Relevant bibliographies by topics / DIY Film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'DIY Film'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "DIY Film"

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Herman, Joe. "DIY film digitizer [Resources]." IEEE Spectrum 54, no. 1 (January 2017): 17–18. http://dx.doi.org/10.1109/mspec.2017.7802733.

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Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.

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In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.
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Kustanto, Lilik, Rr Ari Prasetyowati, and Ozhara Aisyia. "Konstruksi Keistimewaan Yogyakarta dalam Narasi Film-Film Kompetisi Produksi Dinas Kebudayaan Yogyakarta Tahun 2016-2017." REKAM 15, no. 1 (September 26, 2019): 49–59. http://dx.doi.org/10.24821/rekam.v15i1.3185.

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ABSTRAKSejak Undang-undang Keistimewaan disahkan, Dinas Kebudayaan Daerah Istimewa Yogyakarta (DIY) konsisten menggelar program kompetisi Pendanaan Pembuatan Film. Dalam genre fiksi dan dokumenter, film-film terpilih yang difasilitasi telah menafsirkan dinamika kebudayaan di DIY dengan cukup beragam. Asumsinya, film-film tersebut setidaknya mampu mewujudkan tata nilai budaya masyarakat yang berbasis pada nilai-nilai luhur budaya lokal. Namun demikian, beragamnya perspektif dan pendekatan yang digunakan sineas dalam produksi film kompetisi tentunya membangun realita baru akan narasi keistimewaan Yogyakarta. Penelitian ini akan memeriksa bagaimana konstruksi keistimewaan DIY dibagun lewat narasi film-film pemenang kompetisi pada dua tahun belakangan. Proses penelitian saat ini telah mencapai pada tahapan analisis struktur luar narasi kedua film kompetisi produksi Danais 2016-2017. Adanya ketidaksesuaian struktur narasi film-film dengan gagasan yang digunakan untuk menemukan struktur luar menurut Todorov justru menjadi tantangan besar dalam penelitian ini. Ketidaksesuaian ini sekaligus menjadi suatu penemuan yang penting saat keseluruhan proses analisis terselesaikan Since the Privileges Law has been authorized, the Government Cultural Office of the Special Region of Yogyakarta has been consistently holding a film-making funding program. In the genres of fiction and documentary, the facilitated selected films have climbed the Cultural Revolution in the Special Region of Yogyakarta with quite a variety. The assumption is that those films are at least able to realize the cultural values of the society based on the noble values of the local culture. However, the variety of perspectives and approaches used by filmmakers in the production of competitive films, certainly builds a new reality of the Yogyakarta's distinctive narrative. This research will examine how the construction of the privileges of the Special Region of Yogyakarta is built through the narrative of the winning films of the competition in the past two years. The current research process has reached the stage of analysis of the outside narrative structure of the two 2016-2017 Danais production competition films. According to Todorov, the inconsistency in the narrative structure of the films, with the ideas which are used to find the outward structures, has become a major challenge in this research. This incompatibility is also an important discovery when the entire analysis process is resolved.
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Fadilla, Nurul, and Sri Rohyanti Zulaikha. "Pendayagunaan Arsip Film Melalui Kegiatan Pemutaran Film Keragaman Lokal Konten Sebagai Pelestarian Nilai Sejarah dan Budaya Jawa." JPUA: Jurnal Perpustakaan Universitas Airlangga: Media Informasi dan Komunikasi Kepustakawanan 10, no. 2 (December 28, 2020): 128. http://dx.doi.org/10.20473/jpua.v10i2.2020.128-137.

