Academic literature on the topic 'Silent film area'

This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.

Questions have been raised by many filmmakers over the years as to whether the 1965 coup in Indonesia was the handiwork of the Indonesian Communist Party. American/British documentary filmmaker, Joshua Oppenheimer, who has previously made The Act of Killing on the same subject, poses the question again with a new documentary. But this time, he takes a cinematic approach by fully utilising the language of film to create a solemn and meditative work. He focuses on the faces and the silence of the individuals involved, in an effort to probe their minds. The individuals are some of the surviving killers as well as the brother and family of one of those who were killed. Oppenheimer also places emphasis on landscape as character. In the area of the killings, the landscape stands as a silent witness to the horrors perpetrated there. The demonisation of the communists continues till today in Indonesia, as it does in Malaysia as well as Singapore. The millennium saw revisionist histories surfacing that explored the blatant demonisation and vilification of communists. Films with a creative approach began to be made by young people who explored what had transpired, in an effort to foreground the truth.

The philosophical and aesthetic ideas of phenomenology have been present in cinema theory since the silent period. Methods of phenomenological theory can be found in the analysis of the visual aspects of films or the artistic style of their authors. The essay analyses signs of phenomenological thinking in the audiovisual aspects of films - a little studied but significant area of directorial aesthetics. Its theoretical and methodological foundation includes the phenomenology of Edmund Husserl and elements of phenomenological aesthetics in the works of Maurice Merleau-Ponty and Roman Ingarden. Taking the work of a significant representative of auteur cinema, the Austrian director Michael Haneke, the author explores cinematic variations of the concept of phenomenological reduction, the method of perfectly clear apprehension of the essence and the layered semantic structure of the film. Conclusions are drawn about the presence of typological signs of phenomenological thinking in the work of other filmmakers, such as Robert Bresson and Jean-Pierre and Luc Dardenne. Visually, this presence is expressed in the tendency towards asceticism and documentarism in the choice of artistic devices; towards the disclosure of cinematic phenomena (facts); and aurally, in the tendency to minimize off-screen music and get rid of the expressiveness in the actor's speech, towards greater semantic significance of intra-frame music, individual sounds, pauses and non-sounds.

A series of amorphous silicon carbide films were prepared by plasma enhanced chemical vapor deposition technique on (100) silicon wafers by using methane, silane, and hydrogen as reactive resources. A very thin (around 15 Å) gold film was evaporated on the half area of the a- SiC:H films to investigate the metal induced crystallization effect. Then the a-SiC:H films were annealed at 1100 0C for 1 hour in the nitrogen atmosphere. Fourier transform infrared spectroscopy (FTIR), X-Ray diffraction (XRD), and scanning electron microscopy (SEM) were employed to analyze the microstructure, composition and surface morphology of the films. The influences of the high temperature annealing on the microstructure of a-SiC:H film and the metal induced metallization were investigated.

SiCOH thin films were deposited on rigid silicon (Si) wafers and flexible ITO/PEN substrates via plasma-enhanced chemical vapor deposition at room temperature using a tetrakis(trimethylsilyloxy)silane (TTMSS) precursor. Different chemical compositions of hydrocarbon and Si–O bondings were obtained depending on substrate types and deposition conditions. The main chemical compositions of the as-deposited films were observed as C–Hx (x = 2, 3) stretching, Si–CH3 bending, Si–O–Si stretching, and H–Si–O bending/Si–CH3 stretching modes. With regard to the as-deposited films, the dielectric constant increased from 1.83 to 3.45 when the plasma power increased from 20 to 80 W and the lowest leakage current of 1.76×10-4 A/cm2 was obtained at the plasma power of 80 W. After bending tests with 1000, 5000, and 10000 bending cycles, the dielectric constants of the SiCOH films increased and leakage currents decreased. The structures of the SiCOH films after the bending tests were highly complicated with a variety of chemical bonding combinations. Higher peak intensity and peak area of main chemical bonding were obtained with the increased bending cycles, resulting in the increase in dielectric constants. It should be noted that the film with small changes in peak area fractions of the bending and stretching modes showed good electrical and mechanical stabilities after bending tests.

