Nickel oxide thin films of various preferred orientations were deposited by radio-frequency (RF) magnetron sputtering process in different gas ratios of oxygen atmosphere at RF power 200 W on ...unheated and heated for (673 K) substrates. The relationships among substrate temperature, preferred orientation and electrical properties of the NiO films were investigated. The resulting films were analyzed by grazing-incidence X-ray diffraction, high-resolution transmission electron microscopy (HR-TEM), and ultrahigh resolution scanning electron microscopy (HR-SEM). The electrical properties were measured using four probe and Hall effects measurements. The results show that films deposited at room temperature with the ratio of oxygen varying from 0 to 100% develop a (111) preferred orientation. At temperature of 673 K, while the (111)-orientated film was obtained under a low ratio of oxygen (<50% O
2), a (200) preferred orientation was developed under 100% oxygen. The lowest sheet resistance 0.01 MΩ/□, resistivity 0.83 Ω-cm and higher carrier density 7.35
×
10
18 cm
−3 could be obtained on (111) preferred orientation samples prepared on unheated substrates in pure oxygen atmosphere. The relationship between preferred orientation and electrical properties was proposed in this paper.
Leading scholars in the interdisciplinary field of geo-spatial visual studies examine the social experience of cinema and the different ways in which film production developed as a commercial ...enterprise, as a leisure activity, and as modes of expression and communication. Their research charts new pathways in mapping the relationship between film production and local film practices, theatrical exhibition circuits and cinema going, creating new forms of spatial anthropology. Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.
InPixar and the Aesthetic Imagination
,Eric Herhuth draws upon film theory, animation theory, and philosophy to examine how animated films address aesthetic experience within contexts of ...technological, environmental, and sociocultural change. Since producing the first fully computer-animated feature film, Pixar Animation Studios has been a creative force in digital culture and popular entertainment. But, more specifically, its depictions of uncanny toys, technologically sublime worlds, fantastic characters, and meaningful sensations explore aesthetic experience and its relation to developments in global media, creative capitalism, and consumer culture. This investigation finds in Pixar's artificial worlds and transformational stories opportunities for thinking through aesthetics as a contested domain committed to newness and innovation as well as to criticism and pluralistic thought.
Film noir, which flourished in 1940s and 50s, reflected the struggles and sentiments of postwar America. Dennis Broe contends that the genre, with its emphasis on dark subject matter, paralleled the ...class conflict in labor and union movements that dominated the period.
By following the evolution of film noir during the years following World War II, Broe illustrates how the noir figure represents labor as a whole. In the 1940s, both radicalized union members and protagonists of noir films were hunted and pursued by the law. Later, as labor unions achieve broad acceptance and respectability, the central noir figure shifts from fugitive criminal to law-abiding cop.
Expanding his investigation into the Cold War and post-9/11 America, Broe extends his analysis of the ways film noir is intimately connected to labor history. A brilliant, interdisciplinary examination, this is a work that will appeal to a broad spectrum of readers.
In einem Moment der Mediengeschichte, in dem der Film nicht mehr nur im Kino, sondern in allen Medien auftritt, nimmt der Band Jean-Luc Godard: Film denken nach der Geschichte des Kino das Werk des ...französischen Regisseurs zum Ausgangspunkt für eine vielstimmige Reflexion über die Geschichten und die Zukünfte des Kinos. Wohl mehr als jeder andere Regisseur hat Godard sich bemüht, die Geschichte des Kinos im Medium selbst zu schreiben, etwa in seinem monumentalen Filmessay Histoire(s) du cinéma. Und mehr als jeder andere Regisseur hat Godard immer wieder die Frage gestellt, was nach dem Kino kommt: Wie es mit der Geschichte der Kunst nach dieser "Erfindung ohne Zukunft", wie Louis Lumière es einmal formulierte, weitergeht. Zugleich schreibt Godard dem Kino im 20. und 21. Jahrhundert eine besondere Rolle der historischen Zeugenschaft zu, was seinem Werk eine Relevanz weit über den Horizont einer Geschichte der Kunstform Film hinaus verleiht.
A collection of interdisciplinary essays, collected for the first time, on the work of filmmaker and screenwriter Amy Heckerling whose work includes Clueless and Fast Times at Ridgemont High.
Given the current moment--polarized populations, increasing climate
fears, and decline of supranational institutions in favor of a
rising tide of nationalisms-- it is easy to understand the
...proliferation of apocalyptic and dystopian elements in popular
culture. Infected Empires examines one of the most popular
figures in contemporary apocalyptic film: the zombie. This
harbinger of apocalypse reveals bloody truths about the human
condition, the wounds of history, and methods of contending with
them. Infected Empires considers parallels in the zombie
genre to historical and current events on different political,
theological and philosophical levels, and proposes that the zombie
can be read as a figure of decolonization and an allegory of
resistance to oppressive structures that racialize, marginalize,
disable, and dispose of bodies. Studying films from around the
world, including Latin America, Asia, Africa, the US, and Europe,
Infected Empires presents a vision of a global zombie that
points toward a posthuman and feminist future.
Over the past half century, computing has profoundly altered the ways stories are imagined and told. Immersive, narrative, and database technologies transform creative practices and hybrid spaces ...revealing and concealing the most fundamental acts of human invention: making stories. The Digital Imaginary illuminates these changes by bringing leading North American and European writers, artists and scholars, like Sharon Daniel, Stuart Moulthrop, Nick Montfort, Kate Pullinger and Geof Bowker, to engage in discussion about how new forms and structures change the creative process. Through interviews, commentaries and meta-commentaries, this book brings fresh insight into the creative process form differing, disciplinary perspectives, provoking questions for makers and readers about meaning, interpretation and utterance. The Digital Imaginary will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including storymakers, educators, curators, critics, readers and artists, alike.
The internal surface of a stainless steel AISI 304 tube, 200 cm in length and 10 cm in diameter, was coated with diamond-like carbon (DLC) using the Plasma Enhanced Chemical Vapor Deposition (PECVD) ...technique, using two group of experiments for the entry and exit of the gas flow to determine the effect of their position on the quality and thickness of the DLC film. First, the temperature rise along the tube surface was measured during the argon and acetylene plasma phase. Secondly, the PECVD experiments were analyzed to evaluate the coating for all arrangements used. Thus, the tube temperature, the film thickness, the structural changes and the friction coefficient were measured, using optical microscopy, an infrared Thermometer, a Raman Spectrometer and a pin-on-flat tribometer, respectively. Our measurements revealed DLC films with symmetrical and asymmetrical distributions along the tube. Raman and tribological characterization shown that the lowest I(D)/I(G) ratio and lowest friction coefficient were in the regions with thickest DLC films. The study indicates that DLC films may be grown by PECVD inside of long tubes that exhibit excellent thickness and friction characteristics when entry/exit points for the gas flow are placed at both ends of the tube.
•Regions with high temperatures and poor deposition were accompanied by an intense brightness of the plasma;•A reduction in the friction coefficient and tube temperature are ensured with the entry/exit of gas at both ends of the tube;•DLC films grown with the entry/exit of gas at both tube ends proved to be suitable for the internal coating of tubes.
