Polyethylene terephthalate (PET) bulk film analysis using C60+, Au3+, and Au+ primary ion beams

The damage characteristics of polyethylene terephthalate (PET) have been studied under bombardment by C₆₀+, Au₃+ and Au+ primary ions. The observed damage cross-sections for the three ion beams are not dramatically different. The secondary ion yields however were significantly enhanced by the polyatomic primary ions where the secondary ion yield of the [M + H]+ is on average 5× higher for C₆₀+ than Au₃+ and 8× higher for Au₃+ than Au+. Damage accumulates under Au+ and Au₃+ bombardment while C₆₀+ bombardment shows a lack of damage accumulation throughout the depth profile of the PET thick film up to an ion dose of 1 ~ 10¹⁵ ions cm⁻². These properties of C₆₀+ bombardment suggest that the primary ion will be a useful molecular depth profiling tool.

Knights moves

This essay examines how the found footage films of Martin Arnold (Alone: Life Wastes Andy Hardy, 1998) and Peter Tscherkassky (Outer Space, 1999 and Dream Work, 2002) can be read as a belated response to Peter Wollen’s 1970s splitting of the avant-garde. Wollen’s tactical move, his article The Two Avant-gardes (Wollen, 1975 and revised in 1982) marked a historic moment when both critics and artists gained easy access to the film editing-machine for both film analysis and reflexive film production respectively. Wollen’s text asserted differences between a political and formalist avant-garde, opening up a space between structuralist/materialist film and feminist film theory and its counter-cinema. This move enabled Laura Mulvey and other Cine-Feminists to eschew formalism in favor of a political feminist counter–cinema and further, as part of its move into the academy, to develop and enlist Textual Analysis as a tool for uncovering the patriarchal ideologies at the heart of Hollywood melodrama.

Sounding loneliness in under the skin

How one affectively sounds loneliness on screen is dependent on what instruments, melodies, voices and sound effects are used to create a sonic membrane that manifests as melancholy and malcontent. It is in the syncretic and synesthetic entanglement that sounding loneliness takes root. It is in the added value inherent in the “sound-image” – to draw upon Chion1 – that loneliness fully emerges like a black dahlia. So many lonely people, where do they all come from? And yet, as I will suggest, this sounding loneliness is not only textually specific, simply or singularly driven by narrative and generic concerns, but is historically contingent and nationally and culturally locatable. For example, the sounds of urban isolation of the American 1940s film noir are different from the Chinese peasant laments of Chen Kaige’s Yellow Earth (1984), or what I will presently argue are the British austere strings of sounding loneliness today. When one employs a “diagnostic critique”2, one undertakes to find the history in the text and the text in the history. It is in the interplay between sound and image that historical and political truth emerges. These contextualised and historicised soundings change across and within national landscapes and their related imaginings. We don’t just see the crumbling walls of the imagined nation state, but get to hear its desolate tunes: The Specials wailing “Ghost Town” – the anthem of/to Margaret Thatcher’s first wave of 1980s neo-liberalism – is a striking case in point. But what specifically is this contemporary “sounding loneliness”, and where does it come from? I would like to suggest that this age of loneliness is composed in, through and within the sonic vibrations found in the wretched politics of austerity. My case study will be the anomic soundings of Jonathan Glazer’s Under the Skin (2013).

Horror film genre typing and scene labeling via audio analysis

We examine localised sound energy patterns, or events, that we associate with high level affect experienced with films. The study of sound energy events in conjunction with their intended affect enable the analysis of film at a higher conceptual level, such as genre. The various affect/emotional responses we investigate in this paper are brought about by well established patterns of sound energy dynamics employed in audio tracks of horror films. This allows the examination of the thematic content of the films in relation to horror elements. We analyse the frequency of sound energy and affect events at a film level as well as at a scene level, and propose measures indicative of the film genre and scene content. Using 4 horror, and 2 non-horror movies as experimental data we establish a correlation between the sound energy event types and horrific thematic content within film, thus enabling an automated mechanism for genre typing and scene content labeling in film.

Identifying film takes for cinematic analysis

In this paper, we focus on the ‘reverse editing’ problem in movie analysis, i.e., the extraction of film takes, original camera shots that a film editor extracts and arranges to produce a finished scene. The ability to disassemble final scenes and shots into takes is essential for nonlinear browsing, content annotation and the extraction of higher order cinematic constructs from film. In this work, we investigate agglomerative hierachical clustering methods along with different similarity metrics and group distances for this task, and demonstrate our findings with 10 movies.

Analysis of environmental sounds as indexical signs in film

In this paper, we investigate the problem of classifying a subset of environmental sounds in movie audio tracks that indicate specific indexical semiotic use. These environmental sounds are used to signify and enhance events occurring in film scenes. We propose a classification system for detecting the presence of violence and car chase scenes in film by classifying ten various environmental sounds that form the constituent audio events of these scenes using a number of old and new audio features. Experiments with our classification system on pure test sounds resulted in a correct event classification rate of 88.9%. We also present the results of the classifier on the mixed audio tracks of several scenes taken from The Mummy and Lethal Weapon 2. The classification of sound events is the first step towards determining the presence of the complex sound scenes within film audio and describing the thematic content of the scenes.

Automated film rhythm extraction for scene analysis

This paper examines film rhythm, an important expressive element in motion pictures, based on our ongoing study to exploit film grammar as a broad computational framework for the task of automated film and video understanding. Of the many, more or less elusive, narrative devices contributing to film rhythm, this paper discusses motion characteristics that form the basis of our analysis, and presents novel computational models for extracting rhythmic patterns induced through a perception of motion. In our rhythm model, motion behaviour is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighbourhoods in movies are then grouped by proportional makeup of these motion behavioural classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. Underlying causes for this level of codification in our approach are postulated from film grammar, and are accompanied by detailed demonstration from real movies for the purposes of clarification.