Steel is one of the most widely used metal materials, and corrosion of steel surfaces is a serious problem. Traditional chromate passivation produces hexavalent chromium with high toxicity and carcinogenicity. To solve toxicity and pollution problems, a chromium-free passivation method was adopted to replace the traditional process. Based on the reaction mechanisms of some silane coupling agents, a new method of chromium-free passivation and anti-white rust production is presented in this paper. The chromium-free passivation process of an inorganic material-silane-resin composite was used in the study. The microstructure and corrosion resistance of a hot-dip galvanized sheet and silane passivation film were compared by using a neutral salt spray test, scanning electron microscopy, infrared spectroscopy and X-ray photoelectron spectroscopy. The mechanism of film formation was studied. The results show that the surface of the passivation film is dense and smooth without sharp protrusions and has a stable skeleton structure inside. The structure of the passive film is C=O, Si–O, C–Si, C–H, Si–O–Zn, Si–O–Si, etc. A chromium-free passivation film prepared with a disilane can effectively prevent penetration between the corrosive medium and matrix. After a 96 h corrosion test, the corrosion area is less than 5%, which meets the requirements of some industrial production processes.

Powder formation in silane plasmas has been considered as a technology drawback because it might lead to the formation of macroscopic defects in the deposited layers. Here we summarize our recent efforts in controlling the formation of powder precursors, in particular, nanocrystalline silicon particles, aiming at their incorporation in the films. Indeed, the incorporation of clusters and crystallites along with SiHx radicals allows production of polymorphous silicon films with improved structure and transport properties with respect to standard amorphous silicon films.

This article proposes the ‘non-speaking narrator’ as a methodological tool of analysis and writing with reference to the film Persona, directed by Ingmar Bergman. Focusing on the dialectic between the two characters of the film, the article brings forward the idea that the narrative is relayed by the constant silence of one of the characters. Since the nature of that silence changes the extent of the lingual content, it leads the talking character into divulgence. The ‘non-speaking narrator’ thus brings forward silence as a way of being heard, suggesting a new perspective also to everyday life conventions in communication. This power of the non-speaking narrator as a methodological tool derived from practice has the potential to generate multiple interpretations and can be applied to various areas of communication studies.

The corrosion resistance of chromium-free passivation film with single chromate-free passivation solution to deal with galvanized steel still has a gap compared to chromate passivation. In this experiment, the passivation solution consisting of the inorganic salt as corrosion inhibitor, silane as sealer, water-based epoxy resin and additives which formed a layer of inorganic and organic composite passivation film on galvanized steel through the synergistic effect between inorganic and organic. The morphology and elements of the passivation film was analyzed by scanning electron microscopy (SEM) and the corrosion resistance of the composite film was tested by neutral salt spray test (NSS), lead acetate spot test (ASS), tafel polarization curves and AC impedance spectroscopy (EIS). The results show that the composite film has a good adhesion and an excellent corrosion resistance, the corrosion area is only 3% after 72h NSS.

Microcontact printing of hydrophobic OTS (Octadecyl-Trichloro-Silane) material was made on various substrates, and finely patterned CdS thin film has been fabricated by CBD (Chemical Bath Deposition) method. In the preliminary experiment, it is confirmed that the size of colloid particle and roughness of surface of CdS thin film are increased with increase of pH, fabrication time and temperature. The optimum condition for the selective deposition of CdS film pattern using the SAM with microcontact printing was determined to be pH 10, temperature of 75°C, deposition time of 15 minute. Various patterns of different shape of CdS thin film were fabricated uniformly and satisfactorily in large area by the conditions determined in the present work. The stoichiometric composition of CdS was confirmed to be 1:1 by EDS and XPS.

Traditionally a Shakespeare film is seen as an act of translation from one idealised source of meaning (the text) to another (the language of cinema). This approach dismisses or misinterprets the majority of films made because they are either silent or foreign. Silent films, it is claimed cannot recreate the text. Many foreign films distort the plays' 'meaning' to cater for their audiences. This thesis challenges these assumptions by analysing two representative examples from these 'areas of resistance', Rather than compare these to an ideal concept of the plays it seeks to contextualise the films in their social and historical positions. The subjects chosen are the silent films made prior to 1912, and Kurosawa's Kumonosu jo (Macbeth. 1957). By studying the history of nineteenth Shakespeare presentation in art, literature and the theatre this thesis demonstrates that the pre-1912 films were part of a long-established tradition of silent and spectacular performances. Between 1907 and 1912 British companies used this tradition to try and create a high-class style of film to challenge the influx of mass-produced narrative-base melodramas from North America. The second section describes how Shakespeare was used by a nascent class of urban intellectuals in 19th and 20th century Japan to define the problems of the individual's relationship to the state. Kumonosu jo , a film by a self-confessed liberal humanist, perpetuates this tradition by formulating a nihilist study of militarism using the structures of the Noh theatre. Finally the thesis points out that each of these areas of film is emblematic of the position of Shakespeare in a specific culture at a specific time. Only an analysis which seeks to understand a film as a historically conditioned act of meaning can avoid the mis-readings and sweeping appropriations that non-orthodox Shakespeare films have been subject to in the past.

