Journal articles 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.

Superscript textHigh conductivity,high crystalline volume fraction p-type microcrystaline silicon(p-μc-Si:H) thin films prepared by high-pressure VHF-PECVD are reported in this paper．The effects of the boron concentration, the silane concentration and the plasma power on the microstructures and electrical characteristics of P-μc-Si:H thin films are investigated. The results show that the microstructures and electrical characteristics of thin films relied on the deposition parameters. By optimizing the deposition parameters, very thin(31 nm) P-μc-Si:H thin films have been obtained at the doping ratio of 0.4% , SC at 1.2% and power at 1800W. The Xc of P-μc-Si:H thin films was 67% with 4.3% uniformity ,the dark conductivity was 0.68S/cm with 5.1% uniformity. By employing this P-μc-Si:H thin films, an initial conversion efficiency of 8.12% was obtained for a 0.79 m2a-Si:H/μc-Si:H tandem module by Al as back reflector.

Chitosan-based films have a diverse range of potential applications but are currently limited in terms of commercial use due to a lack of methods specifically designed to produce thin films in high volumes. To address this limitation directly, hydrogels prepared from chitosan, chitosan-tetraethoxy silane, also known as tetraethyl orthosilicate (TEOS) and chitosan-glutaraldehyde have been used to prepare continuous thin films using a slot-die technique which is described in detail. By way of preliminary analysis of the resulting films for comparison purposes with films made by other methods, the mechanical strength of the films produced was assessed. It was found that as expected, the hybrid films made with TEOS and glutaraldehyde both show a higher yield strength than the films made with chitosan alone. In all cases, the mechanical properties of the films were found to compare very favorably with similar measurements reported in the literature. In order to assess the possible influence of the direction in which the hydrogel passes through the slot-die on the mechanical properties of the films, testing was performed on plain chitosan samples cut in a direction parallel to the direction of travel and perpendicular to this direction. It was found that there was no evidence of any mechanical anisotropy induced by the slot die process. The examples presented here serve to illustrate how the slot-die approach may be used to create high-volume, high-area chitosan-based films cheaply and rapidly. It is suggested that an approach of the type described here may facilitate the use of chitosan-based films for a wide range of important applications.

The cinematic and televisual reception of the ancient world remains one of the most active strands of classical reception study, so a new addition to the Wiley-Blackwell Companions series focusing on Ancient Greece and Rome on Screen is sure to be of use to students and scholars alike (especially given how often ‘Classics and Film’ courses are offered as a reception component of an undergraduate Classical Studies programme). The editor, Arthur Pomeroy, himself a respected and prolific ‘early adopter’ of this branch of scholarship, has assembled many of the leading names in cinematic reception studies (including Maria Wyke, Pantelis Michelakis, Alastair Blanshard, and Monica Cyrino), alongside a good number of more junior colleagues, resulting in a varied and rewarding compendium that will provide a useful accompaniment to more detailed explorations of this field. (Some, though not all, chapters offer further reading suggestions, and most are pitched at an accessible level.) The twenty-three contributions span the ‘canonical’ and already widely treated aspects of screen reception, from 1950s Hollywood epics to adaptations of Greek tragedy, as well as ranging across material which has only more recently began to attract the attention it deserves, such as TV documentary, or adaptations for younger audiences. The volume is not as easily navigable as it might be, with the four-part division of the chapters sometimes seeming a little arbitrary. (So, for example, a chapter which discusses ‘The Return of the Genre’ in films like Gladiator appears under the heading ‘Comedy, Drama, and Adaptation’, when it might have been better placed in the first section, on ‘The Development of the Depiction of Ancient Greece and Rome on Screen’.) But rich discussions are not hard to find, especially in those chapters which show how cinematic receptions are indicators of more widely felt concerns relating to our reception of the past, as in Blanshard's assessment of ‘High Art and Low Art Expectations: Ancient Greece in Film and Popular Culture’. Michelakis’ chapter on the early days of cinema is also a valuable distillation of some of his recent work on silent film, crisply and concisely setting out the plurality of approaches that must inform our understanding of the cinematic medium (for example, spectatorship, colour, and relationships to other media). More broadly, the collection makes a solid and welcome attempt to put this pluralism into practice, with Pomeroy stressing ‘the complexity of understanding film’ early in his introduction (3). Chapters focusing on music, and costumes, for example, allow us to see productions ‘in the round’, a panoptical perspective which is still too readily avoided by much classical reception scholarship. (It is also good to see at least one chapter which ranges beyond screen media in the West.) Other vital areas of film and TV studies could arguably have received more attention. Some contributors touch on the importance of assessing audience receptions of these films, or the impact of marketing and other industrial considerations (such as screening practices), but more chapters dedicated to these approaches might have been a more sustained reminder to readers of just how widely screen scholarship can (and often needs to) range. To that end, a particularly significant chapter in the book – one of only 3 by non-Classicists – is Harriet Margolis’ account of how film historians might evaluate ancient world film. Newcomers to this field should pay particular attention to this, and to Pomeroy's introductory comments on how we should regard film as much more than a quasi-literary medium.

