31 resultados para film studies


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Iron-5,10,15,20-tetraphenylporphyrin (FeTPP) has been incorporated into films of a coordinating hydrogel polymer support medium, poly(gamma-ethyl-L-glutamate) (PEG) functionalised with imidazole pendant arms (PEG-Im), and studied in situ on silver electrodes using a combination of both resonance Raman (RR) and surface-enhanced resonance Raman (SERR) spectroscopy. The SERR spectra give information on the portion of the film close to the electrode surface while RR spectra probe the

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Surface-enhanced Raman scattering (SERS) excited at several visible wavelengths and recorded using a cooled charged-coupled device detector is reported from the mobile, interfacial, liquid-like metal films (MELLFs) formed when solutions of metal complexes or pyridine in chlorocarbon solvents are mixed with aqueous sols of silver or gold. MELLF formation has not previously been reported for gold sols or for pyridine as stabilizer. Comparison of the spectra for the MELLFs formed from individual metal complexes and from 50:50 mixtures show that the spectral patterns observed for the latter are distinctive and are not generally equivalent to the sum of the spectra associated with the individual complexes, in contrast to the situation observed for sols where the individual spectra do appear to be additive. Raman scattering from both gold and silver MELLFs is readily observed at excitation wavelengths in the red, around 750 nm, but at 514 nm only that from silver films is detectable. These findings are considered in terms of particle size and absorption band intensities. A preliminary study of the film surface topography and particle size was carried out by scanning tunnelling electron microscopy (STM) of Ag MELLFs deposited on gold-coated mica substrates. Computer-processed images of the STM data show the presence on the film surface of finger-like bars, 200-400 nm long with approximately square cross-section, 40-60 nm side, together with other smaller cuboid features. The implications of these findings in relation to SERS are briefly considered.

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In this study, the feasibility of using H3PO4-activated lignin for hexavalent chromium adsorption has been investigated. The composite of activated lignin was characterized using FTIR, XRD and SEM with EDAX analysis. It was observed that the pH had a strong effect on the adsorption capacity; adsorption of Cr(VI) was more favorable at acidic pH with maximum uptake at pH 2. The adsorption equilibrium data were best represented by Koble-Corrigan isotherm. The monolayer sorption capacity obtained from the Langmuir model was found to be 77.85 mg/g. Adsorption showed pseudo-second order rate kinetics and the process involving the rate-controlling step is complex as it involves both film and intraparticle diffusion processes. The NaOH desorbing agent was able to release approximately 84% of metal ions. Thermodynamic parameters showed that the sorption process is exothermic and non-spontaneous. The overall Cr(VI) retention on the activated lignin surface perhaps includes both the physical adsorption of Cr(VI) and the consequent reduction of Cr(VI) to Cr(III). (C) 2011 Elsevier B.V. All rights reserved.

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Throughout the 1970s the British film industry struggled to produce films which performed well at the box office and appealed to audiences. As a result the decade has often been considered as one of the low points of British cinema. But was this really the case? Conventional film histories of the decade have emphasised key texts and specific genres, such as the Bond films, the Carry On series or low budget horror. Yet British cinema in this period offered a great deal more to audiences and careful study of original documents demonstrates the diversity and variety of an industry, and a decade, typically perceived as limited and unimaginative. An examination of important material – much of it newly discovered or previously underused – offers an insight into the industry in this decade while key case studies present a detailed picture of the eclectic, diverse and often challenging film culture of the period.

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Film cooling is extensively used to provide protection against the severe thermal environment in gas turbine engines. Most of the computational studies on film cooling flow have been done using steady Reynolds-averaged Navier–Stokes calculation procedures. However, the flowfield associated with a jet in a crossflow is highly unsteady and complex with different types of vortical structures. In this paper, a computational investigation about the unsteady phenomena of a jet in a crossflow is performed using detached eddy simulation. Detailed computation of a single row of 35 deg round holes on a flat plate has been obtained for a 1.0 blowing ratio and a 2.0 density ratio. First, time-step size, grid resolution, and computational domain tests for an unsteady simulation have been conducted. Comparison between the results of unsteady Reynolds-averaged Navier–Stokes calculation, detached eddy simulation, and large eddy simulation is also performed. Comparison of the time-averaged detached eddy simulation prediction with the measured film-cooling effectiveness shows that the detached eddy simulation prediction is reasonable. From present detached eddy simulations, the influential coherent vortical structures of a film cooling flow can be seen. The unsteady physics of jet in a crossflow interactions and a jet liftoff in film cooling flows have been explained.