La recevabilité de la preuve est sans doute l’une des questions les plusimportantes de l’espace de liberté, de sécurité et de justice de l’Union européenne,mais aussi une des plus complexes. Les difficultés relatives à l’utilisation d’unepreuve recueillie dans un État membre, devant les juridictions répressives d’un autreÉtat membre, semblent cependant avoir été sous-estimées par le législateureuropéen. En effet, l’amélioration de l’efficacité de la répression transnationale a étéune des priorités de la politique criminelle de l’Union ces quinze dernières années. Àce titre, le renforcement des mécanismes de coopération judiciaire, y compris ceuxvisant à l’obtention de la preuve transnationale, a été privilégié. Grâce au principe dereconnaissance mutuelle des décisions judiciaires en matière pénale, fondé sur laconfiance réciproque que les États membres se portent, les divergences etéventuelles incompatibilités entre les systèmes nationaux ont été tenues en échec,permettant ainsi la libre circulation des preuves dans l’espace pénal européen.Cependant, cette justification théorique n’est pas suffisante pour assurer larecevabilité mutuelle des preuves, la bonne administration de la preuve pénaledemeurant une question nationale, souverainement appréciée par le juge national.De plus, tant l’étude comparative des régimes probatoires nationaux que laprésentation des instruments de coopération judiciaire montrent des déficiencesprofondes, appelant ainsi à une protection accrue et harmonisée des droitsfondamentaux dans les procédures répressives au niveau européen, dans le butd’assurer la recevabilité mutuelle des preuves pénales dans l’espace pénaleuropéen
Admissibility of evidence is one of the most crucial and complicatedissues in the European Union’s area of freedom, security and justice. However, thedifficulties regarding the use of evidence gathered in one Member State inproceedings in another Member State through the mechanisms of judicialcooperation seems to have been underestimated by the European Union legislator,and this despite the success of criminal proceedings with a cross-border characterbeing considered a priority for the last fifteen years. Indeed, the EU’s criminal policyhas been striving for the strengthening of the efficiency of judicial cooperationbetween judicial authorities. This requires the improvement of the instrumentsdedicated to obtaining criminal evidence. Thanks to the principle of mutualrecognition of judicial decisions in criminal matters, based on mutual trust betweenMember States, the differences between and potential incompatibilities of nationalsystems should not be an obstacle to the free circulation of evidence in the EUcriminal justice area.However, this theoretical justification is not sufficient to ensure mutual admissibility ofevidence, as the good administration of evidence remains a national issue, with awide margin of appreciation accorded to the national judge. Furthermore, both thestudy of national procedural norms and the study of the European Union legalframework show deficiencies, requiring a coherent concept for the protection offundamental rights in criminal proceedings at the EU-level. A better and harmonisedprotection of procedural guarantees is the path to ensure the mutual admissibility ofevidence, overcoming national differences

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.

This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.

In this introduction to early and silent cinema, which is currently enjoying a renaissance, both academically and in the popular imagination thanks to The Artist, the author provides both a comprehensive chronology of the period until the birth of sound and also a series of detailed case studies on the key films from the period—some well-known (including Griffith's The Birth of a Nation, Eisenstein's Strike and Chaplin's The Kid), some perhaps less well familiar (including Murnau's The Last Laugh and Oscar Micheaux's Within Our Gates). As well as covering in detail the major film-making figures and nations of the period, the book also provides insights into the industry in less well-documented areas. Throughout, the films and film-makers are placed in the context of rapid worldwide industrial change.

