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Books on the topic 'Functional thin films'

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Published: 4 June 2021
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1

Zhang, Sam, Jyh-Ming Ting, and Wan-Yu Wu. Functional Thin Films Technology. New York: CRC Press, 2021. http://dx.doi.org/10.1201/9781003088080.

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Zribi, Anis, and Jeffrey Fortin, eds. Functional Thin Films and Nanostructures for Sensors. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/b138612.

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3

Schneller, Theodor, Rainer Waser, Marija Kosec, and David Payne, eds. Chemical Solution Deposition of Functional Oxide Thin Films. Vienna: Springer Vienna, 2013. http://dx.doi.org/10.1007/978-3-211-99311-8.

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4

Fla.) Epitaxial Growth of Functional Oxides Symposium (2003 Orlando. Epitaxial growth of functional oxides: Proceedings of the international symposium. Edited by Goyal A. (Amit), Electrochemical Society Electronics Division, Electrochemical Society. Dielectric Science and Technology Division, and Electrochemical Society Meeting. Pennington, N.J: Electrochemical Society, 2005.

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5

service), SpringerLink (Online, ed. Orthogonal Supramolecular Interaction Motifs for Functional Monolayer Architectures. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012.

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6

Kinō busshitsu no shūsekimaku to ōyō tenkai: Assembled and organized films of functional materials and their applications. Tōkyō-to Chiyoda-ku: Shīemushī Shuppan, 2014.

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7

Kinōsei mukimaku: Kaihatsu gijutsu to ōyō = Functional inorganic films : new technologies and applications. Tōkyō: Shīemushī Shuppan, 2011.

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8

Pulsed laser deposition of thin films: Applications-led growth of functional materials. Hoboken, N.J: Wiley-Interscience, 2007.

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9

Symposium, A. on Microstructuring and Microsystems (1995 Strasbourg France). Small scale structures: Proceedings of Symposium A on Microstructuring and Microsystems, Symposium B on Materials for Sensors: Functional Nanoscaled Structures, and Symposium E on Structure and Properties of Metallic Thin Films and Multilayers of the 1995 E-MRS Spring Conference, Strasbourg, France, May 22-26, 1995. Amsterdam: Elsevier, 1996.

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10

Kagaku Gijutsu Shinkō Kikō. Kenkyū Kaihatsu Senryaku Sentā. Nanotekunorojī Zairyō Yunitto. Nijigen kinōsei genshi hakumaku ni yoru shinki zairyō, kakushin debaisu no kaihatsu: Development of new materials and innovative devices using atomically thin 2D functional films. Tōkyō-to Chiyoda-ku: Kagaku Gijutsu Shinkō Kikō Kenkyū Kaihatsu Senryaku Sentā Nanotekunorojī Zairyō Yunitto, 2012.

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11

Scherer, Maik Rudolf Johann. Double-Gyroid-Structured Functional Materials: Synthesis and Applications. Heidelberg: Springer International Publishing, 2013.

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12

Noboru, Oyama, Birss Viola, Electrochemical Society. Physical Electrochemistry Division., and Electrochemical Society Meeting, eds. Proceedings of the Symposium on Molecular Functions of Electroactive Thin Films. Pennington, NJ: Electrochemical Society, 1999.

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13

Loew, Katharina. Special Effects and German Silent Film. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231.

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In recent decades, special effects have become a major new area of research in cinema studies. For the most part, they have been examined as spectacles or practical tools. In contrast, Special Effects and German Silent Film, foregrounds their function as an expressive device and their pivotal role in cinema’s emergence as a full-fledged art. Special effects not only shaped the look of iconic films like Nosferatu (1922) or Metropolis (1927), but they are central to a comprehensive understanding of German silent film culture writ large. This book examines special effects as the embodiment of a “techno-romantic” paradigm that seeks to harness technology – the epitome of modern materialism – as a means for accessing a spiritual realm. Employed to visualize ideas and emotions in a medium-specific way, special effects thus paved the way for film art.
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14

Gasperini, Chiara, and Tommaso Rafanelli. SIMdisaster. Florence: Firenze University Press, 2007. http://dx.doi.org/10.36253/978-88-8453-616-7.