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Penelitian ini bertujuan untuk mengetahui pendayagunaan arsip film melalui kegiatan pemutaran film keragaman lokal konten budaya Jawa DIY yang dilakukan oleh Grhatama Pustaka Balai Layanan Perpustakaan DPAD DIY. Penelitian ini menggunakan metode studi kasus dengan pendekatan kualitatif. Teknik pengumpulan data pada penelitian ini yaitu dengan cara observasi, wawancara, dan studi kepustakaan (library research). Dari hasil penelitian menunjukkan bahwa pendayagunaan arsip film melalui kegiatan pemutaran film keragaman lokal konten budaya Jawa DIY pada Grhatama Pustaka memberikan pengaruh positif dalam melestarikan nilai budaya dan sejarah melalui film, perkenalan budaya dan sejarah dilakukan dengan cara yang cukup berbeda yaitu dari adanya film dokumenter. Hal itu tercermin dari sikap dan perilaku pemustaka yang memberikan feedback secara langsung, baik dari segi film yang menambah wawasan, pengetahuan baru perihal budaya, sejarah serta pariwisata yang telah terjadi yang mungkin belum familiar bagi para pemustaka, dan adanya komentar terkait durasi film yang dirasa singkat sehingga menjadi ketertarikan tersendiri bagi pemustaka untuk ingin menonton film dokumenter lainnya serta statistik pengunjung yang menyaksikan pemutaran film dokumenter kian naik dan bertambah. Rekomendasi dari penelitian ini diharapkan lebih memperbanyak koleksi film dokumenter lainnya, sehingga film lama tidak hanya sekedar menjadi arsip saja tapi dapat didayagunakan kembali sehingga kebermanfaatannya terasa, dan diharapkan untuk lebih mempromosikan, memperkenalkan kegiatan pemutaran film, semakin memperluas jaringan kerjasama agar dapat menjalin hubungan dengan pihak-pihak tertentu terkait pemutaran film dokumenter, agar karya yang dihasilkan jangka waktu penggunaan atau pemanfaatannya dapat dirasakan lebih lama dan dijangkau oleh lebih banyak orang lagi terutama generasi berikutnya di masa depan.
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Suwarto, Dyna Herlina, Benni Setiawan, and Gilang Jiwana Adikara. "The Fragmentation of Indonesian Film Audience." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 74–87. http://dx.doi.org/10.17576/jkmjc-2021-3701-05.

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Nowadays, films can not only be watched in conventional media such as cinema, screening and television but also digital media such as streaming, download and shared archives. This study aims to determine the pattern of audience fragmentation, especially in the cinephile segments. The research employs an explorative qualitative method. The data collection methods include diaries and interviews. Informants were determined using a purposive sampling technique which includes visitors of the movie screened by the Jogja Movie Night, DIY Watching Club, and Cultural Department in July 2018. The results of this study show that, first, conventional media such as cinema and screening are still considered important because they provide a tasting guide, a space for social interaction and technical facilities. Second, attention is managed differently when dealing with conventional and new media. The focus of watching a movie can be created in different ways tailored to the viewing space. Third, film content is used as inspiration to produce films as hobbies and learning space. Also, it can be diverted in other forms such as short stories, performance scripts. Although being exposed to unlimited choices, film viewers only access the relative channels for a certain period. They need public space to interact with film fans, educate their appetite and watch satisfaction. Digital media is used to facilitate the autonomy of choosing and treating films based on their needs and desires. Keywords: Film audience fragmentation, audience interests, consumption pattern, new media, cinephelia.
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Barker, Thomas. "Indie Cinema and the Short Film Assemblage." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 177, no. 2-3 (July 9, 2021): 208–20. http://dx.doi.org/10.1163/22134379-bja10027.

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Abstract Dewi pulang (Dewi goes home), the 2016 short film by Candra Aditya, offers a means to redefine the meaning of independence for contemporary Indonesian screen production. In the years of Reformasi following the end of the New Order, to be independent was to be in solidarity with the reform movement, and to express a DIY sensibility that did not rely on big production companies or the state. In recent years, the meaning of independence has been complicated by a changing cultural economy of film, including the accommodation of many previously independent filmmakers into the mainstream. Rather than seeing independence embodied in the film or filmmaker, this essay considers the history of short film and the foundational role of komunitas (communities) as the location for independent media practice. Independence is theorized as a characteristic of the assemblage of organizations, events, and infrastructures that facilitate the production, circulation, and consumption of short film.
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Slootweg, Tom, and Susan Aasman. "Democratic Television in The Netherlands." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 21. http://dx.doi.org/10.18146/2213-0969.2015.jethc079.

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For this article, the authors retrieved two curious cases of nonconformist TV from the archives of The Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979-1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regarded these cases as two different experiments of participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.
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Linda L. Rath. "Building a DIY Genre Film Festivals Web Resource to Empower Digital Scholarship and Cultural Heritage Participation." Moving Image: The Journal of the Association of Moving Image Archivists 17, no. 1 (2017): 29. http://dx.doi.org/10.5749/movingimage.17.1.0029.

