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.
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.
Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the ...seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life. Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simultaneously transcending the film and reminding viewers of the world outside the movie theater. Jans B. Wager looks at the work of jazz composers such as Miles Davis, Duke Ellington and Billy Strayhorn, Chico Hamilton, and John Lewis as she analyzes films including Sweet Smell of Success, Elevator to the Gallows, Anatomy of a Murder, Odds Against Tomorrow, and considers the neonoir American Hustle. Wager demonstrates how the evolving role of jazz in film noir reflected cultural changes instigated by black social activism during and after World War II and altered Hollywood representations of race and music.
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.
Thin TiN films were grown on SiO2 by reactive high power impulse magnetron sputtering (HiPIMS) at a range of temperatures from 45 to 600 degree C. The film properties were compared to films grown by ...conventional dc magnetron sputtering (dcMS) at similar conditions. Structural characterization was carried out using X-ray diffraction and reflection methods. The HiPIMS process produces denser films at lower growth temperature than does dcMS. Furthermore, the surface is much smoother for films grown by the HiPIMS process. The 200 grain size increases monotonically with increased growth temperature, whereas the size of the 111 oriented grains decreases to a minimum for a growth temperature of 400 degree C after which it starts to increase with growth temperature. The 200 crystallites are smaller than the 111 crystallites for all growth temperatures. The grain sizes of both orientations are smaller in HiPIMS grown films than in dcMS grown films.
Fluorine-doped SnO2 (FTO) thin films are deposited by ultrasonic spray pyrolysis on preheated polyimide (PI) substrates. Their structural, electro-optical and electro-mechanical properties are ...investigated versus both growth temperature and film thickness. FTO thin films exhibit textured columnar grain morphology and preferred orientations along the , , and are favored depending on growth temperature and film thickness. The films deposited on PI substrate at 380°C present the best compromise in terms of electro-optical properties with a low electrical resistivity of 8.9×10−4Ωcm, a mobility of 17.9cm2/V·s combined with an optical transmittance up to 79.4% at 780nm. Eventually, a figure of merit of 2.3×10−3Ω−1 is obtained. The electro-mechanical properties are studied during controlled fatigue testing and analyzed according to the energy-based Griffith's criterion.
•SnO2:F thin films are grown on flexible substrate by spray pyrolysis.•Physical properties are investigated versus growth temperature and film thickness.•The electro-mechanical properties are analyzed using the Griffith's criterion.•The thinnest films demonstrated the highest mechanical strength.
Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. ...Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.
Celluloid Symphonies is a unique sourcebook of writings on music for film, bringing together fifty-three critical documents, many previously inaccessible. It includes essays by those who created the ...music--Max Steiner, Erich Korngold, Jerry Goldsmith, Elmer Bernstein and Howard Shore--and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present. Julie Hubbert's introductory essays offer a stimulating overview of film history as well as critical context for the close study of these primary documents. In identifying documents that form a written and aesthetic history for film music, Celluloid Symphonies provides an astonishing resource for both film and music scholars and for students.