This book, the first book-length study of pioneering and prolific filmmakers Ted and Leo Wharton, offers a fascinating account of the dynamic early film industry. As the book demonstrates, the Wharton brothers were behind some of the most profitable and influential productions of the era, including The Exploits of Elaine and The Mysteries of Myra, which starred such popular performers as Pearl White, Irene Castle, Francis X. Bushman, and Lionel Barrymore. Working from the independent film studio they established in Ithaca, New York, Ted and Leo turned their adopted town into “Hollywood on Cayuga.” By interweaving contemporary events and incorporating technological and scientific innovations, the Whartons expanded the possibilities of the popular serial motion picture and defined many of its conventions. A number of the sensational techniques and character types they introduced are still being employed by directors and producers a century later.

This chapter begins with David Selznick’s apprenticeship in silent cinema under his father, Lewis J. Selznick, in New York. As with other directors and producers who learned film in the silent era, Selznick’s early experiences shaped his attitude to cinema, even long after the introduction of sound. This chapter argues that musical traces from Lewis J. Selznick’s films, such as sheet-music tie-ins from War Brides (directed by Herbert Brenon, 1916), and the father’s tense relationship with New York’s musically effusive exhibitor, Samuel “Roxy” Rothafel, are critical for understanding David Selznick’s use of music in later films as means for reconciling aesthetic and commercial aims. The chapter concludes with Selznick’s work at Paramount, the studio at which Selznick gleaned many important lessons concerning music in early sound films. A discussion of Selznick’s Four Feathers and The Dance of Life prepares the stage for the producer’s bolder musical operations at RKO.

Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary's Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.

Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.

Techno-romantic thought, which construes machine technology as a means to reach beyond material reality, is still with us today. It is reflected in the vogue of speculative fiction in contemporary moving image media, which has been made possible by radical advances in digital visual effects. Computer-generated imagery has brought into reach the fully malleable photograph, a dream that epitomizes a major triumph of the human mind over outside reality and thus an essentially techno-romantic fantasy. The same ambition already animated German silent filmmakers, who saw special effects as a way to shape mechanically produced images. Their use of trick technology for conveying thoughts and emotions gives rise to a new research area: special/visual effects as artistic tools.

This chapter examines the second decade of cinema, which runs approximately from 1905 to the start of World War I in 1914. This period sees the establishment of an industrial organisation for film, both in Europe and the USA. The development of the industry involves two key concepts in film studies: vertical and horizontal integration. Essentially, as the industry developed and firms grew larger, they attempted to exert ever greater control on the market. The key was exhibition, which is where the actual money from admissions was made. Both France and the USA are interesting models for study in this development, and each has distinctive features. The study should include as many of the key factors that enabled this growth in monopoly. These include the development of the dedicated film theatre, the introduction of a rental system, and the developments in programming and film form. Also, there is the rich area of stardom as this period sees the establishment of the film centre Hollywood.

This chapter discusses the technical and inventive basis for cinema, and briefly describes the important pioneers. It covers the developments prior to the invention of cinema and the first decade of its development, approximately 1895 to 1905. This is a distinct period in film, sometimes characterised by the term ‘primitives and pioneers’. Not all scholars are happy with the term primitive. The films seem simple compared with the complexities of late silent features, but they are also sophisticated in their own way. The screening of a good quality copy of a Georges Méliès' film would emphasise this point of view. There are three clear avenues for study: the technology itself, technique and language, and the idea of the ‘cinema of attractions’. It should be clear that even though these early films are not strictly narratives in the accustomed sense, they are full of opportunities for the study of representations and value systems.

Restoring films is a major preoccupation of all film archives. Film heritage must not only be preserved, but also given a new life so that it can be shown to the widest possible audience. The aim of restoration consists as much as possible in reinstating a film in its original form. This is even more difficult to achieve when dealing with the silent films that have survived to this day, often in an incomplete state. Main title cards and intertitles are frequently missing, which makes films difficult to follow and understand. How do we go about restoring title cards and reviving the meaning and comprehension of the film? How can we remain loyal to what filmmakers had in mind and what they wanted to achieve? A few examples from recent or older restorations done at the Centre national du cinéma et de l’image animée show what difficulties we have to overcome.

This chapter addresses film translation into Hebrew in Mandatory Palestine, from the 1920s to the 1940s, when silent films were gradually replaced by talkies and the need for translation increased. It combines ‘macro history’ with ‘micro history’, the study of history through primary sources. Its main primary sources are the autobiographies of two pioneering translators, Ya’akov Davidon and Yerushalayim Segal, who specialised in dubbing and subtitling, respectively. While local production at that time served Zionist ideology, the main function of foreign films was to provide entertainment. Film translators faced two obstacles: official British censorship and the objection on the part of some sectors of Jewish society to the screening of films in foreign languages, considered a threat to Hebrew. Despite these obstacles, translators had the freedom to import, invent, and experiment with new technologies, and to adapt not just the translation to the film, but also the film to the translation.

