Smart surfaces that can dynamically respond to environmental stimuli have demonstrated great promise in wearable electronics and optical detectors. Herein, a photopatternable nanolayered polymeric ...film that can reversibly display and hide structural colors in the visible range in response to relative humidity (RH) changes is reported. This film is fabricated on a silicon substrate using layer‐by‐layer assembly of chitosan and photoreactive carboxymethyl cellulose‐azido derivative, and selectively crosslinked through UV irradiation from a photomask. Compared to crosslinked regions, un‐crosslinked ones swell more and result in a larger thickness at high RH; as a result, those two regions show distinguishable color differences. The correlation of displayed color with film thickness at various RHs is plotted in an International Commission on Illumination (CIE) chromaticity diagram, which is in good agreement with the results obtained from modeling based on the interference theory. It is demonstrated that the structural color patterns on the film can be hidden and displayed spontaneously by contact with humid air, including human breath. This humidity‐triggered color change is fast, of fine resolution, highly reversible, and compatible with most silicon‐based devices. This film is low‐cost, stable, and ready to be applied to large surface areas for potential applications in anticounterfeiting, humidity sensors, and optical color filters.
A photopatternable nanolayered film that can reversibly display and hide structural colors in response to relative humidity changes is developed. This film is fabricated on a silicon substrate using layer‐by‐layer assembly of chitosan and a photoreactive carboxymethyl cellulose‐azido derivative, and selectively crosslinked through UV irradiation. This humidity‐triggered color change is fast, highly reversible, and compatible with most silicon‐based devices.
Jewish film characters have existed almost as long as the medium itself. But around 1990, films about Jews and their representation in cinema multiplied and took on new forms, marking a significant ...departure from the past. With a fresh generation of Jewish filmmakers, writers, and actors at work, contemporary cinemas have been depicting a multiplicity of new variants, including tough Jews; brutish Jews; gay and lesbian Jews; Jewish cowboys, skinheads, and superheroes; and even Jews in space.
The New Jew in Filmis grounded in the study of over three hundred films from Hollywood and beyond. Nathan Abrams explores these new and changing depictions of Jews, Jewishness, and Judaism, providing a wider, more representative picture of this transformation. In this compelling, surprising, and provocative book, chapters explore masculinity, femininity, passivity, agency, and religion in addition to a departure into new territory-including bathrooms and food. Abrams's concern is to reveal how the representation of the Jew is used to convey confidence or anxieties about Jewish identity and history as well as questions of racial, sexual, and gender politics. In doing so, he provides a welcome overview of important Jewish films produced globally over the past twenty years.
The essays in this collection make a contribution to the greening of film studies and expand the scope of ecocriticism as a discipline traditionally rooted in literary studies. In addition to ...highlighting particular films as productive tools for raising awareness and educating us about environmental issues,Framing the World: Explorations in Ecocriticism and Filmencourages its readers to become more ecologically minded viewers, sensitive to the ways in which films reflect, shape, reinforce, and challenge our perceptions of nature, of human/nature relations, and of environmental issues.
The contributors to this volume offer in-depth analyses of a broad range of films, including fictional and documentary, Hollywood and independent, domestic and foreign, experimental and indigenous. Drawing from disciplines including film theory, ecocriticism, philosophy, rhetoric, environmental justice, and American and Indigenous studies, Framing the World offers new and original approaches to the ecocritical study of cinema. The twelve essays are gathered in four parts, focusing on ecocinema as activist cinema; the representation of environmental justice issues in Hollywood, independent, and foreign films; the representation of animals, ecosystems, and natural and human-made landscapes in live action and animation; and ecological themes in the films of two eco-auteurs, Kiyoshi Kurosawa and Peter Greenaway. Willoquet-Maricondi's introduction provides an overview of the field of ecocriticism and offers both philosophical and theoretical foundations for the ecocritical study of films.
Contributors
Beth Berila, St. Cloud State University * Lynne Dickson Bruckner, Chatham College * Elizabeth Henry, University of Denver * Joseph K. Heumann, Eastern Illinois University * Harri Kilpi, University of East Anglia * Jennifer Machiorlatti, Western Michigan University * Mark Minster, Rose-Hulman Institute of Technology * Robin L. Murray, Eastern Illinois University * Tim Palmer, University of North Carolina, Wilmington * Cory Shaman, Arkansas Tech University * Rachel Stein, Siena College * Paula Willoquet-Maricondi, Marist College
The reality of film Rushton, Richard
2013., 20130719, 2010, 2013, 2013-10-01
eBook
By formulating a notion of 'filmic reality', The Reality of Film offers new ways of understanding our relationship with cinema. It argues that cinema does not merely refer to, reproduce or represent ...reality, but has the capacity to create its own kinds of realities. Filmic reality is explored through the work of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. Comprehensive introductions are provided to each of these thinkers, whilst many myths and misconceptions about them are effectively debunked. The notion of filmic reality that emerges from this discussion radically reconfigures our understanding of cinema. This book is essential reading for film scholars, students and philosophers of film, while it will also appeal to graduate students and specialists in other fields.
