Cine estructural de found footage: 133, de Eugènia Balcells y Eugeni Bonet

Esta investigación analiza la obra fílmica 133 (1978-79) de Eugènia Balcells y Eugeni Bonet, una de las piezas más relevantes del cine de found footage de raíz estructural. Considerando el contexto del cine experimental y el arte conceptual realizado en España durante la década de los años ’70, se estudia el insólito punto de vista de dos cineastas conocedores de las prácticasinternacionales. El texto indaga sobre el sentido de una pieza filmográfica que transgrede los códigos del lenguaje cinematográfico con humor, planteando, irónicamente, cuestiones relevantes acerca de las convenciones que rigen el audiovisual. La película queda vinculada alas manifestaciones artísticas de raíz conceptual de la artista plástica Eugènia Balcells, y al desarrollo teórico y práctico del cine experimental, divulgado y configurado por el escritor y realizador Eugeni Bonet. 133 se presenta como una creación cinematográfica que se sirve de latécnica del montaje de metraje encontrado para desvelar un carácter autorreflexivo, sutilmente lúdico, que remite a su propio soporte matérico en particular, y al arte del cine en general

Anàlisi de l'obra cinematogràfica de quatre documentalistes russos o de repúbliques ex-soviètiques : la relació amb les noves tendències del documental i el llegat soviètic

El treball de recerca té com a principal objectiu l'estudi del cinema documental rus contemporani a través de l'obra cinematogràfica d'Alexander Sokurov, Sergei Dvortsevoi, Sergei Loznitsa i Victor Kossakovski. En un primer moment la investigació s'havia encaminat en un estudi comparatiu sobre les noves tendències del documental i els models de realisme proposats des de la Rússia post-comunista. El treball s'ha realitzat a partir de tres vies d'investigació. La primera ha consistit en una exhaustiva recerca bibliogràfica sobre cinema documental i cinema soviètic. La segona s'ha plantejat a partir d'un anàlisi acurat de les diverses pel•lícules. Finalment, la tercera via s'ha desenvolupat a partir d'un treball de camp realitzat durant una estada a Rússia, un període en el qual va ser possible entrevistar dos dels cineastes protagonistes de l'estudi, Sergei Dvortsevoi i Victor Kossakovski, així com el crític de cinema Andrei Xemijakin. També va ser fonamental l'assistència a la taula rodona i la master class impartida per Sergei Loznitsa en el marc del desè aniversari del Màster en Teoria i Pràctica de Documental Creatiu de la Universitat Autònoma de Barcelona. Tot i que es poden traçar vincles entre el treball dels quatre cineastes escollits i algunes de les pràctiques contemporànies en l'àmbit de la no-ficció, com pot ser l'experiència de Sergei Loznitsa en el terreny del found-footage, o els documentals experimentals de caràcter assagístic d'Alexander Sokurov, així com la tendència observacional i el pas al cinema de ficció de Segei Dvortsevoi, o l'ús de la tecnologia digital en les últimes pel•lícules de Victor Kossakovski. Tot i aquestes aproximacions, es pot afirmar que el model de realisme proposat per aquests cineastes troba el seu autèntic llegat en el cinema soviètic. Una herència que comença amb el cinema de Dziga Vertov –pioner del documental artístic i revolucionari- i acaba en el d'Artavadz Pelechian.

Anàlisi de l'obra cinematogràfica de quatre documentalistes russos o de repúbliques ex-soviètiques: la relació amb les noves tendències del documental i el llegat soviètic.