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Savelieva, Elena N., Valeriya E. Budenkova, and Alexandra V. Presnyakova. "TOMSK AMATEUR FILMMAKERS' FILM PRODUCTION AS A PROSUMER PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 103–16. http://dx.doi.org/10.17223/22220836/39/10.

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Regional amateur film production is discussed in the article. The specifics of this phenomenon are determined by two factors: the territorial affiliation and the unprofessional nature the amateur filmmakers activities making films outside the official film studios systems. The spread of film ama-teurism in the 21st century is driven by the development of digital technologies that simplify the film production process. However, the place and importance of amateur filmmakers in modern culture are not adequately investigated, which actualizes this study. The purpose of the article is to reveal the specifics of the production and artistic activities of Tomsk amateur directors. The author's hypothesis is that regional cinema is not only a form of amateur creativity but also prosumers activity. The novelty of the study is determined, firstly, by the attention to the film industry of the Tomsk region, secondly, the original author's approach, considering the activities of amateur directors in the context of the new production paradigm of prosumerism. The methodological basis of the study is the sociocultural approach, film appreciation and study of empiric material (short features, indie cinema, documentary, web-series). The study is constructed as follows: signs, which point to the prosumer character of the Tomsk cinema environ is identified. As a result a set of assertions confirming the involvement of amateur film makers in new forms of DIY practices is formulated. 1) Amateur filmmakers multifunctional activities redound to the blurring of the distinction between production and consumption. 2) It is not in doubt, that is voluntary labor, but the fact that it is unpaid labor is not an essential condition, due to the large economic costs of film production. 3) For Tomsk's amateur directors an unstructured and decentralized organization of the production process is typical. 4) Almost all filmmakers have their own or given means of production. 5) The product specifics (film text) are determined by the individual optics of the author and by his regional belonging. 6) The transformative role of film amateurism is expressed in influencing the identity of its participants and in shaping the cultural identity of the region. The authors conclude that the activity of Tomsk's amateur film production contributes to the cul-tural specifics of the region, influences the development of regional identity, and contributes to the formation of new social ties. This non-profit environ based on the personal enthusiasm of people inter-ested in creative self-realization leads to the prosumers practice extension as a way to overcome the negative manifestations of a consumer society.
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Sharp, Darren. "Participatory Cultural Production and the Diy Internet: From Theory to Practice and Back Again." Media International Australia 118, no. 1 (February 2006): 16–24. http://dx.doi.org/10.1177/1329878x0611800104.

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The free and open source software movements have inspired a new mode of participatory cultural production. The early hacker communities elaborated a sophisticated socio-technical system of network-enabled collaboration culminating in the GNU-Linux operating system. More recently, a range of do-it-yourself (DIY) media technologies have given any user with internet access the ability to become a producer in a variety of social fields. This has spawned an entirely new understanding of authorship and content production in film (machinima), games (player-producers), journalism (blogs), radio (podcasting) and knowledge production (Wikipedia). A number of social science epistemologies embrace ‘practice’ as a representational category to explain the relationship between structure and agency, such as Giddens' (1984) and Bourdieu's (1977) theories of structuration. Missing from most of these accounts is any engagement in practice-based research to construct knowledge about their domains. It will be shown that action research provides an important empirical method capable of extending the field of knowledge about user-led innovation. Action research provides a practice-based method to explore how social shaping occurs in the development of participatory cultural production systems.
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Dissertations / Theses on the topic "DIY Film"

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Davis, James Trent. "Blood in the Grass." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1430.

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This paper thoroughly examines the thesis film, Blood in the Grass. Each area of the film's production is carefully analyzed, including writing, directing, production design, cinematography, editing, sound, and technology and workflow. In addition to these areas, the background and ideology of the filmmaker provides a context for the choices made in production. This overall analysis discusses the effectiveness of the goals set by the filmmaker for the film to be an emotionally effective commentary on capital punishment, and to be conducive to the short film medium.
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Jungen, Christian. "Hollywood in Cannes die Geschichte einer Hassliebe ; 1939 - 2008." Marburg Schüren, 2009. http://d-nb.info/988534932/04.

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Jones, Andrea Cecil. "Design equation for the lip opening of a film extrusion die." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1198897481.

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McClure, Kate Alexandra. "Tear Film Dynamics Associated with Contact Lens Wear." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523579680091666.

