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.

Ionized cluster beam deposition, and thin film analysis

In 1972 the ionized cluster beam (ICB) deposition technique was introduced as a new method for thin film deposition. At that time the use of clusters was postulated to be able to enhance film nucleation and adatom surface mobility, resulting in high quality films. Although a few researchers reported singly ionized clusters containing 10$\sp2$-10$\sp3$ atoms, others were unable to repeat their work. The consensus now is that film effects in the early investigations were due to self-ion bombardment rather than clusters. Subsequently in recent work (early 1992) synthesis of large clusters of zinc without the use of a carrier gas was demonstrated by Gspann and repeated in our laboratory. Clusters resulted from very significant changes in two source parameters. Crucible pressure was increased from the earlier 2 Torr to several thousand Torr and a converging-diverging nozzle 18 mm long and 0.4 mm in diameter at the throat was used in place of the 1 mm x 1 mm nozzle used in the early work. While this is practical for zinc and other high vapor pressure materials it remains impractical for many materials of industrial interest such as gold, silver, and aluminum. The work presented here describes results using gold and silver at pressures of around 1 and 50 Torr in order to study the effect of the pressure and nozzle shape. Significant numbers of large clusters were not detected. Deposited films were studied by atomic force microscopy (AFM) for roughness analysis, and X-ray diffraction.^ Nanometer size islands of zinc deposited on flat silicon substrates by ICB were also studied by atomic force microscopy and the number of atoms/cm$\sp2$ was calculated and compared to data from Rutherford backscattering spectrometry (RBS). To improve the agreement between data from AFM and RBS, convolution and deconvolution algorithms were implemented to study and simulate the interaction between tip and sample in atomic force microscopy. The deconvolution algorithm takes into account the physical volume occupied by the tip resulting in an image that is a more accurate representation of the surface.^ One method increasingly used to study the deposited films both during the growth process and following, is ellipsometry. Ellipsometry is a surface analytical technique used to determine the optical properties and thickness of thin films. In situ measurements can be made through the windows of a deposition chamber. A method for determining the optical properties of a film, that is sensitive only to the growing film and accommodates underlying interfacial layers, multiple unknown underlayers, and other unknown substrates was developed. This method is carried out by making an initial ellipsometry measurement well past the real interface and by defining a virtual interface in the vicinity of this measurement. ^

Tear film surface quality with soft contact lenses using dynamic-area high-speed videokeratoscopy

Objectives. To evaluate the performance of the dynamic-area high-speed videokeratoscopy technique in the assessment of tear film surface quality with and without the presence of soft contact lenses on eye. Methods. Retrospective data from a tear film study using basic high-speed videokeratoscopy, captured at 25 frames per second, (Kopf et al., 2008, J Optom) were used. Eleven subjects had tear film analysis conducted in the morning, midday and evening on the first and seventh day of one week of no lens wear. Five of the eleven subjects then completed an extra week of hydrogel lens wear followed by a week of silicone hydrogel lens wear. Analysis was performed on a 6 second period of the inter-blink recording. The dynamic-area high-speed videokeratoscopy technique uses the maximum available area of Placido ring pattern reflected from the tear interface and eliminates regions of disturbance due to shadows from the eyelashes. A value of tear film surface quality was derived using image rocessing techniques, based on the quality of the reflected ring pattern orientation. Results. The group mean tear film surface quality and the standard deviations for each of the conditions (bare eye, hydrogel lens, and silicone hydrogel lens) showed a much lower coefficient of variation than previous methods (average reduction of about 92%). Bare eye measurements from the right and left eyes of eleven individuals showed high correlation values (Pearson’s correlation r = 0.73, p < 0.05). Repeated measures ANOVA across the 6 second period of measurement in the normal inter-blink period for the bare eye condition showed no statistically significant changes. However, across the 6 second inter-blink period with both contact lenses, statistically significant changes were observed (p < 0.001) for both types of contact lens material. Overall, wearing hydrogel and silicone hydrogel lenses caused the tear film surface quality to worsen compared with the bare eye condition (repeated measures ANOVA, p < 0.0001 for both hydrogel and silicone hydrogel). Conclusions. The results suggest that the dynamic-area method of high-speed videokeratoscopy was able to distinguish and quantify the subtle, but systematic worsening of tear film surface quality in the inter-blink interval in contact lens wear. It was also able to clearly show a difference between bare eye and contact lens wearing conditions.