Organosilanes (e.g., R’-SiOR3) provide hydrophobic functionality in thin-film coatings, porous gels, and particles. Compared with tetraalkoxysilanes (SiOR4), organosilanes exhibit distinct reaction kinetics and assembly mechanisms arising from steric and electronic properties of the R’ group on the silicon atom. Here, the hydrolysis and condensation pathways of n-propyltrimethoxy silane (nPM) and a tri-fluorinated analog of nPM, 3,3,3-trifluoropropyl trimethoxy silane (3F), were investigated under aqueous conditions at pH 1.7, 2.0, 3.0, and 4.0. Prior to hydrolysis, 3F and nPM are insoluble in water and form a lens at the bottom (3F) or top (nPM) of the solutions. This phase separation was employed to follow reaction kinetics using a Turbiscan instrument to monitor hydrolysis through solubilization of the neat silane lens while simultaneously tracking condensation-induced turbidity throughout the bulk solution. Dynamic light scattering confirmed the silane condensation and particle aggregation processes reported by the turbidity scanning. Employing macroscopic phase separation of the starting reactants from the solvent further allows for control over the reaction kinetics, as the interfacial area can be readily controlled by reaction vessel geometry, namely by controlling the surface area to volume. In-situ turbidity scanning and dynamic light scattering revealed distinct reaction kinetics for nPM and 3F, attributable to the electron withdrawing and donating nature of the fluoro- and organo-side chains of 3F and nPM, respectively.

In this paper, an organic/inorganic molybdenum series Cr-free coating was formed on galvanized steel by simple immersion and its corrosion behavior was compared to that of a typical chromate coating. Molybdate and 1-Hydroxy-ethylidene-1, 1-diphosphonic acid (HEDP) were used as corrosion inhibitor, as well as acrylic resin and silane were used as film-former and coupling agents, respectively. The corrosion behavior of the coatings was evaluated by Neutral salt spray (NSS), Electrochemical impedance spectroscopy (EIS) and Tafel polarization. The surface topography of the samples was observed by Scanning Electron Microscopy (SEM). The results indicated that the corroded area of the Mo-HEDP treatment was only corroded 2% after 72 h spraying, while the corrosion behaviour of Mo-HEDP was closed to that of Cr pretreatment due to the synergistic reaction of molybdate and HEDP. Compared with the film of Cr treatment, Mo-HEDP passivating coating was more environmentally friendly.

The silence in Beckett’s plays can be interpreted in many different ways. It often shows the anxiety of the characters faced with the vacuity in their lives. Left to themselves, they hardly manage to let go during these recurring silences (marked in an obsessional way in Beckett’s texts with the word "pause" as an absolute punctuation in the theatrical language). So they really feel the silence as the "arising of nothingness ", a sort of gateway to finitude. This silence is also the one appearing among Beckettian couples to reveal the aporia in language: inability to communicate, "doing" instead of (impossible) "saying". This Beckettian "doing" is shown in a conspicuous gestuality which conveys a certain materiality to this silence as well as it tries desperately to fill it. Thus Beckett’s characters act and give silence some substance, incarnating therefore a full-fledged character. Finally, silence can also embody the religious, at least the expectation (of the divine? in Godot particularly?). This silence grows solemn and reveals a suspension in the speech and characters in search of a follow-up. Silence then becomes the opening of an area where everything is possible since nothing has been said yet, implicitly expressing fantasies of joy and salvation.

The cinema is as much a theatrical form of entertainment as performance on the stage, a fact that is crucial to a full appreciation of Ernst Lubitsch‘s Lady Windermere‘s Fan (Warner Brothers, 1925). Particularly in the cinemas silent era (1895-1925), when motion picture exhibition relied on numerous performance elements, theatrical performance and film exhibition interpenetrated. This underscores a basic conundrum: cinema has been integral to, and an extension of, theatrical culture, even though it has also been something quite different - a new art form. Indeed, the unity of stage and screen was so well established that critics, theorists, historians and artists expended large amounts of intellectual energy distinguishing the two forms while paying little attention to what they held in common. One fundamental feature of theatrical practice that carried over into many areas of filmmaking was adaptation. For Lubitsch, adaptation was a central fact of his artistic practice. This article looks at the history of adaptations of Lady Windermere‘s Fan on stage and screen making reference to textual comparisons, public reception, painting, symbolism and queer readings.

The historiography of the Partition of India, the creative literature andthe films evoked out of the pangs of Partition are primarily concerned withthe Partition of Punjab and Bengal. Assam as the third site of Partition remained under the veil of silence for nearly six decades. In recent years, academic interventions are forthcoming to unveil the human history of the Partition of Assam which triggered a huge forced migration of population in the Brahmaputra Valley, Barak Valley and the hill areas of Assam. Given the discrimination that the Dalits experienced during and after the Partition of India, they are the triply marginalised group due to their caste, class and refugee identities. As the Dalits lacked agency in the Barak Valley, their plight largely remains unattended. In this context, the present paper is an attempt to recover the plight of the Kaibarta Partition refugees who were the victims of forced migration from Sylhet/ East Pakistan to Sonbeel area of Barak Valley of Assam especially, after the communal violence of 1950 in East Pakistan.

Abstract The surface modification of precipitated silica powders by plasma-polymerization with acetylene monomer in order to improve their performance in NBR, EPDM and NBR/EPDM rubber blends, by matching the surface energies of the silica fillers of the rubbers, is the subject of this study. Silica, used as reinforcing filler for elastomers, is coated with a polyacetylene (PA) film and characterized by water penetration measurements, Cetyltrimethyl Ammonium Bromide (CTAB) area, Thermo Gravimetric Analysis (TGA), Time of Flight-Secondary Ion Mass Spectroscopy (ToF-SIMS) and Scanning Electron Microscopy with elemental analysis by Energy Dispersive X-ray spectroscopy (SEM/EDX). All techniques show the evidence of a PA-film deposition on the surface of silica. The properties of NBR, EPDM and blends based on NBR and EPDM, filled with untreated, PA- and silane-treated silica, are investigated by measurement of the Payne effect, the bound rubber content and weight loss related to bound rubber, the reinforcement parameter and mechanical properties. The PA-silica filled samples show a lower Payne effect for EPDM and NBR/EPDM compared to the rubbers filled with unmodified silica. However, PA-silica filled NBR shows a higher Payne effect. This indicates an improved filler dispersion in the EPDM and NBR/EPDM, and a poorer dispersion in the NBR. The reduction of the reinforcement parameter as found for NBR, EPDM and NBR/EPDM indicates a lower degree of agglomeration in comparison with untreated and silane-treated silica. The PA-silica filled samples show the highest bound rubber contents and “in-rubber structure” for both rubbers as well as for the blend, compared to both other silica samples. The mechanical properties of untreated silica filled blend of NBR/EPDM are worse compared to the pure rubbers, but acetylene polymerization onto silica results in a significant improvement relative to the unmodified silica. The combined effects all point in the direction of improved compatibility of the PA-silica with the apolar EPDM. This results in better dispersion and stronger interaction with the EPDM, particularly in the blend with NBR, so as to significantly improve the mechanical properties of the blend relative to the use of untreated or silane-treated silica.

