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Books on the topic 'Filmat material'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Sundarkrishnaa, K. L. Friction Material Composites: Materials Perspective. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012.

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2

Barquinha, Pedro. Transparent oxide electronics: From materials to devices. Hoboken, N.J: Wiley, 2012.

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3

Polymer films in sensor applications: Technology, materials, devices and their characteristics. Lancaster, Pa: Technomic Pub. Co., 1995.

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4

Materials science in microelectronics. Croton-on-Hudson, N.Y: GiRo Press, 1995.

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5

Machlin, E. S. Materials science in microelectronics. 2nd ed. Amsterdam: Elsevier, 2006.

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6

Materials science in microelectronics. 2nd ed. Amsterdam: Elsevier, 2005.

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7

International, Conference on Wear of Materials (14th 2003 Washington D. C. ). Wear of materials. Amsterdam: Elsevier, 2003.

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8

The materials science of thin films. Boston: Academic Press, 1992.

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9

J, Hampden-Smith Mark, ed. Aerosol processing of materials. New York: Wiley-VCH, 1999.

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10

Nanocomposite coatings and nanocomposite materials. Stafa-Zuerich: Trans Tech Publications, 2009.

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11

Wasa, Kiyotaka. Thin film materials technology: Sputtering of compound materials. Norwich, N.Y: William Andrew Pub., 2004.

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12

Thin film growth: Physics, materials science and applications. Oxford: Woodhead Pub Ltd, 2011.

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13

Materials science of thin films: Deposition and structure. 2nd ed. San Diego, CA: Academic Press, 2002.

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14

Vsesoi͡uznoe mezhotraslevoe soveshchanie Tonkie plenki v ėlektronike (4th 1993 Moskva, Russia & Ulan-Udė, Russia). Tonkie plenki v ėlektronike: Materialy IV Mezhregionalʹnogo soveshchanii͡a. Moskva: Rossiĭskai͡a akademii͡a nauk, Buri͡atskiĭ institut estestvennykh nauk, In-t fizicheskoĭ khimii, 1993.

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15

Sundarkrishnaa, K. L. Friction Material Composites: Materials Perspective. Springer, 2013.

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16

Ramesh, R. Thin Film Ferroelectric Materials and Devices. Springer, 2011.

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17

1960-, Ramesh R., ed. Thin film ferroelectric materials and devices. Boston: Kluwer Academic Publishers, 1997.

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18

Li, Liang, and Qing Yang. Advanced Coating Materials. Wiley & Sons, Incorporated, John, 2018.

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19

Li, Liang, and Qing Yang. Advanced Coating Materials. Wiley & Sons, Incorporated, John, 2018.

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20

Williams, Tami. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0007.

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This concluding chapter explains how Dulac's cinema, in its aesthetic and sociopolitical complexity, is only beginning to be recognized and understood. Dulac studies until recent years had been limited to a few films, and predominantly to a feminist theoretical approach that launched a recovery of this great filmmaker in the Anglophone context. In contrast, in the French context, Dulac's work has long been subject to a depoliticized formalism, where identity politics and gender considerations have only slowly been making their way into film studies. Drawing on various archival materials (manuscript, printed, filmic) and secondary sources, and considering the environment's dynamic sociopolitical context, the chapter further reveals Dulac's films and her filmic ontology of a “pure cinema,” a cinema of suggestion and potentiality.

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21

S, Mathad G., ed. Thin film materials, processes and reliability. Pennington, NJ: Electrochemical Society, 2001.

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22

Phenomenologys Material Presence Video Vision And Experience. Intellect (UK), 2010.

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23

Kitabatake, Makoto, Hideaki Adachi, and Kiyotaka Wasa. Thin Film Materials Technology: Sputtering of Compound Materials. Noyes Publications, 2003.

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24

Rascaroli, Laura. Temporality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0005.

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Opening with a discussion of the diptych form in film, seen as a dialogic structure activated in a spatiotemporal in-betweenness, this chapter focuses on films constructed around an interstice between incommensurable temporalities. In particular, it looks at filmic practices that spatialize time and at films that articulate the road as a palimpsest through which a diachronic way of thinking develops. The first case study is a diptych by Cynthia Beatt, Cycling the Frame (1988) and The Invisible Frame (2009), which follow the actor Tilda Swinton while she cycles the route along the Berlin Wall, before and after its fall, respectively. The second example, Davide Ferrario’s La strada di Levi (Primo Levi’s Journey, 2007), retraces the route traveled by the writer Primo Levi on his return to Italy after his release from Auschwitz. The temporal gaps carved and exploited by these films are at once material, historical, and ideological.

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25

Tiwari, Ashutosh, and Mikael Syv�j�rvi. Advanced 2D Materials. Wiley & Sons, Incorporated, John, 2016.

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26

Mathad, G., T. Cale, and H. Rathore. Thin Film Materials, Processes, and Reliability. Electrochemical Society, 2003.