Thin-film analyses of silicate standards at 200 kv : the effect of temperature on element loss

Preliminary data is presented on a detailed statistical analysis of k-factor determination for a single class of minerals (amphiboles) which contain a wide range of element concentrations. These amphiboles are homogeneous, contain few (if any) subsolidus microstructures and can be readily prepared for thin film analysis. In previous studies, element loss during the period of irradiation has been assumed negligible for the determination of k-factors. Since this phenomena may be significant for certain mineral systems, we also report on the effect of temperature on k-factor determination for various elements using small probe sizes (approx.20 nm).

A novel laser direct write technique for fabrication of thin film MICs

A technique for fabrication of thin-film circuits for microwave integrated circuit (MIC) application is presented. This low-cost fabrication technique utilizes laser direct write of copper patterns on alumina substrates. The method obviates the need for photomasks and photolithography. The film deposition mechanism, deposit film analysis, and MIC fabrication sequence are presented. Performance evaluation of MICs fabricated using this technique is also included

Proteomic analysis of dog tears for potential cancer markers

The first reference map of the proteome of pooled normal dog tears was created using 2-dimensional polyacrylamide gel electrophoresis and the identity of a number of the major species determined using matrix-assisted laser desorption time of flight mass spectrometry (MALDI-TOF) and peptide mass fingerprint matching on protein sequence databases. In order to understand the changes in protein expression in the tear film of dogs with cancer, tears from such animals were similarly examined. A number of differences were found between the tears of healthy dogs and the dogs with cancer. Differences were found in levels of actin and albumin and in an unidentified protein which may be analogous to human lacryglobulin. These findings suggest that it may be possible to develop tear film analysis to provide a simple non-invasive test for the diagnosis and/or management of canine cancers. (C) 2007 Elsevier Ltd. All rights reserved.

Polymer self assembly on carbon nanotubes

This chapter analyses the poly(3-hexylthiophene) self-assembly on carbon nanotubes and the interaction between the two materials forming a new hybrid nanostructure. The chapter starts with a review of the several studies investigating polymers and biomolecules self-assembled on nanotubes. Then conducting polymers and polythiophenes are briefly introduced. Accordingly, carbon nanotube structure and properties are reported in Sect. 3. The experimental section starts with the bulk characterisation of polymer thin films with the inclusion of uniformly distributed carbon nanotubes. By using volume film analysis techniques (AFM, TEM, UV–Vis and Raman), we show how the polymer’s higher degree of order is a direct consequence of interaction with carbon nanotubes. Nevertheless, it is through the use of nanoscale analysis and molecular dynamic simulations that the self-assembly of the polymer on the nanotube surface can be clearly evidenced and characterised. In Sect. 6, the effect of the carbon templating structure on the P3HT organisation on the surface is investigated, showing the chirality-driven polymer assembly on the carbon nanotube surface. The interaction between P3HT and CNTs brings also to charge transfer, with the modification of physical properties for both species. In particular, the alteration of the polymer electronic properties and the modification of the nanotube mechanical structure are a direct consequence of the P3HT p-p stacking on the nanotube surface. Finally, some considerations based on molecular dynamics studies are reported in order to confirm and support the experimental results discussed.

SiO_2薄膜折射率的准确拟合分析

精确的光学常数对于设计和制备高品质的光学薄膜非常重要,尤其是那些光学性能对折射率变化敏感的薄膜。SiO_2是一种常用的低折射率材料,因与常用基底折射率相近使其准确拟合有一定难度。实验通过离子束溅射制备了SiO_2单层膜。考虑测量时的误差和基底折射率的影响,采用透射率包络和反射率包络得到了SiO_2的折射率,并用所得折射率进行反演来对这两种途径在实际测量拟合过程中的准确性进行比对。分析表明,剩余反射率在实际的测量过程中误差更小,直接用测量镀膜前后基片的剩余反射率值可以更简便更准确地得到SiO_2的折射率,能达到10~(-2)的精度。

A estética realista dos filmes sobre favela no Brasil (2002-2010)

