Development of a novel UV indicator and dosimeter film

A novel UV indicator is described, comprising nanocrystalline particles of titania dispersed in a film of a polymer, hydroxyl ethyl cellulose (HEC), containing: a mild reducing agent, triethanolamine (TEOA) and a redox indicator, methylene blue (MB). The UV indicator film is blue-coloured in the absence of UV light and loses colour upon exposure to UV light, attaining within a few min a steady-state degree of bleaching that can provide a measure of the irradiance of the incident light. The original blue colour of the film returns once the source of UV light is removed. The spectral characteristics of a typical UV indicator film, and its components, are discussed and the UV-absorbing action of the titania particles highlighted. From the measured %bleaching undergone by a typical UV indicator as a function of light irradiance the indicator appears fully bleached, within 7 min, by a UV irradiance of 3 mW cm (-) or greater. The mechanism by which the UV indicator works is described. The reversible nature of the UV indicator is removed by covering a typical UV indicator with a thin, largely oxygen impermeable, polymer film, such as the regenerated cellulose found in Sellotape(TM). The product is a UV dosimeter, the response of which is related to the intensity and duration of the incident UV light, as well as the amount of titania in the film. A typical UV dosimeter film is fully bleached by 250 mJ cm(-2) of UV light. The possible use of these novel indicators to measure UV exposure levels, irradiance and dose, is discussed.

A.J. Raffles and Arsène Lupin in Literature, Theatre, and Film: On The Transnational Adaptations of Popular Fiction (1905-1930)

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.

Listening to the World Through New Ears:Reinvention of the soundtrack in the works of Lucrecia Martel and Sofia Coppola

This paper explores the production and post-production techniques and tensions in designing sound for film. Considering the films of Lucrecia Martel and Sofia Coppola, amongst others, Greene and Yang will discuss how the soundtrack takes on a primary role in these films and becomes a medium for symbolism, reflection, characterisation, as well as storytelling. There will be a close examination of the processes involved in creating character-orientated soundscapes. These processes are sensitive to the effects sound has on an audience. Exploring how these filmmakers (with their sound teams) utilise the listening experience, including attention to point of audition and sound perception, this paper will critically unpick how such creative decisions are arrived at during various stages of the production process. Outlining the use of diegetic and non-diegetic sound and the potential musicality of sound effect design, issues of reverberation, noise and intent are discussed to highlight the sonic framing of these creative teams. Greene will approach these soundtracks from a production/post-production perspective, while Yang will explore the composer’s/designer’s ear.