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27

Ohring, Milton. The Materials Science of Thin Films. Academic Press, 2001.

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28

Film extrusion manual: Process, materials, properties. 2nd ed. Atlanta, Ga: TAPPI Press, 2005.

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29

Butler, Thomas I. Film Extrusion Manual: Process, Materials, Properties. TAPPI, 2005.

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30

Ohring, Milton. The Materials Science of Thin Films. 2nd ed. Academic Press, 2001.

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31

Durbin, Steven M., Martin W. Allen, and Holger von Wenckstern. Zinc Oxide and Related Materials - 2009. University of Cambridge ESOL Examinations, 2014.

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32

Lang, W., R. Herino, and H. Munder. Porous Silicon: Material, Technology and Devices: Proceedings of Symposium 1 on Porous Silicon (European Materials Research Society Symposia Proceedings). Elsevier Publishing Company, 1996.

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33

Regel, Liya L., and William R. Wilcox. Centrifugal Materials Processing. Springer, 2012.

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34

Handbook of Thin Film Materials. Academic Press, 2002.

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35

Handbook of Thin Film Materials. Academic Press, 2002.

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36

Handbook of Thin Film Materials. Academic Press, 2002.

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37

Handbook of Thin Film Materials. Academic Press, 2002.

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38

Handbook of Thin Film Materials. Academic Press, 2002.

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39

aerosol processing of materials. Wiley-VCH; 1 edition (December 14, 1998), 1998.

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40

2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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41

Banks, Craig E., and Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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42

Banks, Craig E., and Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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43

Banks, Craig E., and Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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44

Banks, Craig E., and Dale A. C. Brownson. 2D Materials: Characterization, Production and Applications. Taylor & Francis Group, 2018.

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45

Forster, Chris. Filthy Material. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840860.001.0001.

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Modernist literature is inextricable from the history of obscenity. The trials of such figures as James Joyce, D. H. Lawrence, and Radclyffe Hall loom large in accounts of twentieth-century literature. Filthy Material: Modernism and the Media of Obscenity reveals the ways that debates about obscenity and literature were shaped by changes in the history of media. The emergence of film, photography, and new printing technologies shaped how “literary value” was understood, altering how obscenity was defined and which texts were considered obscene. Filthy Material rereads the history of modernist obscenity to discover the role played by technological media in debates about obscenity. The shift from the intense censorship of the early twentieth century to the effective “end of obscenity” for literature at the middle of the century was not simply a product of cultural liberalization but also of a changing media ecology. Filthy Material brings together media theory and archival research to offer a fresh account of modernist obscenity with novel readings of works of modernist literature. It sheds new light on figures at the center of modernism’s obscenity trials (such as Joyce and Lawrence), demonstrates the relevance of the discourse of obscenity to understanding figures not typically associated with obscenity debates (such as T. S. Eliot and Wyndham Lewis), and introduces new figures to our account of modernism (such as Norah James and Jack Kahane). It reveals how modernist obscenity reflected a contest over the literary in the face of new media technologies.

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46

(Editor), Jef Poortmans, and Vladimir Arkhipov (Editor), eds. Thin Film Solar Cells: Fabrication, Characterization and Applications (Wiley Series in Materials for Electronic & Optoelectronic Applications). Wiley, 2006.

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47

Advanced Dielectric, Piezoelectric, and Ferroelectric Thin Films: Proceedings of the 106th Annual Meeting of the American Ceramic Society, Indianaplois, ... Transactions) (Ceramic Transactions Series). Wiley-American Ceramic Society, 2005.

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48

Bruce, Tuttle, American Ceramic Society Meeting, and Advanced Dielectric, Piezoelectric and Ferroelectric Thin Films Symposium (2004 : Indianapolis, Ind.), eds. Advanced dielectric, piezoelectric and ferroelectric thin films: Proceedings of the 106th Annual Meeting of the American Ceramic Society : Indianapolis, Indiana, USA (2004). Westerville, Ohio: American Ceramic Society, 2005.

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49

Marrone, Gaetana. The Cinema of Francesco Rosi. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.001.0001.

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Francesco Rosi’s work, which includes an impressive number of individually celebrated films, occupies a unique place in postwar Italian, indeed postwar world, cinema. Over the years, Rosi has offered films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. The truth itself, so fragmented and confused, may never be discovered. Rosi’s logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This study addresses Rosi’s films as mosaics fashioned out of “clips” collected from the various stages of production, most specifically from the director’s own archival materials. It examines Rosi’s creative use of film as document (and as spectacle). This is, inevitably then, a study of the specific cinematic techniques that characterize Rosi’s work and that visually, compositionally, express his vision of history and the elusive “truth” of past and present social and political realities.

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50

Film Extrusion Manual-Process Materials, Properties: Process, Materials, Properties. Tappi, 1997.

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