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Blüher, Dominique. "Le Cinéma dans le cinéma : Film(s) dans le film et mise en abyme." Paris 3, 1996. http://www.theses.fr/1997PA030021.

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Cette etude propose les premiers jalons d'une approche semio-narratologique d'ensemble et systematique de ce que l'on a pris l'habitude de considerer comme film(s) dans le film. Apres avoir donne un apercu de l'etat des recherches concernant la reflexivite au cinema, elle procede a une classification visant a cerner l'ensemble des films ayant trait au cinema. Puis elle se limite deliberement a l'etude du film dans le film proprement dit, c'est-a-dire a cette configuration particuliere de l'insertion d'extraits de film dans un film. Elle analyse cette figure en ayant recours 1 aux notions descriptives empruntees a la narratologie litteraire, 2 aux recherches concernant l'enonciation filmique et 3 au concept de scenario issu de la pragmatique cognitiviste. Puis, elle propose un modele d'analyse du fonctionnement multiplan du film dans le film, developpe en s'inspirant librement d'etudes linguistiques de la paraphrase. Ce modele d'analyse est ensuite illustre et soumis a l'analyse de trois films (respectivement de fassbinder, leenhardt et fellini). Enfin, elle opere un retour sur une forme plus specifique du film dans le film, la mise en abyme, degageant certaines caracteristiques de cette figure vertigineuse et paradoxale.
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Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from the private and into the public sphere. This thesis looks at what happens when women from three separate horror films of the 1970s begin to trouble the normative ideas of what a good mother is by exaggerating the very conventions themselves. The films of analysis are Halloween (John Carpenter, 1978), The Brood, and Carrie (Brian De Palma, 1976). Rather than directly defying normative expectations of the good mother, the women of these films adhere to these codes in such exaggerated fashions that they become monstrous. Once the spectator deems these women as monstrous, their behavior is noted as performative and open to a possible reimaging of what constitutes a good mother. It is in this possible reimagination of the good mother, due to negative illumination rather than positive prescription, where the revolutionary power of the carnivalesque perspective truly lies. As the main theoretical framework for this thesis, Mikhail Bakhtin's carnivalesque perspective grants spectators the chance to participate in the reimaginations of the normative construction of the good mother. It is here where the monstrosity of these mothers can be seen as not solely as monstrous but also as critical of the normative. As the monstrous interrogates the normative, the spectators begin to question the patriarchal ideals and expectations of the good mother, which allows for reimagining of what constitutes the good mother.
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Napolitano, Valeria. "La Figure humaine dans le cinéma italien des années dix." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0114.

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Cette thèse se compose de quatre parties - une vaste introduction consacrée à un essai futuriste, deux sections "centrales" qui traitent des modèles figuratifs et du geste dans certains films considérés comme les plus significatifs de l'époque (Maciste Alpino, Il fuoco, Assunta Spina, Cabiria), et une conclusion centrée sur un domaine autre que la fiction, le documentaire - que j'ai écrites au cours de quelques années. Les films choisis témoignent du pouvoir du cinéma dont je parle de traduire la relation entre l'homme du début du vingtième siècle et le monde dont il est contemporain. J'ai parlé d'analyse parallèle avec la première génération futuriste italienne. L'intention de cette hypothèse n'est pas que chacun voie un rapport d'ordre proprement esthétique entre la démarche figurative des deux domaines, mais plutôt qu'on se demande si et comment le cinéma italien du milieu des années dix nous parle de la persistance, chez l'homme, d'une double inhumanité
This work is divided into four sections, which have been written during three years : it contrains a long introduction dedicated to a futrist essay (the Manifesto della cinematografia futurista), two central parts where I consider the different models of representation and the gesture (most significant movies : Maciste alpino, Cabiria, Assunta Spina, Il fuoco) and a final part dedicated to the documentary. Each chapter of the central part provides a paralleled study of some of the best examples of "silent movies" produced over the first two decades of the last century, and tries to place them in the cultural context of Italian Futurism; it is inspired to the book of J. F. Lyotard, L'Inhumain, exploring the condition of modernist and contemporary artist. Most important questions : how does this cinema translate the relation between the earliest twentieth-century man and his world? From the earliest comiche to the latest melos, how the directors of this period go on to describe the double identity of human being?
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Wahl, Christoph. "Das Sprechen der Filme über verbale Sprache im Spielfilm ; Versionsfilme und andere Sprachübertragungsmethoden ; Tonfilm und Standardisierung ; die Diskussion um den Sprechfilm ; der polyglotte Film ; nationaler Film und internationales Kino /." [S.l. : s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=970359101.