This chapter evaluates the teen years of cinema, which roughly corresponds to World War I, 1914–1918. Many of the changes were under way before the war and only reached full development afterwards. Thus, the Hollywood studio system had its roots at the start of the teens, and it is only considered fully developed with the arrival of M-G-M in 1924. It was in these years that Hollywood first became synonymous with ‘the movies’ for the large majority of filmgoers, at home and abroad. The development and increasing sophistication of Hollywood film-making are clear subjects of study. In terms of film-makers, D. W. Griffith and Cecil B. De Mille are key examples; both directors can be studied in order to understand the development of Hollywood's narrative and continuity system. While this was not fully developed until the end of the teens, the conventions on which it is built can be clearly identified in the work of both directors. Outside the USA, there are many interesting developments and changes. However, it is quite difficult to access copies of the films from this period.

This chapter examines the elements of cinema and how Tarkovsky carefully approaches them. In turn, color, composition, meaning, silence, and sound are investigated as presented in the film and Tarkovsky’s journals. Color and sound and their intentional absences in particular, are of note in this chapter, due to Tarkovsky’s films for their deliberate precision with regard to the use of silence and black and white sequences. For him, the use of color in film feels gimmicky, and only through the absence of color, does its usage have cinematic relevance. Similarly, Tarkovsky emphasizes silence in Stalker to reintroduce sound with further emphasis, which this chapter compares to other Tarkovsky films like Solaris and The Mirror. Finally, the chapter concludes with an examination of the usage of Beethoven’s “Ode to Joy” in the film, and its ideological implications.

This introductory chapter highlights how film translation history is a new discipline, a coming together of film history and translation history. It provides a definition of film translation as encompassing all the conventional modes of film translation of the silent and talking periods. Because of the polysemiotic nature of the film medium, film translation includes related interventions of all kinds, such as editing changes and image and sound manipulation. The chapter also emphasises how this volume is driven by a multidisciplinary and international approach to film translation history, and contributes to scholarship seeking to transnationalise film history. It details the aims and structure of the book, and shows how crucial archival and access issues are to understanding the evolution of film translation, and to raising awareness about the nature of the films we watch and listen to.

This is the first extensive interview with the “Orpheus of nitrate,” Bill Morrison, whose forte is finding interesting imagery, often imagery with obvious film decay, in celluloid film archives, then fashioning this material into works of his own. Morrison has explored American archives—most often, the paper print collection in the Library of Congress and the Moving Image Research Collections housed at the University of South Carolina, which archive the outtakes of the newsreels Fox Movietone produced for theatrical exhibition between 1928 and 1963; and recently, a collection of early silent films unearthed in the permafrost in Dawson City, Canada. Morrison is particularly drawn to moments when obvious film decay seems related to the content or implications of the imagery that remains uncorrupted. Morrison’s breakthrough feature, Decasia (2002), like nearly all his subsequent works, was produced in collaboration with accomplished composer/musicians from around the world. Morrison’s films are to be understood as image-music experiences.

When restoring a film, the aim is naturally always to provide the definitive version. However, many factors make this an impossible mission. This chapter draws on actual film archival practice and theory, exposing a minefield of obstacles facing any academic study trying to examine film history based on restored works. The focus is on silent cinema restoration, intertitles, and translation issues. Using Mark-Paul Meyer and Paul Read’s categories—from a one-to-one duplication to the creation of an altogether new work—the aim is to give an insight into the complexity of silent film restoration and the practical, and sometimes very unacademic, nature of the actual restoration work. The fact that most film restorations typically concentrate on image quality rather than titles, which are often merely supposed to support the visual action, adds to the complexity of transparency about the provenance of the filmic titles as an object of study.

This paper focuses on the parametric modeling and optimization of the Chemical Vapor Deposition (CVD) process for the deposition of thin films of silicon from silane in a vertical impinging CVD reactor. The parametric modeling using Radial Basis Function (RBF) for various functions which are related to the deposition rate and uniformity of the thin films are studied. These models are compared and validated with additional sampling data. Based on the parametric models, different optimization formulations for maximizing the deposition rate and the working areas of thin film are performed.

