Organic photovoltaics using thin gold film as an alternative anode to indium tin oxide

Indium Tin Oxide (ITO) is the most commonly used anode as a transparent electrode and more recently as an anode for organic photovoltaics (OPVs). However, there are significant drawbacks in using ITO which include high material costs, mechanical instability including brittleness and poor electrical properties which limit its use in low-cost flexible devices. We present initial results of poly(3-hexylthiophene): phenyl-C61-butyric acid methyl ester OPVs showing that an efficiency of 1.9% (short-circuit current 7.01 mA/cm2, open-circuit voltage 0.55 V, fill factor 0.49) can be attained using an ultra thin film of gold coated glass as the device anode. The initial I-V characteristics demonstrate that using high work function metals when the thin film is kept ultra thin can be used as a replacement to ITO due to their greater stability and better morphological control.

Stable organic photovoltaics using Ag thin film anodes

The interaction at the interface between a metal electrode and photoactive polymer is crucial for overall performance and stability of organic photovoltaics (OPVs). In this article, we report a comparative study of the stability of thin film Ag and indium tin oxide (ITO) as electrodes when used in conjunction with an interfacial PEDOT:PSS layer for P3HT:PCBM blend OPV devices. XPS measurements were taken for Ag and ITO/PEDOT:PSS layered samples with different exposure times to ambient conditions (∼25 °C, ∼50% relative humidity) to investigate the migration of Ag and In into the PEDOT:PSS layer. The change in efficiency of OPVs with a longer exposure time and degree of migration is explained by the analysis of XPS results. We propose the mechanism behind the interactions occurring at the interfaces. The efficiency of the ITO electrode OPVs continuously decreased to below 10% of the initial efficiency. However, the Ag devices displayed a slower degradation and maintained 50% of the initial efficiency for the same period of time.

Effects of metal ion concentration on electrodeposited CuZnSn film and its application in kesterite Cu2ZnSnS4solar cells

In this study, effects of concentrations of Cu(II), Zn(II) and Sn(II) ions in the electrolytic bath solution on the properties of electrochemically deposited CuZnSn (CZT) films were investigated. Study of the composition of a CZT film has shown that the metallic content (relative atomic ratio) in the film increased linearly with increase in the metal ion concentration. It is the first time that the relationship of the compositions of the alloy phases in the co-electrodeposited CZT film with the concentration of metal ions has been revealed. The results have confirmed that the formation and content of Cu6Sn5 and Cu5Zn8 alloy phases in the film were directly controlled by the concentration of Cu(II). SEM measurements have shown that Sn(II) has significant impact on film morphology, which became more porous as a result of the larger nucleation size of tin. The changes in the surface properties of the films was also confirmed by chronoamperometry characteristic (i–t) deposition curves. By optimization of metal ion concentrations in the electrolyte solution, a copper-poor and zinc-rich kesterite Cu2ZnSnS4 (CZTS) film was synthesized by the sulfurization of the deposited CZT film. The solar cell with the CZTS film showed an energy conversion efficiency of 2.15% under the illumination intensity of 100 mW cm 2.

Shine: Copyright law and film

This article looks at the various experiences of the film-makers involved in Shine in relation to copyright policy and litigation. Part 1 considers the involvement of Jan Sardi in the campaign to get screenwriters included in the moral rights regime in the film industry. Part 2 recounts the efforts of Scott Hicks to push for directors to acquire royalties under the retransmission scheme in the Copyright Amendment (Digital Agenda) Act 2000 (Cth). Part 3 discusses the contractual dispute between independent producer Jane Scott and the distributor over the gross receipts to the film Shine. Part 4 explores the disputes over the use of Sergei Rachmaninov's music in the film Shine.

Introduction to "International Perspectives on Business Innovation and Disruption in the Creative Industries Film, Video and Photography"

The creative industries are particularly fecund empirical fields for investigating the processes of business innovation and disruption. The creative industries are some of the fastest growing sectors in many economies (European Commission, 2001; OECD, 2006; United States Census Bureau, 2010) and thus are worthy of study in their own right. Additionally, the study of the creative industries affords insights into how we understand the current economic transformation towards knowledge- based economies more broadly. The transformation toward knowledge- based economies has been foreshadowed by the transformation of creative industries such as publishing, film, video, photography, music and so on...

(Un)dead Japan: A genre analysis of the Japanese zombie film

This study is an in-depth examination of the stylistic and generic characteristics of the Japanese zombie film and its relations to Japanese horror cinema and the conventions and tropes of Western zombie movies more generally. Through generic analysis of key Japanese zombie films released over the last 15 years, this study establishes the sub-genre's ties to transnational production practices and cult cinema. The first monograph length study of this kind, this study provides insight into the growing sub-genre of Japanese zombie films while concurrently broadening current scholarship and understanding of the zombie film genre.