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Kimball, Samuel H. "Evaporation is the Primary Mechanism of Tear Film Thinning." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243957487.

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Brunner, Philipp. "Konventionen eines Sternmoments die Liebeserklärung im Spielfilm." Marburg Schüren, 2007. http://d-nb.info/988534975/04.

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Books on the topic "DIY Film"

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Die Wirklichkeit des Films: Dokumentarfilm, ethnographischer Film, Jean Rouch. Hildesheim: Olms, 1988.

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Im Dienst der Werbung: Die Boehner-Film 1926-1967. Berlin: Cinegraph Babelsberg, 2004.

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Wien-Film: Träume aus Zelluloid : die Wiege des österreichischen Films. Erfurt: Sutton Verlag, 2007.

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Duke Ellington, day by day and film by film. Copenhagen: JazzMedia, 1992.

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Duca, Lo. Die erotik im film. Basel: Verlag Kurt Desch, 1985.

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Der Ullstein Verlag und der Stummfilm: Die Uco-Film GmbH als Ausdruck einer innovativen Partnerschaft. Wiesbaden: Harrassowitz, 2013.

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Die schönsten Liebesszenen im Film. Leipzig: G. Kiepenheuer, 2002.

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Kuhn, Bernhard. Die Oper im italienischen Film. Essen: Verlag Die Blaue Eule, 2005.

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Heussen, Gregor Alexander. Die Textperson im dokumentarischen Film. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-28456-5.

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Karmitz, Marin. Co mé die. Paris: Editions du Regard, 2001.

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Book chapters on the topic "DIY Film"

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Hickethier, Knut. "Film." In Einführung in die Medienwissenschaft, 248–70. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-00514-4_14.

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Hickethier, Knut. "Film." In Einführung in die Medienwissenschaft, 246–67. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05034-2_14.

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Gooch, Jan W. "Film Die." In Encyclopedic Dictionary of Polymers, 304. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_4927.

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Kanai, Toshitaka. "Flat Die Analysis." In Film Processing, 14–38. München: Carl Hanser Verlag GmbH & Co. KG, 1999. http://dx.doi.org/10.3139/9783446401792.002.

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Perdikoullas, J., J. Vlachopoulos, and J. Vlcek. "Spiral Die Analysis." In Film Processing, 39–57. München: Carl Hanser Verlag GmbH & Co. KG, 1999. http://dx.doi.org/10.3139/9783446401792.003.

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Brückner, Jutta. "¼ber meinen Film »Kolossale Liebe«, historische Filme und vermischte Zustände." In Film, Fernsehen, Video und die Künste, 228–33. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-03527-1_18.

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Ratnam, Mani. "Dil se …" In 100 Film Musicals, 55–56. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_20.

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Pabst, G. W. "Die Dreigroschenoper." In 100 Film Musicals, 57–58. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-568-8_21.

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Predöhl, W., and Bernd Schroeter. "Die Control System of Film Thickness Distribution." In Film Processing, 58–72. München: Carl Hanser Verlag GmbH & Co. KG, 1999. http://dx.doi.org/10.3139/9783446401792.004.

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Köppen, Manuel. "Holocaust im Fernsehen — Die Konkurrenz der Medien um die Erinnerung." In Geschichte im Film, 307–27. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02904-1_15.

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Conference papers on the topic "DIY Film"

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Quindoza Santiago, Lilia. "FILMING ILOKANO NARRATIVES THE DIY DIGITAL FILM IN THE TEACHING OF A PHILIPPINE LANGUAGE." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31287.

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Palazon, Francisco, Yousra El Ajjouri, Michele Sessolo, and Henk J. Bolink. "Perovskites and Beyond: Dry Mechanochemical Synthesis of Multinary Metal Halides." In 1st Interfaces in Organic and Hybrid Thin-Film Optoelectronics. València: Fundació Scito, 2019. http://dx.doi.org/10.29363/nanoge.inform.2019.046.

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Shi, Yongqiang, Araz Yacoubian, David J. Olson, Weiping Lin, and Janies H. Bechtel. "Dry lift-off technology for electrooptic polymer thin films and its photonic device applications." In Organic Thin Films. Washington, D.C.: OSA, 2002. http://dx.doi.org/10.1364/otf.2001.otuc2.