Este trabalho possui como objetivo a análise de cinco filmes do cinema brasileiro contemporâneo que tratam sobre favela: Cidade de Deus ( Fernando Meirelles, 2002), Linha de Passe ( Walter Salles e Daniela Thomas , 2008), Sonhos Roubados ( Sandra Werneck, 2009), Tropa de Elite ( José Padilha, 2007) e Tropa de Elite II (José Padilha, 2010). Tendo como eixo central a estética realista de filmes sobre favela no Brasil, a partir da metodologia de análise fílmica, foi realizada uma pequena revisão de algumas teorias de cultura, comunicação e dos antecedentes do campo do cinema brasileiro contemporâneo. Para além, foi desenvolvido uma proposta dialógica com a Psicologia Social e as possibilidades de interlocuções com o cinema brasileiro. O foco se deu em problematizar como as condições de produção, as representações e as apropriações de recepção se articulam às diversas práticas discursivas e não-discursivas e se associam à representação da noção de categorias identitárias como violência, segurança pública, família, juventude e consumo. Os resultados dessa análise qualitativa giraram em torno de questões de ordem socioeconômica, que caracterizam a favela enquanto território de (im)possibilidades e, sobretudo, tem seus moradores como personagens que possuem um estereótipo do que é viver na favela, dando visibilidade nas relações que se estabelecem nesses territórios.

Autor filmowy według przepisów prawa w systemach droit d`auteur i copyright. Zarys problematyki

The aim of the article is to outline the key issues surrounding legal notions of film authorship. For scholars interested in studying the process of production it is extremely important to analyze the status and scope of power of its participants as well as their position in the hierarchy – one of the main sources of priveleges is the fact of being recognized by the law as the author of the work produced. The article depicts the benefits of such situation, but its main aim is to descibe the legal rules of granting the status of the author. Outlined are the issues emerged from the two radically different legal system – european droit d`auteur tradition and american copyright. The first one honours the artists while the other focuses mostly on providing the certainty of the economics, so the actual authors of the work are not that important. The paper points to the fact that – especially in the case of american copyright – the actual (determined by law) situation of a creator may differ significantly from the character of their contribution to the process of producing a film. Analysis of the rules and principles of the law is essential to the understanding of the structural determinants of film production and deserves no less attention than social, political and economic factors.

Qu'est-ce qu'une pensée-cinéma? : retour sur les présupposés de l'analyse figurative

Thèse réalisée en cotutelle avec l'Université de Provence au sein du département d’études cinématographiques, U.F.R. Lettres et Arts, L.E.S.A. École doctorale Lettres, Langues et Arts. Soutenue publiquement à l'Université de Provence le 16 juillet 2010.

Le cinéma des Premières Nations du Québec et des Inuit du Nunavut : réappropriation culturelle et esthétique du sacré.

Résumé Cette thèse de doctorat porte sur le cinéma envisagé comme un agent de réappropriation culturelle pour les Premières Nations du Québec et les Inuit du Nunavut. De manière plus spécifique, nous avons cherché à comprendre comment les peuples autochtones et inuit se servent d’un médium contemporain pour prendre la parole, revendiquer leurs droits politiques et réécrire une histoire ayant été jusqu’à récemment racontée selon le point du vue de médiateurs externes. À cet effet, l’emprunt d’éléments propres aux méthodologies autochtones, autant dans la forme que dans le contenu, auront permis de faire ressortir un aspect particulier des cultures autochtones, soit la manifestation d’une pensée orale centrée autour de la notion du sacré. La première partie de cette recherche est ainsi consacrée à la théorisation d’un sacré autochtone omniprésent dans toutes les sphères de leur quotidien, et qui se transpose à l’écran sous la forme d’une esthétique particulière, que nous nommons esthétique du sacré. En outre, le visionnement et l’analyse de courts et de long-métrages autochtones et inuit ont fait ressortir avec force les principaux éléments d’une esthétique du sacré qui s’exprime entre autres à travers une éthique de travail privilégiant la collaboration communautaire et une écoute attentive de la parole de l’interlocuteur, ainsi qu’à travers la remédiation des récits issus de la tradition orale. Ainsi, l’exploration de l’œuvre documentaire d’Alanis Obomsawin met de l’avant l’importance du rôle joué par les femmes autochtones au sein de leurs communautés, celles-ci se présentant comme les principaux agents de changement et médiatrices de leur culture. Dans la même veine, l’étude du projet Wapikoni Mobile nous a permis d’esquisser un portrait nouveau de la jeunesse autochtone, les œuvres réalisées par ces cinéastes néophytes reflétant l’importance pour eux de réactualiser la tradition tout en nourrissant des liens de confiance avec leurs aînés, ces gardiens de la mémoire. Enfin, le dernier chapitre portant sur l’élaboration d’une nouvelle cinématographie inuit démontre comment le cinéma est un outil apte à traduire avec justesse les subtilités présentes dans les récits issus de la tradition orale.