Circular seating arrangements can help instill a sense of belonging within classroom communities with overall positive effects on learning, emotions, and wellbeing. Yet students and their teachers within certain language classroom contexts, due to sociocultural limitations, may be relegated to learning in antisocial environments instilled partly by rank-and-file seating. Attributions for teacher demotivation can often lie in student misbehaviors, while student demotivation, silence, and resistance relate strongly to lack of bodily displays and physical affordances of interpersonal care, understanding, and trust that, if present, would contribute positively to many social aspects of their learning and identity formation. Specifically, rank-and-file seating constricts the area in the classroom most likely to dispose attention and interest to the learning and to others, whereas circular seating potentially expands this area, known as the action zone, to the whole classroom. Seating arrangements therefore can play an important role in the formation of interpersonal dynamics and identity formation among students and their teachers. In this paper, the purposes and ways of using circular seating in language classrooms will be explored from a social psychological perspective. Language teachers are invited to imagine and experiment with possibilities for uses of different seating arrangements in their own classrooms.

Purpose: The purpose of this study is to investigate faculty members’ organizational silence behaviors, the effects of reasons leading to silence, the consequences of silence behaviors and their relationships with some variables of gender and academic titles. Method: The study was conducted as a quantitative descriptive research. The sample of the study is comprised of 554 faculty members. The data of the study were collected through the administration of three questionnaires developed by the researchers to the sample group. In data analysis, descriptive statistics, t-test for independent groups, one-way variance analysis (ANOVA) were employed. Results: The major results of the study are: (1) The faculty members exhibit the silence behavior in three problem areas to a great extent (non-ethical behaviors and practices, administrative functioning and practices and academic structure and functioning) (2) Both the individual factors and factors related to administrative practices are effective over a moderate level in the faculty members’ exhibiting the silence behavior. (3) The faculty members are of the opinions that their organizational silence behaviors result in problems that can considerably affect individual and organizational efficiency. (4) Among all staff, the research assistants show the most silence behavior and observe the consequences of the silence behavior the most. In short, organizational silence is an important managerial proble.Extended English summary is in the end of Full Text PDF (TURKISH) file. ÖzetAmaç: Bu çalışmanın amacı öğretim elemanlarının örgütsel sessizlik davranışına yol açan sorunları, nedenlerini ve sonuçlarını belirlemek ve cinsiyet ve akademik unvan değişkenleri ile ilişkisini incelemektir. Yöntem: Tarama modelinde betimsel bir çalışma olan araştırmanın örneklemini 554 öğretim elemanı oluşturmaktadır. Araştırmanın verileri araştırmacılar tarafından geliştirilen üç ölçeğin örnekleme uygulanmasıyla elde edilmiştir. Araştırma verilerinin çözümlenmesinde betimsel istatistikler, karşılaştırmalarda t-testi ve varyans analizi (ANOVA) kullanılmıştır. Sonuçlar: Araştırmada şu temel sonuçlara ulaşılmıştır: (1) Öğretim elemanları üç sorun alanında (etik olamayan davranış ve uygulamalar, yönetsel işleyiş ve uygulamalar, akademik yapı ve işleyiş) önemli ölçüde sessizlik davranışı göstermektedirler. (2) Öğretim elemanlarının sessizlik davranışı göstermelerinde hem bireysel etmenler hem de yönetsel uygulamalarla ilgili etmenler orta düzeyin üstünde etkili olmaktadır. (3) Öğretim elemanları örgütsel sessizlik davranışlarının bireysel ve kurumsal etkililiği etkileyebilecek sorunlara yol açtığı düşüncesine oldukça yüksek düzeyde sahiptirler. (3) Araştırma görevlileri en fazla sessizlik gösteren ve sonuçlarından en fazla etkilenen akademik unvan grubu olarak görünmektedir. Kısaca örgütsel sessizlik üniversiteler için üstesinden gelmek için çaba gösterilmesi gereken önemli bir yönetsel sorun alandır.

Corrosion to metal is a great challenge to major industries. Anticorrosive coatings can effectively prevent metal corrosion. In this study, we propose a novel method to prepare silica nanoparticles-covered graphene oxide (SiO2-GO) nanohybrids and anticorrosion SiO2-GO/waterborne polyurethane acrylic (WPUA) coatings. Firstly, we obtained silane-functionalized graphene oxide (A-GO) via a simple covalent functionalization of graphene oxide (GO) with 3-aminopropyltriethoxysilane. Secondly, SiO2-GO was synthesized by a simple sol–gel method with tetraethoxysilane in water–alcohol solution. Finally, the obtained SiO2-GO nanofillers were added into WPUA to prepare SiO2-GO/WPUA coatings. GO, A-GO, and SiO2-GO nanohybrids could be confirmed by X-ray diffraction, Fourier transform infrared spectroscopy, Raman spectra, and transmission electron microscope. SiO2-GO nanohybrids showed small size compared with the unfunctionalized GO. Meanwhile, GO, A-GO, and SiO2-GO nanofillers were added into WPUA. The electrochemical impedance spectroscopy and field emission scanning electron microscope indicate that SiO2-GO nanohybrids can be homogeneously dispersed in the WPUA coatings at 0.4% loading level and the SiO2-GO/WPUA film exhibits excellent anticorrosion performance. SiO2-GO nanoparticles can effectively utilize in the area of anticorrosive nanofiller industry. This study provides a convenient method of anticorrosive coating production.

