Dynamic arrest in polymer melts: competition between packing and intramolecular barriers

We present molecular dynamics simulations of a simple model for polymer melts with intramolecular barriers. We investigate structural relaxation as a function of the barrier strength. Dynamic correlators can be consistently analyzed within the framework of the mode coupling theory of the glass transition. Control parameters are tuned in order to induce a competition between general packing effects and polymer-specific intramolecular barriers as mechanisms for dynamic arrest. This competition yields unusually large values of the so-called mode coupling theory exponent parameter and rationalizes qualitatively different observations for simple bead-spring and realistic polymers. The systematic study of the effect of intramolecular barriers presented here also establishes a fundamental difference between the nature of the glass transition in polymers and in simple glass formers.

Amorphous silicon thin film solar cells deposited entirely by Hot-Wire Chemical Vapour Deposition at low temperature (<150 ºC)

Amorphous silicon n-i-p solar cells have been fabricated entirely by Hot-Wire Chemical Vapour Deposition (HW-CVD) at low process temperature < 150 °C. A textured-Ag/ZnO back reflector deposited on Corning 1737F by rf magnetron sputtering was used as the substrate. Doped layers with very good conductivity and a very less defective intrinsic a-Si:H layer were used for the cell fabrication. A double n-layer (μc-Si:H/a-Si:H) and μc-Si:H p-layer were used for the cell. In this paper, we report the characterization of these layers and the integration of these layers in a solar cell fabricated at low temperature. An initial efficiency of 4.62% has been achieved for the n-i-p cell deposited at temperatures below 150 °C over glass/Ag/ZnO textured back reflector.

Electronic transport in low temperature nanocrystalline silicon thin-film transistors obtained by Hot-Wire CVD

Hydrogenated nanocrystalline silicon (nc-Si:H) obtained by hot-wire chemical vapour deposition (HWCVD) at low substrate temperature (150 °C) has been incorporated as the active layer in bottom-gate thin-film transistors (TFTs). These devices were electrically characterised by measuring in vacuum the output and transfer characteristics for different temperatures. The field-effect mobility showed a thermally activated behaviour which could be attributed to carrier trapping at the band tails, as in hydrogenated amorphous silicon (a-Si:H), and potential barriers for the electronic transport. Trapped charge at the interfaces of the columns, which are typical in nc-Si:H, would account for these barriers. By using the Levinson technique, the quality of the material at the column boundaries could be studied. Finally, these results were interpreted according to the particular microstructure of nc-Si:H.

Microcrystalline silicon thin film transistors obtained by Hot-Wire CVD

Polysilicon thin film transistors (TFT) are of great interest in the field of large area microelectronics, especially because of their application as active elements in flat panel displays. Different deposition techniques are in tough competition with the objective to obtain device-quality polysilicon thin films at low temperature. In this paper we present the preliminary results obtained with the fabrication of TFT deposited by hot-wire chemical vapor deposition (HWCVD). Some results concerned with the structural characterization of the material and electrical performance of the device are presented.

Thin Film Transistors obtained by Hot-Wire CVD

Hydrogenated microcrystalline silicon films obtained at low temperature (150-280°C) by hot wire chemical vapour deposition at two different process pressures were measured by Raman spectroscopy, X-ray diffraction (XRD) spectroscopy and photothermal deflection spectroscopy (PDS). A crystalline fraction >90% with a subgap optical absortion 10 cm -1 at 0.8 eV were obtained in films deposited at growth rates >0.8 nm/s. These films were incorporated in n-channel thin film transistors and their electrical properties were measured. The saturation mobility was 0.72 ± 0.05 cm 2/ V s and the threshold voltage around 0.2 eV. The dependence of their conductance activation energies on gate voltages were related to the properties of the material.