Die Großstadt als Gegner? : Zur Wahrnehmung Berlins in Literatur, Film und Hörspiel der späten Weimarer Republik

Tässä tutkielmassa tarkastellaan, miten Berliinin suurkaupunki vaikutti Weimarin tasavallan loppuaikoina yksilöön. Tutkimusaineistona on Alfred Döblinin romaani Berlin Alexanderplatz sekä Walter Ruttmannin elokuva Berlin. Die Sinfonie der Großstadt ja kuunnelma Weekend. Teoreettisena taustana hyödynnetään kulttuuri- ja mediahistorian mentaliteetti- ja sosiaalihistoriaa. Aihetta käsitellään myös historiallis-temaattisesta lähtökohdasta, eli työssä tutkitaan todellisen Berliinin asemaa kyseisenä aikana, modernin metropolin olemusta, modernin ajan murrosvaihetta sekä uusasiallisen taidesuuntauksen vaikutusta teoksiin. Weimarin tasavallan aikana Saksassa elettiin murroksen keskellä. Toisaalta yhteiskunta oli poliittisesti pirstoutunut ja taloudellisesti epävakaa, mutta toisaalta kulttuurielämä oli lyhyen aikaa rikasta. Suurkaupungin asukkailla oli enemmän vapaa-aikaa ja mahdollisuuksia toteuttaa itseään omassa ympäristössään. Toisaalta ajan ristiriitaisuus kuitenkin vaikeutti yksilöllisen elämäntavan toteutumista; ihmiset odottivat murroskauden päättymiseltä materiaalista tyydytystä, jolloin henkiselle kehitykselle jäi vähän tilaa. Tärkein kysymyksenasettelu koskee suurkaupungin roolia oman aikansa tuotteena: missä määrin kaupunki oli ihmisen todellinen vastustaja ja missä määrin sen asema oli kuviteltua? Todellisen Berliinin suhdetta reflektoidaan fiktiiviseen suurkaupunkiympäristöön. Ensin tarkastellaan Berliiniä toimijana murroskaudella ja sitten käsitellään ajan ja tilan havainnointia. Koska teokset ovat fiktiivisiä, erityisen tarkastelun kohteena on todellisuuden, fiktion ja simulaation suhde. Tässä yhteydessä tarkastellaan myös kaupungin ja maaseudun välistä problematiikkaa. Kolmannessa osassa esille nousee yksilön ja massan välinen suhde, joka sekin vaikuttaa ihmisen ja suurkaupungin väliseen vastakkainasetteluun. Ilmensikö koneiden ja liikenteen dominoiva asema futuristista asetelmaa? Lisäksi käsitellään alamaailman ja kultaisen 20-luvun välistä kuilua. Kaikkia kolmea teosta yhdistää 24 tunnin aikakäsite; ajalla on selkeästi rajattu alku ja loppu, ja myös tilan käsite on tarkastelussa tärkeä. Kaikissa teoksissa on hyödynnetty montaasitekniikkaa. Kohtaukset vaihtuvat hyvinkin nopeasti, jolloin lukija, katsoja tai kuulija vieraantuu varsinaisesta kohteestaan. Montaasi vaikuttaa ratkaisevasti myös kaupungin ja yksilön suhteen kuvaukseen. Suurkaupungista muotoutuu lähes hirviömäinen, personifioitu subjekti, joka konemaisella olemuksellaan pyrkii nujertamaan pienen ihmisen. Döblinin romaanissa kertoja toimii ikään kuin yksilöä vastaan liittämällä kerronnan väliin uutisaiheita, säätiedotuksia ja kohtalokertomuksia. Elokuvassa ja kuunnelmassa teknologisen kehityksen ihannointi on noussut etualalle: ihmiset muistuttavat sekä yksilöinä että massana koneita, jotka liikkuvat hektisen mekaanisesti eteenpäin kuin liikennevälineet. He eivät kyseenalaista ympäristöään eivätkä koe olevansa oravanpyörässä. Romaanin päähenkilö on heijastanut omat pelkonsa konkreettisesti suurkaupungin infrastruktuuriin, kerrostaloihin, jotka tuntuvat kaatuvan hänen päälleen. Yksilöllinen kehitys on vaarassa pysähtyä, sillä koneistuminen tekee yksilöistä massaa. Elokuvassa ja kuunnelmassa kamppailu suurkaupunkiorganismin ja ihmisten välillä jatkuu, mutta romaanissa kamppailu päättyy päähenkilön parantumiseen. Hänestä tulee mallikansalainen - vaiennettu ja kuuliainen. Kaikkien kolmen teoksen hahmoja kuvataan modernin ajan uhreina. Heiltä puuttuu mekanismi, jolla he voisivat käsitellä kokonaisuuksia. Modernin ajan hahmojen elämä on lopulta kuin tanssia tulivuoren päällä - epävarmaa ja riskialtista.