The adsorption and desorption processes accompanying the deposition of silane on Cu(111) and Ni(111) have been investigated using work function change (Δϕ), Auger electron spectroscopy (AES) and thermal desorption spectroscopy (TDS). In the early stages of deposition (0–2 L), at 130 K, on the Cu(111) surface, a predominantly hydrogenic phase forms. Heating the saturated surface to Ts>400 K produces a two-phase system: Cu 2 Si alloy and clean Cu(111). The regenerated Cu(111) phase extends across (16 ± 1)% of the total surface area and this process of clean surface generation can be repeated by redosing onto the mixed phase surface. The temperature coefficient of the work function of the Cu 2 Si alloy surface is -(7 ± 2) × 10-5 eV/K. Dosing silane onto the 110 K Ni(111) surface to saturation deposits a relatively small amount (0.05 ML) of Si. However, the Δϕ and TDS spectra are significantly distorted from their pure H/Ni(111) counterparts.

Aging in later life engenders numerous changes to the cerebral microvasculature. Such changes can remain clinically silent but are associated with greater risk for negative health outcomes over time. Knowledge is limited about the pathogenesis, prevention, and treatment of potentially detrimental changes in the cerebral microvasculature that occur with advancing age. In this review, we summarize literature on aging of the cerebral microvasculature, and we propose a conceptual framework to fill existing research gaps and advance future work on this heterogeneous phenomenon. We propose that the major gaps in this area are attributable to an incomplete characterization of cerebrovascular pathology, the populations being studied, and the temporality of exposure to risk factors. Specifically, currently available measures of age-related cerebral microvasculature changes are indirect, primarily related to parenchymal damage rather than direct quantification of small vessel damage, limiting the understanding of cerebral small vessel disease (cSVD) itself. Moreover, studies seldom account for variability in the health-related conditions or interactions with risk factors, which are likely determinants of cSVD pathogenesis. Finally, study designs are predominantly cross-sectional and/or have relied on single time point measures, leaving no clear evidence of time trajectories of risk factors or of change in cerebral microvasculature. We argue that more resources should be invested in 1) developing methodological approaches and basic science models to better understand the pathogenic and etiological nature of age-related brain microvascular diseases and 2) implementing state-of-the-science population study designs that account for the temporal evolution of cerebral microvascular changes in diverse populations across the lifespan.

This study designed a biomimetic implant for reducing healing time and achieving early osseointegration to create an active surface. Bone morphogenetic protein-2 (BMP-2) is a strong regulator protein in osteogenic pathways. Due to hardly maintaining BMP-2 biological function and specificity, BMP-2 efficient delivery on implant surfaces is the main challenge for the clinic application. In this study, a novel method for synthesizing functionalized silane film for superior modification with BMP-2 on titanium surfaces is proposed. Three groups were compared with and without BMP-2 on modified titanium surfaces in vitro and in vivo: mechanical grinding; electrochemical modification through potentiostatic anodization (ECH); and sandblasting, alkali heating, and etching (SMART). Cell tests indicated that the ECH and SMART groups with BMP-2 markedly promoted D1 cell activity and differentiation compared with the groups without BMP-2. Moreover, the SMART group with a BMP-2 surface markedly promoted early alkaline phosphatase expression in the D1 cells compared with the other surface groups. Compared with these groups in vivo, SMART silaning with BMP-2 showed superior bone quality and created contact areas between implant and surrounding bones. The SMART group with BMP-2 could promote cell mineralization in vitro and osseointegration in vivo, indicating potential clinical use.

Background: Malaria has remained a global burden for many centuries. It remains a major public health disease particularly in the tropic despite several interventional efforts targeted at its elimination. Malaria if not treated early enough could result in patients becoming anaemic. In Nigeria, elderly (60 years and above) represent a vulnerable group of individuals, they enjoy very little attention in terms of specific health related interventions and facilities. This study aimed to assess the prevalence and proportion of asymptomatic malaria infections and anaemia among the geriatric population in Osun state, Southwestern Nigeria.Methods: A community-based cross-sectional study was conducted among 396 elderly with average age of 69.14±7.27 years. Blood samples were collected for the preparation of Giemsa stained blood films for the detection and quantification of malaria parasites microscopically. Packed cell volume (PCV) was assessed using hematocrit.Results: Malaria parasites were present in the peripheral blood of 16.2% of the population and only 9.3% of the elderly were found to be anaemic. The ‘Very old’ age group of >85 years years had highest prevalence of malaria (33.3%) but this was not statistically significant (p=0.17). Male respondents (24.4%) were more infected than females (13.7%) and this was found statistically significant (p=0.015). Having malaria parasite and living in the rural areas were significantly associated with being anaemic, p<0.05 in each case.Conclusions: Considerable proportion of asymptomatic elderly individuals with parasitaemia were found anaemic. This group also represents a silent reservoir for malaria transmission in the country, if not addressed.