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Recension

Hollywood Films in the Non-Western World: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

This dissertation argues that the Government of the People’s Republic of China, when it made the decision to import a quota of Hollywood films in 1994 to revive the failing domestic film industry, had different possible criteria in mind. This project has studied four of them: first, importing films that gave a negative image of the United States; second, importing films that featured Chinese talent or themes; third, importing films that were box office hits in the United States; and fourth, importing films with a strong technological innovation ingredient. In order to find out the most important criteria for the Chinese Government, this dissertation offers a dataset that analyzes a population of 262 Hollywood films released in the PRC between 1994 and 2010. For each unit, a method has been developed to compile data that will determine whether the film reflects any of the four criteria, and findings in the form of yearly percentages have been drawn. Results show that, out of the four studied criteria, the two predominant reasons for China to import films were technological innovation and box office hits. This tells us that, at this point, the Chinese Government shows more interest in obtaining big revenues and learning from technically innovative American films than in delivering underlying political messages. This dissertation contributes to the existing literature by analyzing the content of all the films imported by China between 1994 and 2010, while integrating in the analysis variables based on the existing knowledge.

The Transnational Zombie: Postcolonial Memory and Rage in the Recent European Horror Film

An ever increasing number of films, books, and scholarly works dealing with the undead have appeared in the last decade, making the zombie the very incarnation of American popular culture on a global scale. In this chapter I show that the zombie is also a surprisingly complex sign for transnational movement and multidirectional cultural flow. While the zombie may appear as the very epitome of American cultural production and influence, a mindless movie monster born of a vapid stream of Hollywood B-horror, the zombie has a rich transnational history and an eloquent figurative resonance that have fed into its current ubiquity as cultural sign. This chapter reviews that history and then examines some of the ways that the zombie figure has traveled between the Caribbean, where it emerged, the United States, where it was translated into a film device of startling pathos and horror, and Europe, to which it owes some of its most interesting recent innovations.

La controverse avant le film : quelle politique pour Good Night, And Good Luck ?

This article aims to explain how newspapers commented on the movie Good Night, and Good Luck before its release. The media coverage anticipated George Clooney's film as a partisan attack launched against George W. Bush's policy since 9/11. Clooney advocates another reading: the historic confrontation between journalist Edward Murrow and Senator Joseph McCarty permits to reflect on the crucial role that the media play for democracy. Such reflection tries to prevent the dividing of the public sphere into antagonistic camps opposing "friends" to "foes," a division that undermines the possibility of a true pluralism. Our socio-semiotic analysis will focus on the critical work accomplished by the media, and on the way that work determines the collective meaning of a cultural object. Simultaneously, we will discuss the necessary conditions for pluralism in a public sphere.

L'origine picturale du cinéma : le tableau vivant, une esthétique du film des premiers temps