El treball de recerca té com a principal objectiu l'estudi del cinema documental rus contemporani a través de l'obra cinematogràfica d'Alexander Sokurov, Sergei Dvortsevoi, Sergei Loznitsa i Victor Kossakovski. En un primer moment la investigació s'havia encaminat en un estudi comparatiu sobre les noves tendències del documental i els models de realisme proposats des de la Rússia post-comunista. El treball s'ha realitzat a partir de tres vies d'investigació. La primera ha consistit en una exhaustiva recerca bibliogràfica sobre cinema documental i cinema soviètic. La segona s'ha plantejat a partir d'un anàlisi acurat de les diverses pel•lícules. Finalment, la tercera via s'ha desenvolupat a partir d'un treball de camp realitzat durant una estada a Rússia, un període en el qual va ser possible entrevistar dos dels cineastes protagonistes de l'estudi, Sergei Dvortsevoi i Victor Kossakovski, així com el crític de cinema Andrei Xemijakin. També va ser fonamental l'assistència a la taula rodona i la master class impartida per Sergei Loznitsa en el marc del desè aniversari del Màster en Teoria i Pràctica de Documental Creatiu de la Universitat Autònoma de Barcelona. Tot i que es poden traçar vincles entre el treball dels quatre cineastes escollits i algunes de les pràctiques contemporànies en l'àmbit de la no-ficció, com pot ser l'experiència de Sergei Loznitsa en el terreny del found-footage, o els documentals experimentals de caràcter assagístic d'Alexander Sokurov, així com la tendència observacional i el pas al cinema de ficció de Segei Dvortsevoi, o l'ús de la tecnologia digital en les últimes pel•lícules de Victor Kossakovski. Tot i aquestes aproximacions, es pot afirmar que el model de realisme proposat per aquests cineastes troba el seu autèntic llegat en el cinema soviètic. Una herència que comença amb el cinema de Dziga Vertov –pioner del documental artístic i revolucionari- i acaba en el d'Artavadz Pelechian –cineasta armeni i un dels màxims representatnts del documental poètic-. El treball de recerca ha estat presentat en forma de comunicació en el congrés internacional “IMAGEing Reality: Representing the Real in Film, Television and New Media”, celebrat a Pamplona el mes d'Octubre de 2009. La comunicació s'ha redactat en format article i està pendent de publicació.

Three-dimensional aspects of fluid flows in channels. I. Meniscus and thin film regimes

We study the forced displacement of a fluid-fluid interface in a three-dimensional channel formed by two parallel solid plates. Using a lattice-Boltzmann method, we study situations in which a slip velocity arises from diffusion effects near the contact line. The difference between the slip and channel velocities determines whether the interface advances as a meniscus or a thin film of fluid is left adhered to the plates. We find that this effect is controlled by the capillary and Péclet numbers. We estimate the crossover from a meniscus to a thin film and find good agreement with numerical results. The penetration regime is examined in the steady state. We find that the occupation fraction of the advancing finger relative to the channel thickness is controlled by the capillary number and the viscosity contrast between the fluids. For high viscosity contrast, lattice-Boltzmann results agree with previous results. For zero viscosity contrast, we observe remarkably narrow fingers. The shape of the finger is found to be universal.

A fully automated hot-wall multiplasma-monochamber reactor for thin film deposition

We present a study on the development and the evaluation of a fully automated radio-frequency glow discharge system devoted to the deposition of amorphous thin film semiconductors and insulators. The following aspects were carefully addressed in the design of the reactor: (1) cross contamination by dopants and unstable gases, (2) capability of a fully automated operation, (3) precise control of the discharge parameters, particularly the substrate temperature, and (4) high chemical purity. The new reactor, named ARCAM, is a multiplasma-monochamber system consisting of three separated plasma chambers located inside the same isothermal vacuum vessel. Thus, the system benefits from the advantages of multichamber systems but keeps the simplicity and low cost of monochamber systems. The evaluation of the reactor performances showed that the oven-like structure combined with a differential dynamic pumping provides a high chemical purity in the deposition chamber. Moreover, the studies of the effects associated with the plasma recycling of material from the walls and of the thermal decomposition of diborane showed that the multiplasma-monochamber design is efficient for the production of abrupt interfaces in hydrogenated amorphous silicon (a-Si:H) based devices. Also, special attention was paid to the optimization of plasma conditions for the deposition of low density of states a-Si:H. Hence, we also present the results concerning the effects of the geometry, the substrate temperature, the radio frequency power and the silane pressure on the properties of the a-Si:H films. In particular, we found that a low density of states a-Si:H can be deposited at a wide range of substrate temperatures (100°C

Three-dimensional aspects of fluid flows in channels. I. Meniscus and thin film regimes

We study the forced displacement of a fluid-fluid interface in a three-dimensional channel formed by two parallel solid plates. Using a lattice-Boltzmann method, we study situations in which a slip velocity arises from diffusion effects near the contact line. The difference between the slip and channel velocities determines whether the interface advances as a meniscus or a thin film of fluid is left adhered to the plates. We find that this effect is controlled by the capillary and Péclet numbers. We estimate the crossover from a meniscus to a thin film and find good agreement with numerical results. The penetration regime is examined in the steady state. We find that the occupation fraction of the advancing finger relative to the channel thickness is controlled by the capillary number and the viscosity contrast between the fluids. For high viscosity contrast, lattice-Boltzmann results agree with previous results. For zero viscosity contrast, we observe remarkably narrow fingers. The shape of the finger is found to be universal.