Depth profile composition studies of thin film CdS: Cu,S solar cells using XPS and AES

Surface composition and depth profile studies of hemiplated thin film CdS:CuzS solar cells have been carried out using x-ray photoelectron spectroscopy (XPS) and Auger electron spectroscopy (AES) techniques. These studies indicate that the junction is fairly diffused in the as-prepared cell. However, heat treatment of the cell at 210°C in air relatively sharpens the junction and improves the cell performance. Using the Cu(2p3p)/S(2p) ratio as well as the Cu(LVV)/(LMM) Auger intensity ratio, it can be inferred that the nominal valency of copper in the layers above the junction is Cut and it is essentially in the CUSS form. Copper signals are observed from layers deep down in the cell. These seem to appear mostly from the grain boundary region. From the observed concentration of Cd, Cu and S in these deeper layers and the Cu(LVV)/(LMM) ratio it appears that the signals from copper essentially originate partly from copper in CuS and partly from Cu2t trapped in the lattice. It is significant to note that the nominal valence state of copper changes rather abruptly from Cut to Cuz+ across the junction.

When film, fashion & interiors collide: Designing the After Darkly Graduate Fashion Show

In 2013 QUT Interior Design and Fashion Disciplines partnered to design the Catwalk for the QUT After Darkly Graduate Fashion Show. The ephemeral work (catwalk canopy and cinematic affects) was developed through collaboration between the authors based upon an undergraduate interior design unit ‘Filmic Interiors’ in which students were tasked with designing a fashion show. Filmic Interiors exploited the potential of film to influence, understand, and develop novel interior spaces through consideration of mise-en-scene, cinematic effects and atmospheric design strategies engaged by key film directors Jean Pierre Jeunet and Darren Aronofsky. The design outcome represents a hybridisation of student design proposals, contemplating both film and emerging collections from graduate fashion students. The work explored a number of iterations each testing material qualities and immaterial cinematic affects, as a means to develop new space. The process was led by experimentation undertaken by the designers through previous studio explorations surrounding the theme of ‘Strange Space’ and design practice ‘Making Strange’(Lindquist & Pytel, 2012). In doing so, the work paralleled the material formations of ‘obsessive collections’ and ‘making do’ evident in Jeunet’s scenography, rendering uncanny hybrid space (Ezra, 2008). Evocation of the immaterial found in much of director Aronofsky’s work, also became critical in the atmospheric experience intended for the show. This paper explores the process of collaboration and material experimentation in design, approached through a filmic lens. It provides insight into what happens when one enters into what can be termed an ‘ecology of production’, whereby the experimental making becomes the collaborative agent between designers, disciplines, and between stage and spectators. Finally it underlines the importance of ‘finding the work’ through material making and testing rather than through more controlled formalistic responses.

Trimming studies on polymer thick-film resistors

PVC-graphite polymer thick-film resistors were trimmed by a conventional air abrasive technique and the post-trim drift in resistance with time was found to be negative. The net decrease in resistance of trimmed resistors in a given time was found to be a function of resistor composition, cutting speed and temperature. Detailed studies showed this decrease to be due to a decrease in cut width with time. Two new methods, namely bombardment trimming and radiation trimming, were also tried for adjusting the resistance of these resistors and the results were compared with those obtained from abrasive trimming studies.

China, film coproduction and soft power competition

This thesis investigates China's film internationalism and coproduction strategy based on three cases: Hong Kong and China film coproduction; US and China without any state-level agreements; Australia and China based on an official coproduction treaty. It investigates the evolution of coproduction in the film industry, the process of coproduction, foreign film companies' strategies of adjustment to state policies, and the culture and complexities that hinder coproduction. It surveys the current environment for China film coproduction and investigates the degree to which film coproduction has been - to this stage - a contributor to China's global cultural presence – its soft power.

Film cooling at hypersonic Mach numbers using forward facing array of micro-jets

Experimental investigations are carried out in the IISc hypersonic shock tunnel on film cooling effectiveness of a single jet (diameter 2 mm and 0.9 mm), and an array forward facing of micro-jets (diameter 300 mu m each) of same effective area (corresponding to the respective single jet). The single jet and the corresponding micro-jets are injected from the stagnation zone of a blunt cone model (58, apex angle and nose radius of 35 mm). Nitrogen and Helium are injected as coolant gases. Experiments are performed at freestream Mach number 5.9, at 0 degrees angle of attack, with a stagnation enthalpy of 1.84 MJ/kg, with and without injections. The ratios of the jet stagnation pressure to the freestream pitot pressure used in the present study are 1.2 and 1.45. Up to 50% reduction in surface heat transfer rate was observed with the array of micro-jets, compared to that of the respective single jet with nitrogen as the coolant, while the corresponding eduction was up to 37% for helium injection, with the schlieren flow visualizations showing no major change in the shock standoff distance, and thus no major changes in other aerodynamic aspects such as drag.