Chemical Vapor Deposition (CVD) process is simulated and optimized for the deposition of a thin film of silicon from silane. The key focus is on the rate of deposition and on the quality of the thin film produced. The intended application dictates the level of quality need for the film. Proper control of the governing transport processes results in large area film thickness and composition uniformity. A vertical impinging CVD reactor is considered. The goal is to optimize the CVD system. The effect of important design parameters and operating conditions are studied using numerical simulations. Then Compromise Response Surface Method (CRSM) is used to model the process over a range of susceptor temperature and inlet velocity of the reaction gases. The resulting response surface is used to optimize the CVD system.

Abstract The need to test for the durability and capability of a coating before being subjected to service is highly important for engineering applications. Ultra-low indentation of nano-hardness and nano-scratch are valuable methods of measuring durability and near-surface mechanical properties of thin films. AISI 304 stainless steel was coated with Repellix superhydrophobic coating using chemical vapor deposition (CVD) and atomic layer deposition (ALD) techniques at constant processing parameters. The deposited films were characterized through nanoindentation, nanoscratch, and water contact angle to establish the effect of coating technique on the mechanical properties of the thin films. The results established that the ALD deposition technique has better hardness but less wear resistance when compared to the sample produced using the CVD method. ALD also showed to have a lower contact angle in comparison with a coating deposited by CVD. Overall, it is expected that the substrate coated by CVD would outperform samples produced via ALD as regards to typical applications where good wear and corrosion resistance are required.

In this study the effects of silica size (or specific surface area), mechanical properties and crosslink density on the wear of silica-filled SBRs (styrene butadiene rubbers) were examined. The modulus of each silica-filled SBR examined was proportional to crosslink density. The wear rate of silica-filled SBRs was reduced as the modulus and crosslink density increased. The wear rates increased as the specific surface area of the silica fill particles decreased, when the content of silane coupling agent was constant. As a result, the wear rate was shown to be lower as the modulus and crosslink density increased.

Filmwise condensation of a low surface tension fluid (i.e. refrigerant) on microstructured aluminum surfaces is studied to investigate the effect of the structures on condensation heat transfer at low temperature. The hypothesis is that the structures may cause thinning of the condensate film at micro-scales, thus resulting in an enhancement of condensation heat transfer. However, the structures may also decrease the mobility of the condensate near the surface due to increased friction, thus potentially leading to performance deterioration. The aim of this work is to investigate which of the two counteracting mechanisms dominate during filmwise condensation. Condensation experiments are carried out in a low-temperature vacuum chamber. Compared with the Nusselt model of condensation, the microstructured surfaces, either coated or uncoated, show similar performance, with potentially slight enhancement at low subcooling degree and slight deterioration at high subcooling degree. When the microstructured and silane-coated surface is infused with a non-volatile and very low-surface-tension lubricant oil, the lubricant is displaced by the condensate and there is almost no change in the condensation performance. Our results show that, unlike the case of dropwise condensation of high-surface tension fluids, microstructured and coated surfaces with/without infusing oil is not exciting to enhanced filmwise condensation of low-surface-tension fluids.

We demonstrate the multiscale analysis of the transport phenomena in a low pressure reactor. In this method, the macroscopic phenomena such as the temperature and the density distribution are related to the microscopic electronic structure of atom/molecule. By connecting the different scales with physical models, the macroscopic properties are obtained starting from the first principle calculation without any empirical parameters. Here, we take the silicon epitaxial growth from a gas mixture of silane and hydrogen as an example. As the first step of this method, we calculated the intermolecular potential energy of SiH4/H2 using the ab initio molecular orbital calculations. Then, an analytical pair potential model was constructed to reproduce the potential energy surface obtained from the ab initio calculation. We have confirmed the validation of the potential model by comparing the experimental data of the transport properties with the molecular dynamics simulation using the potential model. Subsequently, the binary molecular collision models were constructed by the classical trajectory calculation using the potential model as the second step of the multiscale analysis. The trajectory calculations were conducted for the various combinations of the initial translational and the rotational energy. Through the statistical analysis of the trajectory calculations, the elastic/inelastic collision cross section and the scattering angle model were constructed. Finally, the direct simulation Monte Carlo simulation of flow field in a low parssure reactor was executed. The thin film thickness distribution was also investigated and discussed. This method was extended to analyze the surface reaction, which is an ongoing research work and only the current progress is reported here.