Language variation in source texts and their translations: the case of L3 in film translation

In addition to the two languages essentially involved in translation, that of the source text (L1) and that of the target text (L2), we propose a third language (L3) to refer to any other language(s) found in the text. L3 may appear in the source text (ST) or the target text (TT), actually appearing more frequently inSTs in our case studies. We present a range of combinations for the convergence and divergence of L1, L2 and L3, for the case of feature films and their translations using examples from dubbed and subtitled versions of films, but we are hopeful that our tentative conclusions may be relevant to other modalities of translation, audiovisual and otherwise. When L3 appears in an audiovisual ST,we find a variety of solutions whereby L3 is deleted from or adapted to the TT.In the latter case, L3 might be rendered in a number of ways, depending on factors such as the audience’s familiarity with L3, and the possibility that L3 inthe ST is an invented language.

Reliable entertainment: Spanish consumers' preferences regarding a film's country of origin

This article contributes to the study of cinema audiences in Europe by analyzing theactual behavior of Spanish moviegoers and their level of satisfaction. We modeledmoviegoers’ choice of film by country of origin (U.S.A., Spain, and other countries)according to a set of determinants: (1) consumers’ interpretation of several sources of information, (2) motivations and (3) choice rules. We found three clear consumerstereotypes related to each type of film: (1) U.S.A. films were preferred by almost everyone (especially families and younger audiences); (2) Spanish films had audiences composed of middle-age and middle-class moviegoers; and (3) European productions were preferred by a social or intellectual elite. U.S.A. films dominate the Spanish market for the reason that they provide most of what moviegoers prefer, namely, familiar, reliable entertainment in Spanish; three characteristics that are not satisfied by Spanish and European films. Additionally, we discuss the implications for the European cultural policy

Tomato response to a high light transmission greenhouse film

Increasing greenhouse light transmission has a positive effect not only in Northern latitudes but in Mediterranean countries as well. A greenhouse, H2, with a tetrafluoroethylene copolymer 60 microns film, (Asahi Glass company, Aflex) characterised by its high light transmission and durability was compared to another greenhouse with a co-extruded film considered as a control, H1. Tomato crop response to the increase in light during winter and summer with high temperature and light was evaluated. Light transmission in H2 remained very high in spite of the observed dust accumulation and the low angle of incidence of the winter solar radiation. Transmissivity was clearly higher for H2 (81 to 83 % throughout the season) than in the control (around 63 %). The rest of the climatic parameters were similar in both greenhouses, either in the winter or in the summer evaluations. In spite of the high solar radiation in H2, the summer temperature could be maintained at the desired levels by using evaporative cooling. Accumulated tomato yield and quality was better in the H2 greenhouse (15 % more for the winter crop and 27% more for the summer crop). Fruit size was bigger in the winter crop. As an overall conclusion, the use of high light transmissive films in Mediterranean areas is very convenient for many vegetable crops. This is valid not only in winter but in summer, provided the greenhouse has good ventilation or evaporative cooling to overcome the increase in sensible heat caused by this increase in light..

Pla de màrqueting de l’hotel Moments de Film

Treball sobre la creació d’un pla de màrqueting d’un hotel temàtic fictici. Aquest sorgeix d’un objectiu secundari fruit d’una motivació personal amb interès cap a la coneixença dels hotels temàtics, que responia a les següents preguntes: Què és un hotel temàtic? Quins tipus d’hotels temàtics podem trobar? Quan sorgeixen els hotels temàtics? El Pla de Màrqueting representa el desenvolupament d’una idea creativa, imaginant que els hotels poden ser molt més que un simple allotjament. Poden esdevenir llocs que poden conduir cap al món de les sensacions i de les experiències úniques

