•A theoretical model accounting for the effect of thin film deposition on the AFM cantilever properties is proposed.•Changes of the cantilever mechanical properties are used to determine the elasticity and density of the deposited films.
Contributors to Gaza on Screen, including scholars and Gazan filmmakers, explore the practice, production, and impact of film and videos from and about the Gaza Strip.
In plastics industry corrosion and wear have significant influence on tool life and product quality. Cr–Al–N based coatings have shown good properties regarding corrosion as well as wear resistance ...especially against adhesion of plastics melt. Another challenge is the complex geometry of injection molding tools. This paper deals with the development of Cr–Al–N based coatings by using three different technologies. On the one hand conventional direct current (DC) magnetron sputtering ion plating (MSIP) is used. On the other hand middle frequency pulsed (MF) MSIP and high power pulse magnetron sputtering (HPPMS) are used. The amount of aluminum in the (Cr1−xAlx)N coatings was varied between 5at.% and 77at.%. Morphology, mechanical properties and phase composition were analyzed. It can be shown that the sputter rate of aluminum is increased by using HPPMS compared to DC and MF. This leads to an increase of the deposition rate from 1.32μm/h to 1.67μm/h while the deposition rates of the DC and MF coatings decrease from about 2.45μm/h to 1.30μm/h. Nevertheless, mechanical analyses show an advantage of HPPMS for aluminum contents below 30at.% and an advantage of MF and DC for higher aluminum contents.
► By using HPPMS nearly constant properties over a broad Al content are reached. ► Noble gas bombardment leads to dense surfaces. ► Metal bombardment leads to dense and fine grained morphology. ► Formation of hexagonal AlN is deferred to lower Al contents by using HPPMS.
Nitrogen-doped mesoporous carbons (NMCs) with controllable nitrogen doping and similar mesoporous structures are prepared by a facile colloidal silica nanocasting method using melamine, phenol, and ...formaldehyde as precursors. Various physicochemical properties, such as the oxidation stability, the conductivity and the electrochemical capacitive performance, the CO2 adsorption, the basicity, and the metal-free catalytic activity of the NMCs, are studied extensively in relation to the incorporation amount of nitrogen in the carbon backbone. The dependence of the oxidation stability and the conductivity of the NMCs on the nitrogen content are similar; both of the biggest improvements are achieved at a low nitrogen content of ca. 4.2 wt %. While used as the supercapacitor electrodes, the NMCs with a mediate nitrogen content of ca. 8 wt % can take full advantage of the nitrogen-induced pseudocapacitance and the nitrogen-enhanced conductivity, delivering an excellent high-rate capacitive performance. The nitrogen content does not play an important role in the CO2 physical adsorption, where the effect of microporosity prevails over the nitrogen-doped carbon surface. However, the nitrogen content determines the basicity of the NMCs, which governs their CO2 chemical adsorption ability and the metal-free catalytic activity for direct oxidation of H2S. The higher the nitrogen content, the higher the basicity and the catalytic activity. Our studies give a reliable relationship between nitrogen doping and the physicochemical properties of mesoporous carbons, which should provide a useful guide to their practical applications.
Technics gathers leading international media scholars to rethink technology for the contemporary digital era. The volume’s 28 contributors provide cutting-edge theoretical, historiographical, and ...methodological reflections on media and technology. Chapters explore the ideas of Walter Benjamin, Ursula Le Guin, Bernhard Siegert, Gilbert Simondon, and Sylvia Wynter in conjunction with urgent issues such as ableism, algorithms, digital infrastructures, generative AI, and geoengineering. An expansive collection of writings on media technologies in the digital age, Technics is an essential resource for students and scholars of film and media studies, digital humanities, science and technology studies, and the philosophy of technology.