The media and the development of the tourism industry during the 20th and 21st centuries: an analysis of four noteworthy cases

The aim of this paper was to explore the role of the media within the context of tourism, specifically with regard to how the media has influenced the activities and perceptions of the tourism sector. In this paper, the term ‘media’ is referred to as mass communication, specifically with regard to newspapers, magazines and broadcasting. It is important to gain a better understanding of the ways in which the media has interacted with the tourism sector, as this information can provide practitioners and academics with insights as to how the media can best be employed to benefit stakeholders of the tourism industry. Lessons can be learned from the past so that the experience gained from it can contribute to best practice in the future. In this way, strategies can be developed to minimise the vulnerability of the tourism sector to damaging or erroneous portrayals of it and its activities in the media.
The case study method was used to explore the role of the media within the context of tourism. Four case studies provided insights on this topic. The four case studies were selected based on their diversity, within the context of the tourism sector, and because they covered a considerable period of time. These variables provided the researchers with a wide-ranging perspective on the topic.
The paper firstly focuses on the 1920’s Waiters’ Strike in the resort town of San Sebastián, Spain, and discusses the role of the media in relation to this event. The second case investigates the use of the media as a destination-marketing tool and reflects on an early manipulation of this process by the German authorities in the documentary Olympia, a film produced for the summer Olympics in 1936. The third case study reports on the manner in which the media has created tensions between connoisseurs of fine food and drink and hospitality industry professionals, and its subsequent implications on service quality. The final case investigates the role of the media in reducing demand for hospitality services in Melbourne on New Year’s Eve 2000.
Through an analysis of these diverse, but important case studies, it can be seen that the media has had, and continues to have, an impact on the development of the tourism industry in both positive and negative ways. The limitations of this research are discussed and recommendations are made for further research that will assist in developing a more comprehensive typology of the media’s role in tourism.

Characterization of superfine wool powder/poly(propylene) blend film

Superfine wool powder was blended and extruded with poly(propylene) (PP) to produce blend pellets, and the extruded pellets were hot-pressed into a blend film. SEM photographs show that the powder could be uniformly incorporated with PP after extrusion. FT-IR spectra shows that no substantial changes occurred in the chemical structure of both PP and wool powder in the blend film. X-Ray diffraction analysis indicates that crystallinity of the blend film was much higher than that of the wool powder and little lower than that of PP. TG-tested results indicate that the thermal stability of the blend film declined with an increase in the powder content. Endothermic peaks of the wool powder in the blend film become more obvious as the powder content increases. Mechanical properties decline greatly with an increase in the wool powder content in the blend film.

Narrativization of actuality : convergence of form and genre in film and television

The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a ‘line of flight or deterritorialization’ that enables the thesis to ‘change in nature and connect with other multiplicities.’This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols’ theories of documentary representation of reality, Bordwell’s schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as ‘a rhizome with the world’, is analyzed across a range of examples.

Solid state NMR analysis of polypyrrole grown in a phosphonium ionic liquid

³¹P, ¹⁹F and ¹³C solid state NMR analysis has been used to investigate the intercalation/de-intercalation of both anions and cations in electrochemically synthesized polypyrrole films. Use of a phosphonium-based ionic liquid, tri(hexyl)(tetradecyl)phosphonium bis(trifluoromethanesulfonyl)amide, allows the separate detection of the cation and anion by analysis of the phosphorous and fluorine resonances, respectively. Initial results indicate the incorporation of both cations and anions during film growth in the ionic liquid. There is a notable change in the ³¹P chemical shift of the cation on incorporation into the film, consistent with a significant change in environment compared to the pure ionic liquid. Despite its large size, the phosphonium cation can be completely expelled from the film by oxidation.

Representation and judgement : 'privileged' Jews in Holocaust writing and film

This thesis analyses the ways in which moral judgements of so-called privileged Jews are constructed in Holocaust representations. ‘Privileged’ Jews include those prisoners in the camps and ghettos who held positions which gave them access to material and other benefits. Subject to extreme levels of coercion, these victims were compelled to act in ways that have often been judged as both self-serving and harmful to fellow inmates. Such controversial figures constitute an intrinsically important, frequently misunderstood and hastily judged facet of the Holocaust. Scholars have neglected the problem of judgement in relation to ‘privileged’ Jews; nonetheless, Holocaust texts frequently portray these liminal figures.

Of crucial importance to the thesis is Primo Levi’s paradigmatic essay entitled ‘The Grey Zone,’ which directly engages with the complex and sensitive issue of ‘privileged’ Jews. Levi argues that due to the extreme ethical dilemmas that ‘privileged’ Jews confronted, any judgement of these victims needs to be suspended. However, if, as Levi suggests, judgement is at times impossible, the thesis challenges Levi’s assumption by contending that representations of ‘privileged’ Jews inevitably take a moral position. In this way, the thesis conceptualises judgement as a ‘limit’ of representation. Indeed, it is shown that Levi himself cannot abstain from judging those for whom he argues judgement should be suspended.

The thesis takes Levi’s concept of the ‘grey zone’ as a point of departure in order to examine the problems of judgement and representation in relation to ‘privileged’ Jews. Analysis focuses on Raul Hilberg’s influential historical work and examples of documentary and fiction films. The thesis examines how Hilberg and several filmmakers employ conventions as a means of conveying judgement. It is argued that self-reflexive representations of ‘privileged’ Jews in film, particularly fictional dramatisation, have the potential to provide a nuanced representation of ‘privileged’ Jews, which engages with Levi’s ideas by questioning the possibility of judgement.