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SIMdisaster is a simulation software conceived to respond to the training needs of health operators managing aid in maxi-emergencies, since the reproduction of such events for didactic purposes proves to be both complex and costly. SimDisaster reconstructs the scenario of a catastrophe using photos and films manipulated using computer graphics and integrated with three-dimensional objects generated by the computer. An interactive interface makes it possible to assess the scenario and hence take decisions about the logistics of aid operations, the choice of auto-protection techniques, triage intervention and maintenance of the principal vital functions. The scenario then evolves in real time depending on the choices made by the user.
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15

Gurshtein, Ksenya, and Simonyi, eds. Experimental Cinemas in State Socialist Eastern Europe. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462982994.

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Was there experimental cinema behind the Iron Curtain? What forms did experiments with film take in state socialist Eastern Europe? Who conducted them, where, how, and why? These are the questions answered in this volume, the first of its kind in any language. Bringing together scholars from different disciplines, the book offers case studies from Bulgaria, Czech Republic, former East Germany, Hungary, Poland, Romania, and former Yugoslavia. Together, these contributions demonstrate the variety of makers, production contexts, and aesthetic approaches that shaped a surprisingly robust and diverse experimental film output in the region. The book maps out the terrain of our present-day knowledge of cinematic experimentalism in Eastern Europe, suggests directions for further research, and will be of interest to scholars of film and media, art historians, cultural historians of Eastern Europe, and anyone concerned with questions of how alternative cultures emerge and function under repressive political conditions.
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16

Zakharov, Nikolay. Conceptualization of society in social-philosophical and philosophical-historical reflection. ru: INFRA-M Academic Publishing LLC., 2017. http://dx.doi.org/10.12737/23038.

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The book is one of the first monographs published in Russian, which covers in detail the theoretical, methodological and applied aspects of the formation of behavioral Economics as a special branch of science and economic practice. The article reveals the essence, sources and results of economic behavior of economic entities in the conditions of the existing political and economic system in Russia. The author substantiates the ways and technologies of economic growth activation based on further strengthening of the functional role of a person and his constructive behavior in the system of modern social production. The author's merit is an interdisciplinary approach to the problem under study, including the use of theoretical and applied Economics, management, psychology, sociology, computer science, and futurology. The book can be useful for managers of bodies and organizations of the state and municipal management system, business structures and consulting firms, teachers and students studying this issue.
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17

Donglu, Shi, ed. Functional thin films and functional materials: New concepts and technologies. Berlin: Springer, 2003.

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18

Functional polymer films: Characterization and applications. Weinheim: Wiley-VCH-Verl., 2011.

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19

Zhang, Sam. Nanostructured Thin Films and Coatings: Functional Properties. Taylor & Francis Group, 2017.

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20

Zribi, Anis, and Jeffrey Fortin. Functional Thin Films and Nanostructures for Sensors. Springer, 2009.

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21

Chemical Solution Deposition Of Functional Oxide Thin Films. Springer, 2011.

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22

H, Richardson Tim, ed. Functional organic and polymeric materials: Molecular functionality--macroscopic reality. Chichester, England: Wiley, 2000.

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23

Solution Synthesis of Inorganic Functional Materials - Films, Nanoparticles, and Nanocomposites: Volume 1547. Cambridge University Press, 2013.

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24

Orthogonal Supramolecular Interaction Motifs for Functional Monolayer Architectures Springer Theses. Springer, 2012.

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25

Synthesis, Characterization, and Applications of Functional Materials - Thin Films and Nanostructures: Volume 1675. Materials Research Society, 2014.

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26

Zribi, Anis, and Jeffrey Fortin. Functional Thin Films and Nanostructures for Sensors: Synthesis, Physics and Applications. Springer, 2010.

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27

Shi, Donglu. Functional Thin Films and Functional Materials: New Concepts and Technologies (Springer Series in Materials Science). Springer, 2003.

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28

Eason, Robert. Pulsed Laser Deposition of Thin Films: Applications-Led Growth of Functional Materials. Wiley-Interscience, 2006.

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29

1953-, Eason Robert, ed. Pulsed laser depostion of thin films: Applications-led growth of functional materials. Hoboken, NJ: Wiley, 2007.