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Eastwick, Carol, Lucie Bertin, and Graham Johnson. "The Effect of Obstacles in a Liquid Film." In ASME Turbo Expo 2006: Power for Land, Sea, and Air. ASMEDC, 2006. http://dx.doi.org/10.1115/gt2006-90520.

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Cooling of bearing chamber walls is achieved by the through-flow of thin oil films, which are typically only a few millimeters thick. Support structures and other features disrupt both air and oil motion within such chambers, leading to localized variations in the oil film thickness, which in turn cause variation in local heat transfer coefficients. In extreme cases, the presence of wall protrusions may result in complete “dry-out” or thickening of the wall film. This paper describes an experimental study that has been undertaken to establish the range of conditions under which shear driven liquid films dry-out upstream and downstream of different obstacles. Three different sizes (0.5”, 1” & 1.5”) of cylindrical and square obstructions were employed. The effect of obstacle shape, size and orientation has been investigated. The interactions of waves and dry-out patches has also been investigated, as has the dependence on previous states (i.e. the liquid flow rate and the whether the surface was previously wetted). A number of conclusions have been drawn that provide a starting point for designers in specifying obstruction shapes that are less likely to cause film dry-out for obstacles that protrude through film flows.
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Smith, Noel A., and Norbert Maurus. "Thermoplastic Nonreactive Solid Dry Film Lubricants." In International Body Engineering Conference & Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1998. http://dx.doi.org/10.4271/982302.

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Hattori, Kei, Takashi Miyamoto, Yoshinori Iino, Shunpei Kodama, Yoshie Okamoto, Kazuki Nakazawa, Makoto Karyu, et al. "Dry etching technologies for Cr film." In Photomask Japan 2018, edited by Kiwamu Takehisa. SPIE, 2018. http://dx.doi.org/10.1117/12.2502053.

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MIYASAKA, Mitsutoshi, Hiroyuki OHSHIMA, and Tatsuya SHIMODA. "Dry Thermal Oxidation of Polycrystalline and Amorphous Silicon Films for Application to Thin Film Transistors." In 1997 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 1997. http://dx.doi.org/10.7567/ssdm.1997.c-8-4.

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Abdullah, S., S. Mohd Yusof, I. Ahmad, A. Jalar, and R. Daud. "Dicing Die Attach Film for 3D Stacked Die QFN Packages." In 2007 32nd IEEE/CPMT International Electronic Manufacturing Technology Symposium. IEEE, 2007. http://dx.doi.org/10.1109/iemt.2007.4417054.

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Parhami, Farnaz, and Stephen Pan. "Effect of Guard Ring Design and Properties of Inter-Layer Dielectric Film on Chip Reliability." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-79081.

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One of the common reliability problems in semiconductor industry is delamination of dielectric films used in the integrated circuit manufacturing process. Although these films have demonstrated good reliability performance in wafer form, once placed in different packages and undergo stress testing (e.g. pressure cooker test) they tend to crack and delaminate and lead to eventual reliability failure of the chip. The die guard ring can impact propagation of cracks that are initiated at the edge of the die into the active circuitry of the die. We designed several guard ring structures and performed finite element analysis to compare the potential of crack propagation for different guard ring designs. It is found that some features of the design do not affect stress intensity factor KI (potential of crack propagation). For long crack (3.75 um), structure A may reduce KI. But, structure B will increase KI. From fracture mechanics point of view, structure A may stop crack propagation toward die center. However, with structure B, the crack may still penetrate into the die. For short crack (1.25 um), effect of guard ring structure design is negligible. We have made experimental wafers using our wafer manufacturing processes to create structure A and B around the dice. Some wafers were made with film AA as interlayer dielectric and some with film BB as interlayer dielectric. SEM inspections validate our FEM models that structure A captures more cracks at the edge of the die and prevents its propagation into the die while structure B is less effective. We have shown that even with incorporation of structure B guard ring, film BB looses adhesion to other layers and delaminates upon exposure to humidity in pressure cooker test while film AA never delaminates.
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Tews, D., F. Michalik, R. Haidar, M. Thoms, Mengliau Goh, and Simon Li. "Non-etching adhesion promoter for dry film for semi-additive manufacturing — Advanced dry film pre-treatment." In 2013 8th International Microsystems, Packaging, Assembly and Circuits Technology Conference (IMPACT). IEEE, 2013. http://dx.doi.org/10.1109/impact.2013.6706633.