God has been very much present in public domain in the life of Rwandans. Every successful enterprise would lead Rwandans to pay tribute to God. At the end of every other failed try the Rwandan would say, ‘ahasigaye ni ah’Imana’ — I have done what I could, the rest belongs to God. His overwhelming presence was expressed in many ways including by theophoric names. This God celebrated by the triumphant ‘Christian kingdom’ came under fire attacks during the 1994 genocide against the Tutsi, many of them being slaughtered in churches and public buildings. Had God, the life Giver and the protector, become a cynical destroyer, an executioner, or simply a sleeper who didn’t care for his creatures? Irrespective to these unanswered questions, the post 1994 genocide Rwandan religious era was imbued with another form of triumphalism, in which God was called, celebrated, and inaugurated as the One who showed the way to new charismatic movements to bring about a spiritual revolution in the country, whilst traditional Christianity remained ambivalent towards the moral guidance they were expected to provide. Yet many survivors continue to tell of their deception about such a ‘silent and cynical’ God, or at the best they wonder if their fate was sealed with His consent and that of His heralds on earth. This paper takes the view that religious competition and triumphalism of the clergy over crowds that continue to fill in areas of worship, amplified the feeling that God is still a very marketable good in Rwanda. And yet he never ran away from the victims of the tragedies.

<p>Who is a consumer, always creates a new debate? A person who avails/consumes the services in exchange of the consideration is a consumer according to the given definition of consumer under Consumer Protection Act, 1986. This definition never includes any commercial activities or any re-sale or without fee transaction. We on daily basis face various MRP related issues, poor quality of products, adulteration, no bill issues and many more. Some of us raise a voice against these unfair practices but number of us always keep silence and take everything so easy. The reason behind this may be nobody has time or knowledge, when and where to proceed. The right of consumer protection only needs the awareness; awareness about the provisions, process, forums and a fair counselling. Though government has initiated number of awareness schemes which includes the advertisements on television, newspapers and in magazines, skits, workshops and various poster making competitions, still the consumer exploitation continues. In this research paper by using an empirical and doctrinal technique of research the researcher wants to highlight the area where the law is lacking its enforcement to protect the interest of the consumer. The researcher also draws an attention about consumer rights, various grievance redressal agencies, who and how can file a complaint, the jurisdiction and the format of filing a complaint. </p>

This study seeks to fill a gap in research on interpretation by using my experience as an interpretive guide to critically examine the goals of interpretation and the use of the best practices of interpretation. In particular, this study examines conflicts that arose between my own goals, the goals of the visitor, and the goals of the institution. I utilized self-study methodology including conversations with critical friends, journal entries, visitor evaluations, a literature review, and a review of video data of my own tours. Qualitative analysis of the data triangulated evidence from these sources to find emergent themes. The paper also discusses the growth that occurred in my own teaching as I struggled with utilizing the best practices of interpretation. I investigated two main areas—the goals of interpretation and the types of practices used to achieve these goals. Themes that arose included tensions with the establishment I worked for, tensions with the perceived goals of visitors, as well as struggles with the use of humor, personal connections, and silence. Findings from the study suggest a need for greater communication about goals and practices within informal and free-choice learning institutions. Implications for using self-study as a tool for improving interpretation are discussed.

Background: Head injury is referred to as a “silent epidemic” globally. Studies regarding epidemiology of head injury are very few especially in Kerala and most have conflicting reports. Unlike developed countries, there is no well-established system for collecting and managing information on traumatic brain injury (TBI) in India, especially in Kerala. The present study shares the difficulties encountered and the insights acquired by conducting a registry-based epidemiological pilot study for collecting a baseline data of traumatic head injury patients in a tertiary care center in Kerala. Methods: The pilot study was conducted to know the efficiency of present reporting system of a tertiary hospital in Kerala. We tried to collect retrospective data from December 2018 to December 2019 in the department of neurosurgery. As there was no standardized protocol or electronic database for data collection in hospital, we made a sample proforma for data collection. The patient details were obtained from medical records (case sheets), resident doctor’s, and staff nurse’s notes which included demography, clinical details, and radiological findings which were analyzed. Results: We were not able to fill the full details regarding demography, prehospital data, and clinicoetiological details which are important as far as head injury management is considered. The hospital records were grossly inadequate for full retrieval of information. Inadequate case definition and lack of centralized electronic reporting mechanisms were some of the major difficulties we faced obviating the need for collecting, managing, and utilizing epidemiological data using an electronic database. Conclusion: We believe that the present pilot study will give an insight regarding the difficulties encountered in collecting data regarding TBI. This study will be the first of its kind in Kerala highlighting the importance of maintaining a proper head injury electronic registry. The data from this study would definitely guide future experimental operational research on these unexplored areas which will be relevant in head injury policy-making in Kerala as well as in India.

AbstractIf the Ebola tragedy of West Africa has taught us anything, it should be that the 2005 International Health Regulations (IHR) Treaty, which gave unprecedented authority to the World Health Organization (WHO) to provide global public health security during public health emergencies of international concern, has fallen severely short of its original goal. After encouraging successes with the 2003 severe acute respiratory syndrome (SARS) pandemic, the intent of the legally binding Treaty to improve the capacity of all countries to detect, assess, notify, and respond to public health threats has shamefully lapsed. Despite the granting of 2-year extensions in 2012 to countries to meet core surveillance and response requirements, less than 20% of countries have complied. Today it is not realistic to expect that these gaps will be solved or narrowed in the foreseeable future by the IHR or the WHO alone under current provisions. The unfortunate failures that culminated in an inadequate response to the Ebola epidemic in West Africa are multifactorial, including funding, staffing, and poor leadership decisions, but all are reversible. A rush by the Global Health Security Agenda partners to fill critical gaps in administrative and operational areas has been crucial in the short term, but questions remain as to the real priorities of the G20 as time elapses and critical gaps in public health protections and infrastructure take precedence over the economic and security needs of the developed world. The response from the Global Outbreak Alert and Response Network and foreign medical teams to Ebola proved indispensable to global health security, but both deserve stronger strategic capacity support and institutional status under the WHO leadership granted by the IHR Treaty. Treaties are the most successful means the world has in preventing, preparing for, and controlling epidemics in an increasingly globalized world. Other options are not sustainable. Given the gravity of ongoing failed treaty management, the slow and incomplete process of reform, the magnitude and complexity of infectious disease outbreaks, and the rising severity of public health emergencies, a recommitment must be made to complete and restore the original mandates as a collaborative and coordinated global network responsibility, not one left to the actions of individual countries. The bottom line is that the global community can no longer tolerate an ineffectual and passive international response system. As such, this Treaty has the potential to become one of the most effective treaties for crisis response and risk reduction worldwide. Practitioners and health decision-makers worldwide must break their silence and advocate for a stronger Treaty and a return of WHO authority. (Disaster Med Public Health Preparedness. 2015;9:568–580)