Le cinéma des premiers temps, c'est-à-dire la production des deux premières décennies du cinéma, majoritairement caractérisée par des plans autonomes, des histoires courtes et un cadre fixe, n'a essentiellement connu d'études esthétiques que sous un angle narratologique, centrées notamment sur les prémisses du montage. Cette thèse déplace le regard - ou plus simplement le convoque -, en proposant de faire sa place à l'image. Car à qui sait les regarder, les premiers films dévoilent une parenté picturale jusqu'alors ignorée. Les images du cinéma des premiers temps - alors significativement appelées « tableaux » - se sont en effet définies à l'aune de la peinture, et même plus précisément par une imitation littérale des oeuvres d'art. Cette étude révèle que le tableau vivant, défini dans les termes stricts de la reconstitution d'une composition picturale par des acteurs vivants (que ceux-ci tiennent la pose ou non), est au fondement d'une esthétique du film des premiers temps. L'argument est structuré par les illustrations que l'auteure exhume (et compare, à la manière d'un spectaculaire et vivant jeu des 7 différences) parmi cette production filmique majoritairement disparue, brûlée, effacée, et ces références picturales aujourd'hui perdues, dénigrées, oubliées... Néanmoins ce ne sont pas quelques exemples isolés, mais un vrai phénomène historique qui est mis au jours à travers un corpus de films traversant tous les genres du cinéma des premiers temps, et prouvant que les productions du Film d'Art et des séries d'art ou le film Corner in Wheat (D.W. Griffith, 1909), souvent tenus comme un commencement, consistent bien plus en un aboutissement de cette tradition qui consiste à créer des images filmiques sous forme de tableaux vivants. Traçant d'abord ses « contexte et contours », le texte montre que la reconstitution picturale hante toutes les formes de spectacle à l'heure de l'émergence du cinéma. Les scènes de l'époque cultivent internationalement une esthétique de tableau vivant. Et la scène n'a pas l'exclusivité du phénomène : le médium photographique, dès son apparition, s'approprie le procédé, pour (chose jusqu'alors impossible) documenter l'effet visuel de ces reconstitutions, mais aussi pour les réinventer, en particulier pour se légitimer en tant que moyen artistique capable de rivaliser avec la peinture. Le cinéma émergent procède à une appropriation similaire du tableau vivant, qui fait le coeur de ce travail en y étant analysée selon quatre axes théoriques : Reproduire - où l'on découvre le caractère fondamentalement indirect de la filiation picturale de ces tableaux vivants, pris dans une dynamique de reproduction intermédiale qui en fait de véritables exercices de style, par lesquels les producteurs expérimentent et prennent conscience des moyens .artistiques de l'image filmique - ; Réincarner - où l'on étudie les problématiques engagées par la « mise en vie », et plus précisément la « mise en corps » des figures picturales (en particulier de Jésus et du nu), impliquant des enjeux de censure et un questionnement du regard sur l'art, sur le corps, et sur le statut de ces images qui semblent plus originales que l'original - ; Réanimer - où l'on examine la manière dont le cinéma mouvemente la peinture, en remettant la composition en action, en en redéployant l'instant prégnant, en expérimentant la pose gestuelle, l'arrêt du photogramme et tout le spectre de la temporalité cinématographique - ; enfin Recadrer - où l'on analyse le cadrage de ces tableaux repensés à l'aune de la caméra et de l'écran, qui nécessitent de complexifier les catégories théoriques baziniennes, et qui font émerger le tableau vivant comme un lieu de cristallisation d'une image filmique tabu/aire, offrant une résistance au montage linéaire. Or cette résistance se vérifiera jusque dans les films très contemporains, qui, en réactualisant le motif du tableau vivant, briseront la linéarité narrative du montage et feront rejaillir le poids artistique de l'image - ravivant en cela une esthétique fondatrice du cinéma.

Desenvolvimento de um detector piezelétrico para cromatógrafo a gás interfaceado a microcomputador

A piezoelectric detector based on a commercial quartz crystal of 3.57MHz is shown. A PTFE cell attached to the GC-column outlet holds the polymer-coated crystal, whose terminals were removed. Two TTL oscillators (reference and sensor) are used and the beating of their frequencies is monitored through a home-made counter card inserted in a microcomputer. The original thermal conductivity detector was also interfaced, but through a 12-bit analog-to-digital converter. In spite of the well-known fact that QCM has low sensitivity at high temperatures, results show significant peak deformation for low temperatures. In addition, the phenomenon is also dependent on the chemical composition of the absorbent film besides instantaneous partial pressure and chemical composition of the analyte.

Coatings on Composites

Polymer based composite materials coated with thin layers of wear resistant materials have been proposed as replacements for steel components for certain applications with the advantage of reduced mass. Magnetron sputtered coatings can be successfully deposited on composite materials. Nevertheless there are number of issues which must be addressed such as limited temperature, which the composite can withstand because of the epoxy binder which is used, the adhesion of the coating to the composite and the limited mechanical support, the hard coating can obtain from the relatively soft epoxy. We have investigated the deposition of chromium nitride, titanium carbide and titanium doped DLC coatings on carbon fibre reinforced composites and various polymers. The adhesion of the coatings has been studied by the pull-off adhesion tester. In general, the failure mechanism has been noticed to be due to the cohesive failure for a wide range of conditions. The wear behavior of the coatings has been noticed to be complicated. Wear tests on coated composites have shown that where the reinforcing fibres are near the surface, the composite samples do not perform well due to breakage of the fibres from the polymer matrix. A fibre free surface has been noticed to improve the wear resistance.