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Electrochemically modified ethylene oxidation over a PI film supported on the Na+ ion conductor beta '' alumina has been studied over a range of conditions encompassing both promotion and poisoning, The system exhibits reversible behavior, and the data are interpreted in terms of (i) Na-enhanced oxygen chemisorption and (ii) poisoning of the surface by accumulation of Na compounds. At low Na coverages the first effect results in increased competitive adsorption of oxygen at the expense of ethylene, resulting in an increased rate, At very negative catalyst potentials (high Na coverage) both effects operate to poison the system: the increased strength of the Pt-O bond and coverage of the catalytic surface by compounds of Na strongly suppress the rate, Kinetic and spectroscopic results for ethylene oxidation over a Pt(111)-Na model catalyst shed light on important aspects of the electrochemically controlled system, Low levels of Na promote the reaction and high levels poison it, mirroring the behavior observed under electrochemical control and strongly suggesting that sodium pumped from the solid electrolyte is the key species, XP and Auger spectra show that under reaction conditions, the sodium exists as a surface carbonate. Post-reaction TPD spectra and the use of (CO)-C-13 demonstrate that CO is formed as a stable reaction intermediate, The observed activation energy (56 +/- 3 kJ/mol) is similar to that measured for CO oxidation under comparable conditions, suggesting that the rate limiting step is CO oxidation. (C) 1996 Academic Press, Inc.

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As a consequence of the accelerating technological development and the impact of cultural globalisation, the transnational aspects of the process of adaptation have become increasingly crucial in recent years. To go back to the very beginnings of the twentieth century and research the historical connections between popular literature, theatre, and film can shed greater light on the origins of these phenomena. By focusing on two case studies from turn-of-the-century crime fiction, this paper examines the extent to which practices of serialisation, translation, and adaptation of literary works contributed to the formation of a transnational market for popular culture. Ernest W. Hornung’s A. J. Raffles and Maurice Leblanc’s Arsène Lupin were the heroes of two crime series that were immediately translated, imitated, and adapted into countless theatrical plays and films all over the world. Given the resemblance between the two characters, the two franchises frequently ended by overlapping. Their ability to move from a medium to another as well as from a country to another was the result of the logic of ‘recycling, remaking, retelling’ (Brian Naremore) that guides not only the process of adaptation but also the creation of any work of popular culture.

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With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.

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A commercial polymeric film (Parafilm M (R), a blend of a hydrocarbon wax and a polyolefin) was evaluated as a model membrane for microneedle (MN) insertion studies. Polymeric MN arrays were inserted into Parafilm M (R) (PF) and also into excised neonatal porcine skin. Parafilm M (R) was folded before the insertions to closely approximate thickness of the excised skin. Insertion depths were evaluated using optical coherence tomography (OCT) using either a force applied by a Texture Analyser or by a group of human volunteers. The obtained insertion depths were, in general, slightly lower, especially for higher forces, for PF than for skin. However, this difference was not a large, being less than the 10% of the needle length. Therefore, all these data indicate that this model membrane could be a good alternative to biological tissue for MN insertion studies. As an alternative method to OCT, light microscopy was used to evaluate the insertion depths of MN in the model membrane. This provided a rapid, simple method to compare different MN formulations. The use of Parafilm M (R), in conjunction with a standardised force/time profile applied by a Texture Analyser, could provide the basis for a rapid MN quality control test suitable for in-process use. It could also be used as a comparative test of insertion efficiency between candidate MN formulations. 

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This book is a hands-on study skills guide that explores how film and moving image can be used as sources. It is aimed at those who want to use film and moving image as the basis for research and offers advice on research methods, theory and methodology, archival work and film-based analysis. It draws on the disciplines of film and history to offer advice for students and researchers in these fields.

The book includes sections on working with different kinds of moving images, how to explore visual sources, how to undertake film-related research and how to use film theory. In addition to providing detailed case studies, the guide also offers advice on research, writing and studying, creating a methodology, visiting archives, accessing material and exploring films from a historical perspective. The guide's focus is on good research practice, whether it be conducting an interview, visiting an archive, undertaking textual analysis or defining a research question.