Negative pressure is one of the metastable states of liquids at which it can be extended up to a certain limit without a gap of continuity. There are numerous experimental studies where a negative pressure up to 40 MPa has been obtained at laboratory conditions. However, these results of the experimental works were not practically implemented, as real liquids both in the nature and the technological processes contain impurities. Under certain kinetic and hydrodynamic conditions the waves of negative pressure in real liquids (crude oil, water, and water-based solutions) were observed. The wave of negative pressure is a turned soliton wave with one negative hump. It is a conservative wave, which maintains its shape and dimensions, and travels long distances with the speed of sound. An advanced technology of generation of the negative pressure wave in real systems allowed creating completely new energy saving technology. This technology based on negative pressure phenomenon has been already used for increasing oil production efficiency during various oil well operations, cleaning of oil well bore, and pipelines from various accumulations. It is shown that a new technology has a lot of potentials for bottom-hole cleaning operations, oil recovery enhancement, pipeline transportation, gas-lift operation etc. Negative pressure is known to be one of the metastable states at which liquids can be extended up to a certain limit. Theoretic evaluations show that in pure liquids negative pressure may reach large values while the liquid may stand significant extending efforts. For instance, the maximum negative pressure that may be sustained by ideally pure water is estimated as −109N/m2. It means that an imaginable rope of completely pure water with the diameter of 0.01m can sustain a huge extending effort more than 105 N. It is evident that the real experimental values of negative pressure are much less than the corresponding theoretic estimations. It is connected with the impossibility of obtaining ideally pure liquids without any “weak places” (gas bubbles, admixture, etc) and with the circumstance that in experience, the rupture often happens not in the liquid volume but on the surface touching the walls of the vessels weakened by the existence of thin films, embryos, etc. There are numerous results of the experimental work of static and dynamic character, where negative pressure has appeared in one or another degree [1]. In laboratory conditions, negative pressure apparently was first revealed in the experiences made by F. M. Donny (1843), who used degassed sulfuric acid and obtained negative pressure only −0.012 MPa. Among the further attempts of receiving bigger negative pressure, it is worth mentioning the experiences made by O.Reynolds, M.Bertelot and J.Meyer. Basing upon a centrifugal method and using mercury, L.J.Briggs obtained the record value of negative pressure (−42.5 MPa). But as a matter of fact, beginning from the first experiences by F. M. Donny, the main condition in the investigations for the appearance of negative pressure has been the homogeneous character of the liquid and high degree of the purity the liquid-vessel system. Significant values of negative pressure has been obtained under those conditions, however these results of a great scientific importance have no effective applications in practice as real liquids in Nature and technological processes are heterogeneous multicomponent systems. A long-term experimental work has been done to generate negative negative pressure in real liquid systems and investigate influence of this state on thermohydrodynamical characteristics of natural and technological processes [2,3]. Basing on the idea that negative pressure can be created due to the sudden character of extending efforts a direct wave of the negative pressure in real liquids (water, oil, solutions etc.) have been obtained experimentally. For impulsive entering into metastable (overheated) zone in a phase diagram “liquid-vapor” the pressure should drop so fast that the existing centers of evaporation (bubbles, embryos, admixtures etc.) would not be able to manifest themselves for this period. In these terms purity of the liquid is not decisive, and herewith there might exist states of an overheated liquid with the manifestation of negative pressure. It was determined that wave of the negative pressure resembling overturned soliton wave with one but negative peak propagates with speed of sound. The typical variation of the pressure in the petroleum stream in pipe is given in Figure 1. Reversed wave of the negative pressure was not recorded during the experiments. Evidently this is associated with considerable structural changes in the liquid after the passing of the direct wave. The arising negative pressure though being a short-term, results in a considerable overheating of the fluid system and leads to spontaneous evaporation and gas-emanation with the further cavitation regime. It was determined that after passing of the negative pressure wave hydraulic resistance in the system becomes much less, and significant increase of permeability of the porous medium and intensification of the filtration process take place. On the base of the investigations it was made a conclusion that any discharge in the hydraulic systems when the drop of the pressure requires much less time that relaxation of the pressure in the system inevitably results in the arising of rarefaction wave, in particular, the negative pressure wave [4]. The larger is the hydraulic system and the higher is the depression of the pressure, the more intensively the negative pressure wave may manifest itself. In certain terms waves of the positive pressure may be reflected from free surfaces, different