ABSTRACTThe production of amorphous silicon devices usually requires large area, high-deposition-rate plasma reactors. Non-uniformity of the film thickness at high power and deposition rate is found to be an important factor for large area deposition.Increasing the radio frequency from the conventional 13.56 MHz up to VHF has demonstrated advantages for the deposition of a-Si:H films, including higher deposition rates and lower particle generation. The use of VHF for large area deposition leads to the generation of standing waves and evanescent waveguide modes at the electrode surface and on the power feeding lines. Thereby increasing the non-uniformity of the film thickness. The uniformity of the film thickness for an excitation frequency strongly depends on the deposition parameters e.g. pressure, input power, silane flow and the value of load impedances. With increasing exciting frequencies the range of deposition parameters for obtaining uniform films narrows.Subsequently it is shown that for a large-area plasma-box reactor (500 × 600 mm2 plate size) with a double-sided RF electrode, the non-uniformity of the film decreases due to a homoge-neization of the electrode voltage distribution by using multiple power supplies and load impedances on the end of the RF electrode. The uniformity errors decrease from ±20% to ±2.4% (27.12MHz) and from ±40% to ±5.9% (54.24MHz). Experimental results of the film uniformity will be discussed in dependence on excitation frequencies and the deposition parameters.

ABSTRACTThe microcrystalline silicon (μc-Si:H) intrinsic layer for application in micromorph tandem photovoltaic solar cells has to be optimized in order to achieve cost-effective mass production of solar cells in large area, radio frequency, capacitively-coupled PECVD reactors. The optimization has to be performed with regard to the deposition rate as well as to the crystallinity uniformity over the substrate area. The latter condition is difficult to achieve since the optimal solar grade μc-Si:H is deposited at the limit between a-Si:H and μc-Si:H material, where the film crystallinity is very sensitive to the plasma process. In this work, a controlled RF power nonuniformity was generated in a large area industrial reactor. The resulting film uniformity was studied as a function of the deposition regimes. Results show that the higher the input silane concentration, the more the uniformity of the crystallinity is sensitive to the RF power nonuniformity for films deposited at the limit between a-Si:H and μc-Si:H. The effect of the input silane concentration on the microstructure uniformity could be explained on the basis of an analytical plasma chemistry model. This result is important for reactor design. In reactors generating nonuniform plasma the input silane concentration has to be limited to low values in order to deposit films with uniform microstructure. To benefit from the high silane flow rate utilization fraction encountered only for higher input silane concentration, the RF power distribution has to be as uniform as possible over the whole substrate area.

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basement of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisement—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “pornographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.

ABSTRACTThis study investigates the morphology, roughness and electrical performance of rough polysilicon films deposited by LPCVD process. The deposition duration was varied over a broad range to study the evolution of microstructural texture in terms of nuclei formation, growth and grain coalescence. The area enhancement factor (AEF) of rough polysilicon film, expressed as the ratio of cell capacitance incorporating textured film to that of a smooth polysilicon film is observed to range from 1.4 to 2.4 for the above conditions. It is observed that the AEF shows a strong dependence on the microstructural texture and correlates with the surface roughness. A model for electrical AEF based on grain morphology attributes from AFM is included. The dependence of rough polysilicon nucleus cluster density on silane flow rate and deposition temperature is also presented.

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 for various functions, which is related to the deposition rate and uniformity of the thin films, is 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.

ABSTRACTThe fabrication of large-area thin-film transistor (TFT) arrays on thin flexible plastic substrates requires deposition of thin film layers at relatively low temperatures since the upper working temperature of low-cost plastic films should not exceed ∼200°C. In this paper, we report a fabrication process of a-Si:H TFTs at 120°C on flexible polyimide substrates for large-area imaging applications.Kapton HN (DuPont) films 50 and 125 μm thick and 3 inches in diameter, were used as substrates. Both sides of the polyimide substrate were first covered with 0.5 μm thick a-SiNx. The TFT structure includes: 120 nm thick room-temperature sputtered Al gate, 250 nm thick PECVD deposited a-SiNx for the gate dielectric, 50 nm thick a-Si:H deposited by PECVD from silane-hydrogen gas mixture, 50 nm thick n+ a-Si:H source- and drain contacts, and roomtemperature sputtered Al top contact metallization. We used dry etching for all layers except for the gate and top metal, which were patterned using wet etchants. For purpose of TFT performance comparison, Coming 7059 glass substrates were used.The performance of the fabricated TFT and its improvement with use of optimized a-Si:H and a-SiNx quality will be presented along with a discussion of the intrinsic mechanical stress in the thin film layers will also be discussed.

ABSTRACTIndustrial production of amorphous silicon solar cells, photoreceptors and several opto-electronic devices requires large area, high-deposition-rate plasma reactors and deposition processes. Non-uniformity of die film thickness and particle generation at high power densities as well as the deposition rate are found to be important limiting factors in large area PECVD.The deposition was performed in a capacitively-coupled coaxial diode rf glow discharge with large areas (1000 cm2 and 2000 cm2) at 13.56 MHz and 27.12 MHz. We studied the particle generation in the plasma reactor over a wide range of silane concentration (20 % to 100 %) in the SiH4/He mixture. We will present the opto-electronic properties of a-Si:H films and the influence of the substrate bias. The films are characterized by dark- and photoconductivity and by PDS.It was confirmed through this study that helium dilution is effective in the suppression of powder growth for high-rate deposition up to 18 μm/hr. Special attention was paid to the optimization of reactor design and plasma conditions for the deposition of low density of states a-Si:H (∼1016 cm−3) at deposition rates of up to 18 μm/hr. Darkconductivity was 10−9 S/cm and photoconductivity was about 5.10−4 S/cm.