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Reports on the topic "DIY Film"

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D.G. Penn, M.L. de Bertodano, P. Lykoudis, and S.G. Beus. Dry patch stability of shear driven liquid film. Office of Scientific and Technical Information (OSTI), May 2000. http://dx.doi.org/10.2172/770675.

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Goldammer, S. E. Converting printed wiring product processing to aqueous processable dry film photoresist. Final report. Office of Scientific and Technical Information (OSTI), July 1996. http://dx.doi.org/10.2172/266640.

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Capage, Dana. Die unbewältigte Vergangenheit: the Third Generation and the Holocaust in Recent Literature and Film. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2229.

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Goldammer, S. Characterization of DuPont 9015, aqueous processable dry film photoresist for printed wiring boards. Topical report. Office of Scientific and Technical Information (OSTI), April 1995. http://dx.doi.org/10.2172/69316.

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Mahat, Marian, and Wesley Imms. A Day in the Life of a Student: Facilitator Guide. University of Melbourne, 2020. http://dx.doi.org/10.46580/124325.

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A Day in the Life of a Student workshop is a design thinking workshop developed by DLR Group (an integrated design firm) and adapted by the Innovative Learning Environment and Teacher Change project at the University of Melbourne, Australia. The activities involve educators mapping out how one student spends his/her day in school and building a model of the learning environment based on this one student. With an emphasis on the visual learning that comes from modelling experiences, this workshop helps participants develop student-improvement focused practices in innovative learning environments.
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Bahney, Robert. Effective thermal conductivity method for predicting spent nuclear fuel cladding temperatures in a dry fill gas. Office of Scientific and Technical Information (OSTI), December 1997. http://dx.doi.org/10.2172/757327.

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Thomstatter, John. Final Joint Test Protocol JP-P-1-1 for Validation of Alternatives to Lead-Containing Dry Film Lubricants for Antigalling/Antifretting, Antiseizing, and Assembly Aid Applications. Fort Belvoir, VA: Defense Technical Information Center, September 2004. http://dx.doi.org/10.21236/ada473657.

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Wilkins, Justin, Andrew McQueen, Joshua LeMonte, and Burton Suedel. Initial survey of microplastics in bottom sediments from United States waterways. Engineer Research and Development Center (U.S.), September 2021. http://dx.doi.org/10.21079/11681/42021.

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Given the reported extent of microplastics in the aquatic environment, environmentally relevant exposure information for sediments dredged by the US Army Corps of Engineers will lend context to the risks posed by this contaminant during dredging. We measured the occurrence, abundance, and polymer composition of microplastics in sediments collected from nine dredged waterways and two non-dredged reference areas. The number of particles in sediment samples ranged from 162 to 6110 particles/kg dry wt., with a mean of 1636 particles/kg dry wt. Fragments were the most prevalent shape observed among the 11 study sites (100% frequency of occurrence), followed by fibers (81%), spheres (75%), foams (38%) and films (34%). Based on analyses of chemical composition of the particles using Fourier transform infrared spectroscopy, polyethylene:propylene was the most common polymer type observed. Consistent with results presented by other investigators microplastic concentrations and polymer types in bottom sediments in this study were also aligned with the most widely used plastics worldwide.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.

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Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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Ander, Kjell. An abdominal stridulation organ in Cyphoderris (Prophalangopsidae) and concerning the systematic classification of the Ensifera (Saltatoria). MacEwan University Library, January 2021. http://dx.doi.org/10.31542/r.gm:2687.

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Ensiferan insects (crickets, katydids, grigs and allies) are well known for rubbing parts of their cuticle together to produce sound: a process called stridulation. In this article Swedish entomologist Kjell Ander describes a novel (at the time) stridulatory apparatus in the great grig, Cyphoderris monstrosa (Prophalangopsidae), a relict ensiferan found in the mountainous regions of western North America. Ander used preserved specimens to predict the sound-producing function of a pair of abdominal file-scraper apparatuses, although he was never able to directly test his proposed mechanism nor did he speculate as to the adaptive significance of the structures. The article concludes with a review of the systematic placement of various higher level taxa within the order Orthoptera, of which Ensifera is one suborder.
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