obstacles, from contact surfaces between phases in the form of the reverse wave of the negative pressure. On this base there were presented numerous theoretical and experimental works on the simulation of the process, investigation of impact of the negative pressure on certain physical features of real systems [5]. The negative pressure wave may lead to very hard complications: showings of oil and gas leading sometimes to dreadful open fountains, borehole wall collapse, column crushing, gryphon appearance [6]. Analysis of numerous facts of complications, troubles in wells as water-oil-gas showings, crushing of columns, collapses, gryphon formation demonstrates that they arise usually as a result of round-trip operations in drilling of wells and their capital repairs. The negative pressure wave may be initiated by a sudden pulling of pipes or drilling equipment, as well as their sudden braking, quick opening of a valve at the well exit, etc, resulting in metastable extension of the working fluid agent. Though impulse negative pressure manifests itself as a significant dynamic factor, its structural consequences are more dangerous for an oil well. Moving along a well the negative pressure wave results in the spontaneous boiling of the water in the drilling fluid, and as a result of considerable reduction of its specific weight the hydrostatic column is “switched-off’ for some seconds and this may be sufficient for oil and gas showings of the well to be appeared accompanied often by crushing of columns and collapsing of wells due to great destroying energy manifestation. Negative pressure waves may be considered also as one of the dominant factors in geophysical processes, especially, in evolution and appearance of volcanic eruptions and earthquakes [7,8]. Extreme dynamic processes in the underground medium as a matter of fact can be considered as a synergetic manifestation of the negative pressure together with other thermohydrodynamical factors. The waves of negative pressure in the underground environment may be initiated by tectonic dislocations and faults as a result of different dynamic processes, dramatic decrease of pressure during the displacement of fluids and rocks. They may arise also in the form of a reverse waves as a result of reflection of ordinary seismic waves from different underground surfaces. On the basis of received results the method of artificial creation of negative pressure waves has been created [4]. The essence of the method is that negative pressure waves can be generated by means of discharge in hydraulic systems (pipes, wells, etc) when the drop of the pressure takes place during the characteristic time much less than that of pressure relaxation in the system. The greater is the volume of hydraulic system and the higher is the depression of the pressure, the more intensively the negative pressure wave may manifest itself. This method was taken as a basis of elaboration of principally new technologies and installations to increase effectiveness and efficiency of some oil recovery processes. It has been worked out and widely tested in field conditions new technologies on using of the negative pressure phenomenon for cleaning of oil producing hydraulic systems/well bore, pipeline/from various accumulations and increasing of effectiveness of oil producing at different well operation methods. The technology provides generation negative pressure waves in the well using the special mechanisms that leads to the shock depression impact upon the oil stratum, and as a result, to considerable growth in the oil influx, bottom-hole cleaning, accompanied by essential saving both reservoir and lifting energies, elimination and prevention of sandy bridging, paraffin, silt, water, etc. accumulations. For implementations of these technologies corresponding installations have been elaborated, in part, equipments for cleaning out of oil holes from sand plugs, increasing of efficiency and effectiveness of gas-lift well operations and bottom-hole pumping. In cleaning out of oil-holes from sand plugs the most operative and effective liquidation of different sand plugs irrespective of their rheological character is provided, associated with complete bottom-hole cleaning, essential increase of oil recovery and overhaul period. Elaborated equipment is simple and easy to use. Other comparatively advantageous application of the technology provides increase of efficiency of a gas-lift well operation, expressed in considerable reduction of a specific gas consumption associated with essential increase of oil recovery and overhaul period. The design of the equipment is reliable and simple to service. There are different modifications of the equipment for single-row, double-row lifts in packer and packerless designs. The introduced technologies have passed broad test in field conditions. The operative and complete cleaning of numerous oil wells was carried out, where the altitude of sand plugs varied from 20m to 180m; oil output of wells and their overhaul period have been increased and specific gas discharge reduced significantly.

The article is an introduction to an individual research subject called The Communicational Potential of Silence, planned – and partially already realised since 2020 – as a cycle of publications based on diversified example material. In print are already two texts: G. Filip, The Communicational Potential of Silence. Film Reviews (University of Rzeszów Publishing House) and G. Filip, The Communicational Potential of Silence. Automotive Brand Press Maria Curie-Skłodowska University of Lublin Publishing House). The presented here English-language article serves for popularization Poland-wide and local (University of Rzeszów) research in the field communications.