AbstractAmorphous silicon nitride (a-SiNx) is widely used as the gate dielectric and passivation layer in a-Si:H based electronics. For devices on plastic substrates deposited at low temperature, the a-SiNx quality seems to determine the device performance. This paper investigates the effects of hydrogen dilution, helium dilution, ammonia-silane gas flow ratio, and RF power on the properties of PECVD silicon nitrides deposited in large-area parallel-plate reactors at substrate temperatures of 75°C. The chemical composition and bonding of the SiNx:H films was studied using FTIR spectroscopy. The physical properties were investigated, and the density, growth rate, and compressive stress of the films were determined. The electrical properties such as leakage current, breakdown, stability, trap density, and dielectric constant of the films were characterized by I-V and C-V measurements of metal-insulator semiconductor (MIS) structures. Analysis of Variance (ANOVA) was performed on the results, and the deposition conditions for the optimal film properties were determined. The optimum film had SiNx:H stoichiometry of x=1.56 with hydrogen concentrations of 17 at.%, and exhibited compressive stress of -220 MPa. The film displayed good stability under electrical stress with ohmic leakage of Rleak ∼1016 Ωcm. Strong relationships between the film properties and deposition conditions were observed, and are discussed within the paper. A-Si:H bottom gate TFTs were fabricated using the optimized nitrides for gate dielectrics and passivation layers, and the influence of a-SiNx on TFT performance is discussed.

In this text, we propose an overview of the evolution of the Spanish language through the dubbed versions of foreign films in Spain along the twentieth century.We cover from the early stages of cinema and silent movies and the use of intertitles –as iliteracy was high in large cities and the rate was even higher among women and in rural areas (Gubern, 1993)– so these title cards were something problematic to deal with, for this reason the film lecturer (Sánchez Salas, 2011), the commentator (Fuentes Luque, 2019) or the “explicador” film explainer proved key as a link between the audience and the movies (Fuentes Luque, 2019). After the talkies appeared, different varieties of Spanish could be heard in multilingual movies. Franco’s regime influenced the result of many films exhibited in Spanish movie theatres not only in the images, but also in the political ideologies, the religious aspects, the indecorous language, and sexual or improper activities, portrayed in Hollywood movies (Díaz Cintas, 2019). A “neutral” Spanish was created during the sixties to achieve a greater Hispanic audience. This practice was used on TV series, cartoons, and in Walt Disney’s movies. During the 70s, and with the boom of the 80s’ blockbusters, a greater number of American films were translated and consumed into Spanish. The immense impact of these movies influenced Spanish language and the traditional audiovisual translation mode –dubbing– (Rica Peromingo 2019), adapting and domesticating cultural references, filtering calques and false friends (Rica Peromingo, 2016).

AbstractWe use real-time spectroscopic ellipsometry (RTSE) for in-situ characterization of the optical properties and surface roughness (Rs) of hydrogenated amorphous silicon (a-Si:H) grown by hot-wire chemical vapor deposition (HWCVD) with varying deposition rates (5 to 120 Å/s). Early time evolution of the Rs during growth is remarkably similar for all deposition rates. During the first few Ås of growth, there is a sharp increase in Rs as the a-Si:H nucleates in separate islands. This is followed by a reduction of Rs as these areas coalesce into a bulk film, which occurs at an average thickness of 100 Å. After coalescence the Rs rises to a stable value that is dependent upon growth conditions with a general tendency for the Rs to increase with growth rate. However, neither the Rs nor the material electronic properties are unique for a given deposition rate. Films grown under high silane flow and low pressure have a better photoresponse and a lower Rs than films grown at the same deposition rate but with low silane flow and high pressure. We observe a stronger correlation of film properties with Rs than with deposition rate; namely a monotonic decrease in photo-response, and increase in optical gap, with increasing Rs.

AbstractWe grow hydrogenated amorphous silicon (a-Si:H) by Hot-Wire Chemical Vapor Deposition (HWCVD). Our early work with this technique has shown that we can grow a-Si:H that is different from typical a-Si:H materials. Specifically, we demonstrated the ability to grow a-Si:H of exceptional quality with very low hydrogen (H) contents (0.01 to 4 at. %). The deposition chambers in which this early work was done have two limitations: they hold only small-area substrates and they are incompatible with a load-lock. In our efforts to scale up to larger area chambers—that have load-lock compatibility—we encountered difficulty in growing high-quality films that also have a low H content. Substrate temperature has a direct effect on the H content of HWCVD grown a-Si:H. We found that making dramatic changes to the other deposition process parameters—at fixed substrate temperature and filament-to-substrate spacing—did not have much effect on the H content of the resulting films in our new chambers. However, these changes did have profound effects on film quality. We can grow high-quality a-Si:H in the new larger area chambers at 4 at. % H. For example, the lowest known stabilized defect density of a-Si:H is approximately 2 × 1016 cm-3, which we have grown in our new chamber at 18 Å/s. Making changes to our original chamber—making it more like our new reactor—did not increase the hydrogen content at a fixed substrate temperature and filament-to-substrate spacing. We continued to grow high quality films with low H content in spite of these changes. An interesting, and very useful, result of these experiments is that the orientation of the filament with respect to silane flow direction had no influence on film quality or the H content of the films. The condition of the filament is much more important to growing quality films than the geometry of the chamber due to tungsten-silicide formation on the filament.