Proposal for the analysis of a video game, a film, and their relationship : Silent Hill as a subject of the horror genre

Aquest treball de recerca fa un estudi comparatiu del videojoc de terror amb el seu homòleg cinematogràfic. L’objectiu és arribar a saber si els dos mitjans de comunicació usen les mateixes tècniques per transmetre les seves històries i per crear suspens. Aquesta investigació és només una part d'un estudi més ampli amb el que es pretén tenir un coneixement més aprofundit de les emocions de la gent i les reaccions que els provoca un videojoc de terror en comparació amb la visualització de l'adaptació cinematogràfica del corresponent videojoc.

Film's frame

A partir de un acto interactivo con la wwww.aeat.es, el usuario envía telemáticamente el modelo 100 en un entorno con tendencia a la incertidumbre y a las dificultades de usabilidad, sin embargo, la investigación pretende demostrar que en dicho acto, el usuario construye una historia narrativa debido a la existencia de una motivación y a la tendencia connatural a la representación narrativa, a pesar que la web no fue intencionalmente construida con propósitos narrativos. El estudio, además, enfoca la interacción como un acto inmersivo y reconoce en la incertidumbre las variables que determinan la continuidad y rumbo del relato. La investigación propone un modelo interpretativo para el análisis y la estructuración del espacio y la historia implícita. Y a nivel exploratorio, se propone la aplicación del Mouse Tracking como técnica científica.

Screen printed La2/3Sr1/3MnO3 thick films on alumina substrates

We report here on the preparation of La2/3Sr1/3MnO3 magnetoresistive thick films on polycrystalline Al2O3 substrates by using the screen printing technique. It is shown that films can be obtained using high temperature sintering. While there is a reacted layer, this improves adhesion and is not too troublesome if the films are made thick enough. It is shown that PbO-B2O3-SiO2 glass additives allow sintering at lower temperatures and can be used to improve the mechanical stress of the films. However, it is found that glass concentrations large enough to significantly improve the film adherence result in a weak low field magnetoresistance probably because grains are coated with high resistivity material. Strategies to overcome these difficulties are discussed.

Structural and functional characterization of (110)-oriented epitaxial La2/3Ca1/3MnO3 electrodes and SrTiO3 tunnel barriers

La2/3Ca1/3MnO3 (LCMO) films have been deposited on (110)-oriented SrTiO3 (STO) substrates. X-ray diffraction and high-resolution electron microscopy reveal that the (110) LCMO films are epitaxial and anisotropically in-plane strained, with higher relaxation along the [1¿10] direction than along the [001] direction; x-ray absorption spectroscopy data signaled the existence of a single intermediate Mn3+/4+ 3d-state at the film surface. Their magnetic properties are compared to those of (001) LCMO films grown simultaneously on (001) STO substrates It is found that (110) LCMO films present a higher Curie temperature (TC) and a weaker decay of magnetization when approaching TC than their (001) LCMO counterparts. These improved films have been subsequently covered by nanometric STO layers. Conducting atomic-force experiments have shown that STO layers, as thin as 0.8 nm, grown on top of the (110) LCMO electrode, display good insulating properties. We will show that the electric conductance across (110) STO layers, exponentially depending on the barrier thickness, is tunnel-like. The barrier height in STO (110) is found to be similar to that of STO (001). These results show that the (110) LCMO electrodes can be better electrodes than (001) LCMO for magnetic tunnel junctions, and that (110) STO are suitable insulating barriers.

Micro-Raman study of stress distribution in local isolation structures and correlation with transmission electron microscopy

Stress in local isolation structures is studied by micro‐Raman spectroscopy. The results are correlated with predictions of an analytical model for the stress distribution and with cross‐sectional transmission electron microscopy observations. The measurements are performed on structures on which the Si3N4 oxidation mask is still present. The influence of the pitch of the periodic local isolation pattern, consisting of parallel lines, the thickness of the mask, and the length of the bird"s beak on the stress distribution are studied. It is found that compressive stress is present in the Si substrate under the center of the oxidation mask lines, with a magnitude dependent on the width of the lines. Large tensile stress is concentrated under the bird"s beak and is found to increase with decreasing length of the bird"s beak and with increasing thickness of the Si3N4 film.