Development of a novel UV indicator and dosimeter film

A novel UV indicator is described, comprising nanocrystalline particles of titania dispersed in a film of a polymer, hydroxyl ethyl cellulose (HEC), containing: a mild reducing agent, triethanolamine (TEOA) and a redox indicator, methylene blue (MB). The UV indicator film is blue-coloured in the absence of UV light and loses colour upon exposure to UV light, attaining within a few min a steady-state degree of bleaching that can provide a measure of the irradiance of the incident light. The original blue colour of the film returns once the source of UV light is removed. The spectral characteristics of a typical UV indicator film, and its components, are discussed and the UV-absorbing action of the titania particles highlighted. From the measured %bleaching undergone by a typical UV indicator as a function of light irradiance the indicator appears fully bleached, within 7 min, by a UV irradiance of 3 mW cm (-) or greater. The mechanism by which the UV indicator works is described. The reversible nature of the UV indicator is removed by covering a typical UV indicator with a thin, largely oxygen impermeable, polymer film, such as the regenerated cellulose found in Sellotape(TM). The product is a UV dosimeter, the response of which is related to the intensity and duration of the incident UV light, as well as the amount of titania in the film. A typical UV dosimeter film is fully bleached by 250 mJ cm(-2) of UV light. The possible use of these novel indicators to measure UV exposure levels, irradiance and dose, is discussed.

Conjugate heat transfer and film cooling of a multi-stage cooling scheme

Cooling techniques play a key role in improving efficiency and power output of modern gas turbines. The conjugate technique of film and impingement cooling schemes is considered in this study. The Multi-Stage Cooling Scheme (MSCS) involves coolant passing from inside to outside turbine blade through two stages. The first stage; the coolant passes through first hole to internal gap where the impinging jet cools the external layer of the blade. Finally, the coolant passes through the internal gap to the second hole which has specific designed geometry for external film cooling. The effect of design parameters, such as, offset distance between two-stage holes, gap height, and inclination angle of the first hole, on upstream conjugate heat transfer rate and downstream film cooling effectiveness performance are investigated computationally. An Inconel 617 alloy with variable properties is selected for the solid material. The conjugate heat transfer and film cooling characteristics of MSCS are analyzed across blowing ratios of Br = 1 and 2 for density ratio, 2. This study presents upstream wall temperature distributions due to conjugate heat transfer for different gap design parameters. The maximum film cooling effectiveness with upstream conjugate heat transfer is less than adiabatic film cooling effectiveness by 24–34%. However, the full coverage of cooling effectiveness in spanwise direction can be obtained using internal cooling with conjugate heat transfer, whereas adiabatic film cooling effectiveness has narrow distribution.

Haunted Seasons: Television Ghost Stories for Christmas and Horror for Halloween

Why do the English have ghost stories at Christmas? Why does US television have special Halloween episodes? Is this all down to Dickens, or is it a hangover of an ancient, pagan past? Why does it survive? Haunted Seasons explores these and related questions, examining the history and meaning of seasonal horror. It reaches back through archaeological evidence of ancient beliefs, through Shakespeare, and Victorian ghost stories, and the works of M.R.James, and onwards to radio and television. The broader genre of supernatural television is considered in relation to the irruptions of abnormality into the normal, along with the significance of time and the seasons in these narratives and their telling. Particular focus is placed on the BBC Ghost Story for Christmas strand and the Halloween episodes of The Simpsons to help us interpret the continued use of these seasonal horror stories and their place in society, from fireside to television.

Film, History and Memory

Film, History and Memory examines the relationship between film and history, exploring the multiplicity of ways in which films depict, contest, reinforce or subvert historical understanding. This volume broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past. This approach acknowledges how the significance of the historical film lies less in its empirical qualities than in its powerful capacity to influence public thinking and discourses about the past, whether by shaping collective memory, popular history and social memory, or by retrieving suppressed or marginalized histories. This study aims to contribute to the growing literature on history and film through the breadth of its approach, both in disciplinary and geographical terms. Contributors are drawn not only from the discipline of history but also film studies, film practice, art history, languages and literature, and cultural studies.