ZnO films were prepared on glass substrates by a sol–gel dip-coating technique. The films showed a polycrystalline phase without any preferable orientation. By decreasing the withdrawal speed, the ...surface of the ZnO films became denser because of a decrease in particle sizes. This reduces the distance between the supported solids under the water droplet that could increase the degree of the pinning effects, and leads to increase the water contact angle. Furthermore, these prepared ZnO films showed photocatalytic properties indicating by photocatalytic degradation of methylene blue under a blacklight illumination. By increasing the calcination temperature, the water contact angle value decreases due to the grain coalescence which increases the gap between these supported solids. On the other hand, this enhances the photocatalytic activity caused by the improving of the crystallinity and the surface roughness of ZnO thin films with an increase in calcination temperature.
► The denseness of the films increased when the withdrawal speed decreased. ► Photocatalytic activity improved with increased surface roughness. ► Reducing of the degree of the pinning effect produced a lower water contact angle.
It is well known that increasing the energy of the bombardment species, whether by using a bias or an additional ion source in direct current magnetron sputtering (DCMS) or by optimizing the ...deposition conditions in mid-frequency bipolar magnetron sputtering, enables us to tailor the properties of the CrN thin films. In the last fifteen years, several magnetron sputtering deposition methods have been developed which have aimed to produce highly ionized fluxes of sputtered material, thus enabling increased control over the energy and impinging angle distributions of the bombarding species. In this study, CrN thin films were deposited by deep oscillation magnetron sputtering (DOMS), a variant of High-power Impulse Magnetron Sputtering (HiPIMS), in order to study the effect of the additional control of the energetic ion bombardment on the film properties. The structural properties of the CrN films (lattice parameter and preferred orientation) showed that an intense energetic bombardment is always present in the DOMS deposition irrespective of the deposition conditions. This energetic bombardment was attributed to energetic N neutrals which are reflected at the target surface upon impingement of N2+ ions. A change from a columnar growth mode to a featureless one was observed with an increasing peak power at both 0.3 and 0.7Pa. At the same time, the hardness of the films increased from 21–22GPa to 28–29GPa. This transformation was attributed to the increasing fraction of ionized sputtered species with increasing peak power. The columnar growth is interrupted by preventing the shadowing effect, i.e., due to the higher ionization fraction at higher pressure and/or peak power, rather than by overcoming the shadowing effect by using more energetic bombardment.
•CrN thin films were deposited by HiPIMS in DOMS mode.•Fully densified films were deposited at the highest peak power.•Subplantation of backscattered nitrogen neutral occurred in all films.•The shadowing effect was prevented by the ionization of the sputtered species.•A maximum hardness of 29GPa was obtained for the CrN films.
Molybdenum diboride films are anticipated to be used in cutting applications as a potential replacement for nitride coatings due to their high hardness and good high-temperature stability. However, ...the films undergo severe oxidation at 600 °C, which does not guarantee good wear resistance. The addition of Cr element is chosen to improve the film's oxidation resistance, which in turn improves the film's friction and wear performance at higher temperatures. The Mo-Cr-B films were prepared by magnetron sputtering by changing Cr target current. The oxidation properties of the films at 600 °C and the tribological performance and the wear mechanism at 25 °C, 400 °C and 600 °C were investigated. The results reveal that the MoB2-z film and Cr-alloyed MoB2-z films have higher hardness (>30 Gpa). And the Mo0.67Cr0.33B2-z film and Mo0.51Cr0.49B2-z film exhibit much greater oxidation resistance at 600 °C than do MoB2-z film and Mo0.79Cr0.21B2-z film. The Mo0.67Cr0.33B2-z film demonstrates good wear resistance at 25 °C, 400 °C and 600 °C. Especially at 600 °C, the Mo0.67Cr0.33B2-z film clearly outperforms the MoB2-z film in terms of wear resistance.
•The introduction of Cr enables the Mo-Cr-B films to exhibit good oxidation resistance and wear resistance at both 400 °C and 600 °C.•The Mo0.67Cr0.33B2-z film has certain level of self-lubricating performance at 400 °C and 600 °C.•The investigation of the wear behavior and mechanism of the Mo-Cr-B films offers valuable experimental basis for the application and research of the Mo-B system.
Widely heralded as a nostalgic film, Jean-Pierre Jeunet’s 2001 Le fabuleux destin d’Amélie Poulain is a twenty-first-century version of the Proustian madeleine, which has become a symbol of the ...relationship between food and memory. Jeunet uses distinctly French foods and culinary spaces to produce a uniquely nostalgic rendering of Paris. The filmmaker harnesses the deep cultural significance of the nation’s gastronomic tradition as a means of national self-fashioning, crafting a film that is emblematic of the widespread narrative use of gastronomy at the turn of the twenty-first century.
Die medienwissenschaftliche Debatte um das Verhältnis und die Verschränkung von Mensch und Medium bekommt eine neue theoriehistorische Analytik: Mit dem »audiovisuellen Individuum« - dem Audioviduum ...- rückt Julia Eckel eine spezifische Schnittstelle dieser materiellen wie diskursiven Kopplung in den Fokus. Dazu untersucht sie die Relevanz des Menschenmotivs in audiovisuellen Medien für die Herausbildung medientheoretischen Denkens und befragt frühe Schriften zu Stummfilm, Radio und Tonfilm auf ihre inhärenten Anthropozentrismen. Das Audioviduum bezeichnet hierbei die konkrete Verschmelzung von Medium und Mensch im Modus anthropomorpher und anthropophoner Audiovisualität und repräsentiert dessen Relevanz für die Medientheorien des frühen 20. Jahrhunderts - und darüber hinaus.
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