Precursor Film in Dynamic Wetting, Electrowetting, and Electro-Elasto-Capillarity

Dynamic wetting and electrowetting are explored using molecular dynamics simulations. The propagation of the precursor film (PF) is fast and obeys the power law with respect to time. Against the former studies, we find the PF is no slip and solidlike. As an important application of the PF, the electro-elasto-capillarity, which is a good candidate for drug delivery at the micro- or nanoscale, is simulated and realized for the first time. Our findings may be one of the answers to the Huh-Scriven paradox and expand our knowledge of dynamic wetting and electrowetting.

A study on water film in saturated sand

Water film can serve as a sliding surface and cause landslides on gentle slopes. The development of "water film" in saturated sand is analyzed numerically and theoretically based on a quasi-three-phase model. It is shown that stable water films initiate and grow if the choking state (where the fluid velocity decreases to near zero) remains steady in a liquefied sand column. Discontinuity can occur in pore water velocity, grain velocity and pore pressure after the initiation of a water film. However, the discontinuity and water film can disappear once the choking state is changed. The key to the formation of water film is the choking in the sand column caused by eroded fine grains.

Photoluminescent properties of organic film in flat optical microcavity

The microcavity is sandwiched between a quarterwavelength distributed Bragg reflector(DBR) and a metal Ag reflective mirror. A single layer of a Tris(8-quinolinolato)aluminum (Alq) film was used as the light-emitting layer. The photoluminescent properties of the optical microcavity and that of the Alq film were studied at the same excitation condition. Compared with the Alq film,the significantly narrowed spectral emission linewidth from 90 nm to 10 nm was observed, the PL emission intensity of the microcavity at the resonant mode is enhanced by the order of 1. The spectral narrowing and intensity enhancement of the microcavity is attributed to the microcavity effect.

Spontaneous emission properties of organic film in plane optical microcavity

The spontaneous emission properties of a single layer organic film in plane optical microcavities were studied. Optical microcavity was formed by a Tris(8-quinolinolato) aluminium (Alq) film sandwiched between a distributed Bragg reflector (DBR) and a Ag metallic reflector. Two kinds of microcavities were devised by using a different DBR structure. Compared with a Alq film, significantly spectral narrowing and intensity enhancement was observed in the two microcavities, which is attributed to the microcavity effect. The spectra characteristics of the two microcavities showed that the structure of DBR has much influence on the emission properties of a microcavity. (C) 2000 Elsevier Science S.A. All rights reserved.

Enzymatic degradation of poly(epsilon-caprolactone) film in phosphate buffer solution containing lipases

The enzymatic degradation of poly(epsilon-caprolactone) (PCL) films in phosphate buffer solution containing lipases has been studied by DSC, WAXD and SEM. Three lipases, pseudomonas lipase (PS), porcine pancreatic lipase (PP), and candida cylindracea lipase (AY), were used. The results showed that the degradation of PCL films in phosphate buffer solution containing PP or AY was very slow: no weight loss could be found within 1 week. However, PCL film could degrade rapidly and completely within 4 days in phosphate buffer solution containing PS lipase. (C) 1997 Elsevier Science Limited.

Reading of audiovisual productions of contemporary art in art education

This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.

Studies on polypyrrole film in room temperature melt

A bluish-black shining free standing polypyrrole film (PPy) of electronic conductivity 130 S cm-1 has been prepared by electrochemical oxidative polymerization of pyrrole on Pt/transparent glass conducting electrode resistance 15 O cm-1, using a room temperature melt as an electrolyte, composed of 1:3 stoichiometric ratio of cetyl pyridinium chloride and anhydrous aluminum chloride at 0.58 V versus Al wire as a reference electrode. The film possessed a charge transfer resistance of 132 O, and showed two absorption peaks at 457 and 1264 nm in the UV-vis–NIR diffused reflectance spectra. The morphology of the film was hexagonal. The potential step technique suggested a layered structure. This thin film can easily be peeled off from the electrode surface after three cycles and can be used for various applications like dissipation of electrostatic charge, battery electrode materials, solid electrolytic capacitor, electrochromic windows and displays, microactuators etc. It was also characterized by IR, thermal and SEM studies.

Funding, ideology and the aesthetics of the development film in postcolonial Zimbabwe

This article considers the relationships between aesthetics and ideology in donor-funded ‘development’ film-making from Zimbabwe, examining in particular how the films’ producers have attempted to popularize a genre of film-making that has its roots in colonial cinema. Making close reference to two productions from the Harare-based Media for Development Trust (MFD) – Neria (Godwin Mawaru, 1992), and Everyone’s Child (Tsitsi Dangarembga, 1996) (both of which may be regarded as archetypal examples of their genre) – the article demonstrates how the films deploy a range of aesthetic strategies to imbue a set of narratives drawn from colonial development films with greater impact and cultural resonance for contemporary local audiences. The article also suggests that close analysis of these strategies may provide insights into the relationships between the films’ aesthetic dimensions and wider ideological issues in the region.

British Film in the 1970s: Capital, Culture and Creativity

Throughout the 1970s the British film industry struggled to produce films which performed well at the box office and appealed to audiences. As a result the decade has often been considered as one of the low points of British cinema. But was this really the case? Conventional film histories of the decade have emphasised key texts and specific genres, such as the Bond films, the Carry On series or low budget horror. Yet British cinema in this period offered a great deal more to audiences and careful study of original documents demonstrates the diversity and variety of an industry, and a decade, typically perceived as limited and unimaginative. An examination of important material – much of it newly discovered or previously underused – offers an insight into the industry in this decade while key case studies present a detailed picture of the eclectic, diverse and often challenging film culture of the period.

Invaders, Launchpads and Hybrids: The Importance of Transmediality in British Science Fiction Film in the 1950s

With its origins in the trick films of the 1890s and early 1900s, British science fiction film has a long history. While Things to Come (1936) is often identified as significant for being written by H.G.Wells, one of the fathers of science fiction as a genre, the importance of the interactions between media in the development of British science fiction film are often set aside. This chapter examines the importance of broadcast media to film-making in Britain, focusing on the 1950s as a period often valourised in writings about American science fiction, to the detriment of other national expressions of the genre. This period is key to the development of the genre in Britain, however, with the establishment of television as a popular medium incorporating the development of domestic science fiction television alongside the import of American products, together with the spread of the very term ‘science fiction’ through books, pulps and comics as well as radio, television and cinema. It was also the time of a backlash against the perceived threat of American soft cultural power embodied in the attractive shine of science fiction with its promise of a bright technological future. In particular, this chapter examines the significance of the relationship between the BBC television and radio services and the film production company Hammer, which was responsible for multiple adaptations of BBC properties, including a number of science fiction texts. The Hammer adaptation of the television serial The Quatermass Experiment proved to be the first major success for the company, moving it towards its most famous identity as producer of horror texts, though often horror with an underlying scientific element, as with their successful series of Frankenstein films. This chapter thus argues that the interaction between film and broadcast media in relation to science fiction was crucial at this historical juncture, not only in helping promote the identities of filmmakers like Hammer, but also in supporting the identity of the BBC and its properties, and in acting as a nexus for the then current debates on taste and national identity.