Coming soon (to a theatre near you) : the temporality of global film distribution to Australia

This article explores the changing contexts of international film exhibition in Australia over a 20-year period (1989–2009) by examining in some empirical detail Australia’s position in the global flow of films during this time. It argues that, at the most abstract level, distributors are engaged in the management and mediation of time and space in the field of global communications. It is proposed that distributors, through the organisation of temporal differentiation, are explicitly active in the creation of both cultural and commodity value. This is particularly apparent as film distributors explore and engage new methodologies of film release, which emphasise overlapping, intersecting and contradictory temporalities in the cinema experience.

Twice born : Dionysos films and the establishment of Greek film circuit in Australia

From the late 1940s until the late 1970s Melbourne was home to a dynamic Greek cinema circuit made up of some 30 different inner-city and suburban venues operated by a handful of vertically integrated exhibition/distribution businesses. Dionysos Films was amongst the first Greek film exhibition/distribution companies to form in Australia and from 1949 until 1956 it operated with little significant competition, establishing the parameters for a diasporic Greek film circuit that stretched across regional and metropolitan Australia and into New Zealand. This article measures the shadow cast by Dionysos Films (and its charismatic proprietor Stathis Raftopoulos) over the history of Antipodean Greek film experiences and the implications that this neglected aspect of Australian and Greek film history has for our understanding of the national cinemas in both countries.

Distribution grid codes : opportunities and challenges

Traditional distribution networks were not originally designed to accommodate power generation facilities. The installation of distributed generation (DG) units with significatn capacity in these passive networks can cause reverse power flows which will result in some conflicts with the operation of the existing protection system. In this context, utilities around the world have started establishing requirements to ensure safe and reliable interconnection of generators in low- and medium-voltage networks. Grid interconnection is presently one of the most important issues involving DG. This paper presents a critical review of the requirements adopted by distribution companies in selected countries such as the USA, the UK, germany and Australia to facilitate the connection of DG. Critical issues such as voltage regulation, islanding operation, dynamic interactions among DG and loads are discussed to identify a few points where attention is still needed to improve the reliability of distribution systems

Measurement of aqueous film thickness between charged mercury and mica surfaces : a direct experimental probe of the Poisson-Boltzmann distribution

A stable aqueous electrolyte film is formed between a mercury drop and a flat mica surface due to electrical double-layer repulsion when a negative potential is applied to the mercury. Film thickness has been measured as a function of applied potential while keeping the film pressure constant. By making measurements in this way, it is possible to map the data directly according to the Poisson-Boltzmann equation. An excellent fit to the data is obtained, providing direct evidence for this classical equation and its use as the basis of the Gouy-Chapman model of the diffuse double layer in electrolyte solutions.

Potentiostatic control of ionic liquid surface film formation on ZE41 magnesium alloy

The generation of potentially corrosion-resistant films on light metal alloys of magnesium have been investigated. Magnesium alloy, ZE41 [Mg−Zn−Rare Earth (RE)-Zr, nominal composition 4 wt % Zn, 1.7 wt % RE (Ce), 0.6 wt % Zr, remaining balance, Mg], was exposed under potentiostatic control to the ionic liquid trihexyl(tetradecyl)phosphonium diphenylphosphate, denoted [P_6,6,6,14][DPP]. During exposure to this IL, a bias potential, shifted from open circuit, was applied to the ZE41 surface. Electrochemical impedance spectroscopy (EIS) and chronoamperometry (CA) were used to monitor the evolution of film formation on the metal surface during exposure. The EIS data indicate that, of the four bias potentials examined, applying a potential of −200 mV versus OCP during the exposure period resulted in surface films of greatest resistance. Both EIS measurements and scanning electron microscopy (SEM) imaging indicate that these surfaces are substantially different to those formed without potential bias. Time of flight-secondary ion mass spectrometry (ToF-SIMS) elemental mapping of the films was utilized to ascertain the distribution of the ionic liquid cationic and anionic species relative to the microstructural surface features of ZE41 and indicated a more uniform distribution compared with the surface following exposure in the absence of a bias potential. Immersion of the treated ZE41 specimens in a chloride contaminated salt solution clearly indicated that the ionic liquid generated surface films offered significant protection against pitting corrosion, although the intermetallics were still insufficiently protected by the IL and hence favored intergranular corrosion processes.

Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.

Understanding water and ion transport behaviour and permeability through poly(amide) thin film composite membrane

Molecular dynamics (MD) together with the adaptive biasing force (ABF) and metadynamics free energy calculation methods was used to investigate the permeation properties of salt water through poly(amide) thin film composite reverse osmosis membranes. The thin films were generated by annealing an amorphous cell of poly(amide) chains through an MD method. The MD results showed they have typical structural properties of the active layer of thin film composite membranes and comparable water diffusivity (2.13×10^-5cm²/s for the film with a density of 1.06g/cm³) and permeability (9.27×10^-15cm³cm/cm²sPa) to experimental data. The simulations of water permeation through the films under different transmembrane pressures revealed the behaviours of water molecules in the thin films and the dynamic regimes of water permeation, including Brownian diffusion, flush and jump diffusion regimes. The intermolecular interactions of water and ions with poly(amide) chains showed a strong dependence on the local structure of films. The attraction between water and ploy(amide) molecules can be up to 8.5kcal/mol in dense polymer regions and 5kcal/mol in the pores of about 3nm. The ABF and metadynamics simulations produced the profiles of free energy potential of water and ions along the depth of the thin films, which provided important information for quantitatively determining the barrier energy required for water permeation and rejection of ions. The thin film with a density of 1.06g/cm³ and a thickness of 6nm offers a rejection to Na⁺ but a slight absorption of Cl^- (0.25kcal/mol) at 0.3-0.4nm distance to its surface. Water molecules must overcome 63kcal/mol energy to move to the centre of the film. The dependences of the barrier energy and the water-polymer interaction energy on the local free volume size in the thin film were analysed. The simulations of water permeation under high transmembrane pressures showed a nonlinear response of the concentration and distribution of water molecules in the film to the imposed pressure. Compaction of the film segments close to the porous substrate and water congestion in dense regions significantly influenced the water permeation when the membrane was operated under pressures of more than 3.0MPa.

Mixed feelings: Anglo-Indians and the distribution of the sensible in Indian cinema

Hollywood, and various regional cinemas in India typically represent Mixed-Race Anglo-Indians as a degenerate community marked by lax morals, alcoholism, and indolence. These stereotypical tropes typically generate indignant protests from members of this miniscule Indian community, and debates about the representation of Anglo-Indians focus on the injustices propagated by such stereotypes. This paper rethinks Anglo-Indian representation in cinema by drawing on Jacques Rancière’s concept of ‘the distribution of the sensible,’ which provides a cartography for understanding how one’s various identity assignations structure sensory experience. In other words those who are marginalized have ways of seeing and hearing from those occupy normative or dominant subject positions, and these differences are best approached in terms of neo-Kantian aesthetic judgment. It also argues, with Rancière, that ‘inequality’ is built into the distribution of the sensible. Drawing on a number of Indian and Hollywood films — including Aparna Sen’s 36 Chowringhee Lane (1981) Anjan Dutt’s Bada Din (1998) Ismail Merchant’s Cotton Mary (2000), Bow Barracks Forever (2004) and Harry McClure’s Going Away (2013) — the paper contends that Rancière’s ‘distribution of the sensible’ allows us to think through a politics that is connected to ‘aesthetic judgement’ as well as a politics of differentiation that informs our understanding of the function of minoritarian characters in narrative cinema.