L'enfant au cinéma : la condition tragique d'une figure traumatique

La recherche vise à élaborer la condition tragique qui émane de la figure de l'enfant au cinéma – à travers ses traumas, ses blessures, voire sa destruction et sa perte – devant laquelle le spectateur adulte éprouve un certain malaise. Nous pouvons voir au cinéma des enfants aux prises avec des conditions de vie traumatisantes, voire inhumaines. Que ce soit les enfants abandonnés ou orphelins, les enfants violés, les enfants maltraités, les enfants victimes de guerre – incluant la dualité paradoxale qu’instaure l'enfant-soldat, de Ivan (« L’enfance d’Ivan », Tarkovski, 1962) à Komona (« Rebelle », Kim Nguyen, 2012) – ou les enfants face à la mort, diverses situations peuvent contribuer à inscrire l'enfance dans le registre du tragique, par la destruction ou la perte de l'enfance. L'enfance détruite porte en elle une blessure (trauma) – qu'elle soit physique ou psychique – qui renvoie au « manque », ou à la fragilité humaine que traduit l'image de l'enfant dit « sans secours ». Quand l’enfant doit faire face à une situation tragique où il est sans défense et confronté à son propre anéantissement, sa figure devient pour nous traumatique. Nous suggérons que le tragique place l’enfant au cinéma dans un après-coup qui renvoie à un traumatisme premier fondamental, prototype de toute situation traumatique. Pour le psychanalyste Sigmund Freud, ce serait un traumatisme lié à la détresse infantile – le « Hilflosigkeit » – qui correspond à la première angoisse vécue par le nourrisson dû à son impuissance (« Inhibition, symptôme et angoisse », [1926] 1951, Paris : PUF). Dans cette lignée, certains psychanalystes (comme Otto Rank ou Jean-Marie Delassus) préciseraient que le traumatisme s'installe dès la naissance, qui marque de manière universelle le premier sentiment de perte et d'angoisse suite à l'éjection dans un monde étranger et d'abord impossible, ce qui correspond à une dislocation première (suivant le sens qu’en propose Benoit Goetz dans « La dislocation » (2002, Paris : Éditions de la Passion)). L'enfant au cinéma, qui traverse des épreuves qui nous sont difficiles à concevoir, nous regarde et pointe en nous nos propres faiblesses, et cela interagit avec nos propres traumatismes. Quelques exemples filmiques viendront soutenir la recherche, avec principalement l’analyse d’un film exemplaire, « Les tortues volent aussi » de Bahman Ghobadi (2004).

Inception mindfuck : la représentation d'un imaginaire créateur

Si la réussite d'une fiction était mesurée par la somme des réactions qu'elle provoque, « Inception » serait considéré comme un classique contemporain. Sept mois à peine après sa sortie sur grand écran, une recherche Google révélait près de six millions deux cent mille résultats pour les termes « Inception film analysis » et près de trois millions six cent vingt mille pour « Inception explanation ». Au-delà des simples cumuls de données statistiques, ces chiffres suggèrent qu’« Inception » a engendré une exceptionnelle volonté de comprendre, sinon de prendre parti, de donner un sens clair et définitif à cette œuvre.

Reading 'The Truman Show' inside out

This essay explores how The Truman Show, Peter Weir’s film about a television show, deserves more sustained analysis than it has received since its release in 1998. I will argue that The Truman Show problematizes the binary oppositions of cinema/television, disruption/stability, reality/simulation and outside/inside that structure it. The Truman Show proposes that binary oppositions such as outside/inside exist in a mutually implicating relationship. This deconstructionist strategy not only questions the film’s critical position, but also enables a reflection on the very status of film analysis itself.