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30

Rooij, N. F. de, A. L. Greer, J. M. Moret, and C. V. Thompson. Small Scale Structures: Proceedings of Symposium a on Microstructuring and Microsystems, Symposium B on Materials for Sensors : Functional Nanoscaled Structures, ... Research Society Symposia Proceedings). Elsevier Publishing Company, 1996.

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31

(Editor), Anis Zribi, and Jeffrey Fortin (Editor), eds. Functional Thin Films and Nanostructures for Sensors: Synthesis, Physics and Applications (Integrated Microanalytical Systems). Springer, 2008.

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32

Functional Thin Films and Nanostructures for Sensors: Synthesis, Physics and Applications (Integrated Analytical Systems). Springer, 2009.

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33

Handbook of Sputter Deposition Technology: Fundamentals and Applications for Functional Thin Films, Nano-Materials and MEMS. Elsevier Science & Technology Books, 2012.

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34

Scherer, Maik Rudolf Johann. Double-Gyroid-Structured Functional Materials: Synthesis and Applications. Springer, 2013.

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35

Scherer, Maik Rudolf Johann. Double-Gyroid-Structured Functional Materials: Synthesis and Applications. Springer, 2013.

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36

Functional Oxide Based Thin-Film Materials. MDPI, 2020. http://dx.doi.org/10.3390/books978-3-03928-838-0.

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37

Tisato, Kajiyama, and Aizawa M. 1942-, eds. New developments in construction and functions of organic thin films. Amsterdam: Elsevier, 1996.

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38

Oyama, N., and V. Birss. Molecular Functions of Electrons (Electrochemical Society Proceedings). Electrochemical Society, 1998.

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39

New Developments in Construction and Functions of Organic Thin Films. Elsevier, 1996. http://dx.doi.org/10.1016/s1383-7303(96)x8013-x.

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40

Vogan, Travis. The NFL’s Smithsonian. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0004.

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This chapter focuses on the NFL Films archive, the largest sports film archive in the world. Building from the authenticity and emotional power the company assigns to film, president Steve Sabol calls the NFL Films archive “the soul of the NFL,” “the NFL's Smithsonian,” and “football's wine cellar.” NFL Films' archive consists of two main parts that serve overlapping functions: a fire-proof, temperature-controlled, limited-access vault that houses and safeguards nearly all the film the company has created and purchased since Blair Motion Pictures' beginning; a film library that organizes copies of footage for inclusion in the company's productions and for sale to clients. This chapter examines the NFL Films archive's role in the company's efforts to create, circulate, and control the National Football League's image.
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41

Fox, Alistair. The Coming-of-age Film as a Genre: Attributes, Evolution, and Functions. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0001.

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This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its evolution of the French New Wave and European art cinema. The chapter concludes by speculating on why coming-of-age films are such a prominent feature in national cinemas, arguing that they play an important role in the development of collective memory and the transmission and reshaping of cultural values.
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42

Cooper, L. Andrew. Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0001.

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This book explores the extreme violence that pervades Dario Argento's films, and particularly the ways in which they push the limits of visual and auditory experience by offending, confusing, sickening, and baffling the viewers. It looks at Argento's approach to his work over more than four decades of filmmaking, and his commitment to innovation that is evident in two closely related genres whose disturbing violence reaches previously unrecorded levels of pain, suffering, and mental anguish: crime thriller and supernatural horror. From his directorial debut, The Bird with the Crystal Plumage (1970), to Giallo (2009), Argento's films challenge a viewer's accepted ideas about film spectatorship, meaning, storytelling, and genre. This book also looks at the centrality of collaboration, particularly with family, in Argento's work by analyzing sixteen films that feature him as writer and director. Finally, it discusses how Argento's films function as rhetorical interventions against dominant views on film criticism, interpretation, narrative, and conventions through an examination of interpretive possibilities that connect the films to broader tendencies in film history.
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43

Burrill, Derek A. “He’s Doing His Superman Thing Again”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.016.

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This chapter explores how bodies in the Matrix film series function as markers of larger cultural, technological, and ideological shifts, particularly with regard to identity, movement, and the cinematic apparatus.
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44

Thomson, C. Claire. Citizens of the Future: Informational Film and the Welfare State. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0008.