ABSTRACTNitrogen-rich amorphous silicon-nitride films a-Si1−xNx:H were prepared by glow-discharge decomposition of gas mixtures of ammonia and silane. With increasing nitrogen content the spin density, Ns, decreases from 4×1018cm−3 (x = 0.55) to 3×1017cm−3 (x = 0.67). These films were used as a gate dielectric in amorphous silicon TFTs. The TFTs are characterized by measurements of the transfer characteristics and by a transient current spectroscopy (TCS). Nitrogen-rich dielectrics with Ns<1018cm−3 have little influence on the transfer characteristic, however, they tend to have a lower sensitivity to bias stress. Using a device-quality nitride (x = 0.64) the properties of the TFTs were varied in two ways: 1) doping of the a-Si:H film with phosphine or diborane and 2) exposure of the nitride film to an oxygen plasma. The variation of the areal density of defect states, Nd, with Ec-EF suggests that the effective density of interface states, Ni, and the characteristic of undoped TFTs are determined by interface defects of the a-Si:H film. The plasma treatment introduces oxygen into a thin superficial layer of the nitride. By varying the exposure time te it is possible to change the properties of the TFTs continuously from nitride like to oxide like.

AbstractThe aim of this research is to develop low temperature gate dielectric/passivation layer for μc-Si and poly-Si based devices and circuits compatible with plastic substrates.The PECVD silicon oxide films were fabricated from mixture of silane and nitrous oxide at 250 °C, 120 °C and 75 °C. Helium, argon and nitrogen were used as diluent gases to optimize density, stress, uniformity, and electronic properties.Chemical composition and bonding in the films were studied by FTIR spectroscopy. The absorption peak at 1075-1080 cm-1 observed in the spectrum of each film corresponds to SiO2 stretching mode. No presence of SiH stretching or NH-stretching vibrations was found in the FTIR spectra of the samples.Film uniformity was varied from 1.44 % to 5.60 % for 3“×3” area. Four wafers were processed at the same time. The deposited films have compressive stress varied from 0.063 GPa to 0.117 GPa. Respective film density is in the range from 1.63 g/cm3 to 1.77 g/cm3.The electronic properties were studied on MOS capacitors with 200 nm thick SiOx. The dielectric permittivity was in the range between 2.03 and 3.57. The dielectric breakdown at 9 MV/cm was observed for the films deposited at 120 °C. The films deposited at higher temperatures are characterized by lower leakage current density, which was 3.7.10-10 A/cm2 for the sample deposited at 250 °C, 9.10-9 A/cm2 for 120 °C, and 2.2.10-8 A/cm2 for 75 °C at 5 MV/cm.The a-Si:H based TFTs were fabricated using low temperature oxide as gate dielectric. TFTs demonstrate threshold voltage (3.02 – 4.12 V) and mobility (0.12 – 0.59 cm2/Vs) comparing with those using silicon nitride.

ABSTRACTThe production of amorphous and microcrystalline silicon, e.g. for solar cells, requires large area, high-deposition rate plasma reactors. Increasing the frequency from the conventional 13.56MHz up to VHF has demonstrated higher deposition and etch rates and lower particle generation, a reduced ion bombardement and lower breakdown, process and bias voltages. But the use of VHF for large area systems leads to some problems. The non-uniformity of deposition rate increases due to the generation of standing waves and evanescent waveguide modes at the electrode surface. One possibility to process large area substrates is the use of a one-dimensional extended, homogeneous plasma source in combination with a moving substrate. The requirements, which result from the deposition process and from the RF-engineering, corresponds with the developed plasma source, using deposition frequencies in the VHF-range (50-100 MHz), almost perfectly.Using a source of 550mm length experiments were done with 81.36MHz at RF power densities of 70-180mW/cm2, silane/ hydrogen pressures of 5-30Pa and flow rates of 10-300sccm. The measured potential distribution error was ±2%. Optical emission spectroscopy delivered discharge intensity errors of ±3-10%. Deposition rates up to 20µm/h for amorphous silicon (60Å/s) and film thickness inhomogenities less than ±5% were achieved (with an area of the moved substrate of 30cm–30cm). Experimental results of the film properties will be discussed in relation to the deposition parameters and compared with complementary experiments, carried out on a small scale equipment with excitation frequencies up to 165 MHz.

AbstractThin-film transistors (TFT) of poly and nano crystalline silicon have been made at temperature as low as 170°C on flexible PET (polyethylene terephthalate) substrates.The crystallization of the silicon film has been achieved using external mechanical stress assisted by a plasma hydrogenation technique. The formation of TFT is possible by means of a lateral crystallization of amorphous silicon under the channel region. High mobility TFTs with an electron mobility of 25cm2/Vs and an on/off ratio of 2000 have been obtained. Scanning electron microscopy, X-ray diffraction analysis and optical microscopy have been used to examine the crystallinity of the layer. In addition we report the deposition of high quality low-temperature silicon-oxide layers on PET substrates using an RF-plasma enhanced chemical vapor deposition unit with direct introduction of oxygen gas into the chamber and its reaction with Silane. Infrared spectroscopy was used to examine the quality of the oxide layer.

AbstractThe preparation of amorphous silicon with a low density of defect states by the glow discharge decomposition of silane and the ability to control its electrical conductivity over many orders of magnitude by the addition of phosphine or diborane to the silane, stimulated a worldwide interest in this material and in its possible applications. This paper begins with a description of the preparation technique and a brief review of some of the important properties of the material. The fabrication and characteristics of a-Si thin-film field effect transistors will be described and followed by a discussion of the applications of these devices in large area liquid crystal displays, in simple logic circuits and in addressable image sensors. Finally, the use of a-Si in memory devices will be briefly described.