The role of humor in television advertisement: A study regarding Portuguese consumers’ emotions and reactions

The purpose of this study is to explore the humorous side of television advertisement and its impact on Portuguese consumers’ hearts, minds and wallets. Both qualitative (through in-depth interviews) and quantitative (through an on-line survey and subsequent statistical data analysis) methods were used, guaranteeing a more consistent, strong and valid research. Twenty-five interviews with randomly chosen consumers were conducted face-to-face and three interviews via e-mail with marketers and television advertisers were performed in order to explore profoundly the subject. Moreover, 360 people have answered the on-line survey. Through the analysis of the data collected humor perception was found to be positively correlated with persuasion and intention to purchase the product; intention to share the advert; message comprehension; product liking and development of positive feelings towards the brand and brand credibility variables. The main implication of these findings relies on the fact that humor in advertising is able to boost its effectiveness.

The Body, the Film, the Archive and the Monster

Paper presented during the roundtable “The Exquisite Corpus: Film Heritage and Found Footage Films. Passing Through/Across Medias and Film Bodies” at the XIV MAGIS – Gorizia International Film Studies Spring School in Gorizia, Italy, March 9-15 2016

Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series

This paper argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s–1970s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood. The British series made at Elstree adapted versions of US industrial organization and television formats, and made programmes expected to be saleable to US networks, on the basis of British experiences in TV co-production with US companies and of the international cinema and TV market.

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.

Trevor Griffiths' 'Absolute Beginners': socialist humanism and the television studio

This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play 'Absolute Beginners' written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in 'Absolute Beginners' supported the drama's socialist-humanist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in 'Absolute Beginners'. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how 'ordinary' studio form was operational in the play's political meanings.

The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style

The BBC television drama anthology The Wednesday Play, broadcast from 1964-70 on the BBC1 channel, was high-profile and often controversial in its time and has since been central to accounts of British television’s ‘golden age’. This article demonstrates that production technologies and methods were more diverse at that time than is now acknowledged, and that The Wednesday Play dramas drew both approving but also very critical responses from contemporary viewers and professional reviewers. This article analyses the ways that the physical spaces of production for different dramas in the series, and the different technologies of shooting and recording that were adopted in these production spaces, are associated with but do not determine aesthetic style. The adoption of single-camera location filming rather than the established production method of multi-camera studio videotaping in some of the dramas in the series has been important to The Wednesday Play’s significance, but each production method was used in different ways. The dramas drew their dramatic forms and aesthetic emphases from both theatre and cinema, as well as connecting with debates about the nature of drama for television. Institutional and regulatory frameworks such as control over staff working away from base, budgetary considerations and union agreements also impacted on decisions about how programmes were made. The article makes use of records from the BBC Written Archives Centre, as well as published scholarship. By placing The Wednesday Play in a range of overlapping historical contexts, its identity can be understood as transitional, differentiated and contested.

Videography as production nexus : digital film cameras, media mangement and the distribution of creativity

This thesis is about new digital moving image recording technologies and how they augment the distribution of creativity and the flexibility in moving image production systems, but also impose constraints on how images flow through the production system. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creative work, capacity of digital tools, user skills and the constitution of digital moving image material. The empirical evidence of this thesis is primarily based on semi-structured interviews conducted with Swedish film and TV production representatives.This thesis highlights the importance of pre-production technical planning and proposes a design management support tool (MI-FLOW) as a way to leverage functional workflows that is a prerequisite for efficient and cost effective moving image production.

Homelessness, Social Work, Social Policy and the Print Media in Australian Cities

Homelessness is a significant social problem worldwide. This paper describes an Australian study that examined print media representations of homelessness and social work, social policy and social work responses to homelessness in three Australian cities. The research included a content analysis of seven Australian newspapers and semi-structured interviews with 39 social workers employed in the field of homelessness in Adelaide, Melbourne and Sydney. The detailed results of these studies have been published separately elsewhere. This paper reports on how discourses in the print media, social policy and social work practice co-exist in constructing homelessness as a particular social problem, influencing social work responses to homelessness. The research found that individualism is central to many dominant discourses evident in the print media, social policy and social work practice, and that social work is practiced within unequal power relations embedded in organisational contexts.

The Arts on television, 1976-1990 : fifteen years of cultural programming /

Includes indexes.

Television report [on USDA'S television research project under title II, Research and Marketing Act]

Cover title.