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Although informational films made for domestic audiences in 1950s Denmark sometimes circulated internationally, their primary function was to instruct the populace about national institutions and infrastructure. They help to shape and renegotiate citizenship and national identity on screen, and mediate new technologies, laws and practices. This chapter examines five such films covering a range of topics: the national rail network, public libraries, home economics training for housewives, careers advice, and sport and leisure. Of these, three were directed by Theodor Christensen, a leading figure in Danish documentary. The production history of each film is outlined and contextualised within the contemporary socio-political developments and innovations which, in most cases, triggered the film projects. The chapter also describes the national network of informational film distribution, including Statens Filmcentral, and the screening of films in a range of venues such as cinemas, libraries and leisure clubs. The distinction in the Danish context between the forfilm (for theatrical exhibition) and foreningsfilm (for use by clubs and societies) is examined.
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45

Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.

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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.
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46

Friedlander, Jennifer. Documentary Real-ism. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0003.

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This chapter considers two recent films, Catfish (Ariel Schulman and Henry Joust) and This Is Not a Film (Jafar Panahi), with a view to arguing how the most prized indicators of filmic realism can function as signs of lapses in the realist edifice. It argues that such signs function as pointers to the elusive truth characteristic of what will be called “Real-ism” — that is, hints of the Real that emerge precisely when the symbolic framework governing reality becomes imperiled. In particular, these films exploit the realist conventions that lend credibility to the documentary form in a way that not only demonstrates the commonplace expectation that what is presented as truth might turn out to be a fiction but also shows the more radical possibility that fiction may pave the pathway for arriving at truth.
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47

Platte, Nathan. From the Ranch to the Drawing Room. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0012.

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In story and production, Duel in the Sun and The Paradine Case have little in common, but it is precisely their contrasts that show how music served both a more elaborate and experimental function in Selznick’s postwar films. For Duel, Selznick construed a genre-bending western of operatic proportions, striving for “an equivalent of [Wagner’s] Tristan.” Inspired and intimidated by the comparison, composer Dimitri Tiomkin churned out music, much of it rejected. From film to soundtrack album, Tiomkin relied upon choral director Jester Hairston and editor Audray Granville to realize the film’s musical program. As Selznick conceded, The Paradine Case sought to make amends for Duel’s lapses of taste. In this emotionally chilled mystery of a piano-playing murder suspect, Franz Waxman’s music both conceals and discloses characters’ motivations. In adapting musical scenes from the source novel for the screen, Selznick and Hitchcock cast music as the hinge upon which deception swings.
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48

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.
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49

Bliss, Michael, ed. A Uniquely American Epic. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178141.001.0001.

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Widely acknowledged as a highly innovative film, Sam Peckinpah’s The Wild Bunch was released in 1969. From the outset, the movie was considered controversial because of its powerful, graphic, and direct depiction of violence, but it was also praised for its lush photography, intricate camera work, and cutting-edge editing. Peckinpah’s tale of an ill-fated, aging outlaw gang bound by a code of honor is often regarded as one of the most complex and influential Westerns in American cinematic history. The issues dealt with in this groundbreaking film—violence, morality, friendship, and the legacy of American ambition and compromise—are just as relevant today as when the film first debuted. To honor the significance of The Wild Bunch, this collection brings together leading Peckinpah scholars and critics to examine what many consider to be the director’s greatest work. The book’s nine essays explore the function of violence in the film and how its depiction is radically different from what is seen in other movies; the background of the film’s production; the European response to the film’s view of human nature; and the role of Texas/Mexico milieu in the narrative.
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50

Koresky, Michael. Bathed in the Fading Light. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038617.003.0001.

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This chapter examines the film career of British director Terence Davies. The cinema of Davies is one of contradictions—between beauty and ugliness, the real and the artificial, progression and tradition, motion and stasis. These opposites reflect a certain struggle, for the filmmaker and his characters, to make sense of a confusing and sometimes violent world. For Davies, this struggle constitutes a reckoning with his past, a highly personal account of a fractured childhood; for the viewer it has resulted in one of the richest, most idiosyncratic, and arrestingly experimental bodies of work put out by a narrative filmmaker. The chapter focuses on the distinct emotional quandaries Davies' films evoke in the viewer and proposes that their tonal and political in-betweenness is a form of cinematic queering. Through the exploration of their contradictions, these films function within seemingly recognizable generic parameters only to then explode and thus queer conventional notions of narrative cinema.
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