氧分压对ZrO2薄膜激光损伤阈值的影响

在不同的氧分压下用电子束热蒸发的方法制备了ZrO2薄膜。分别通过X射线衍射、光学光谱、热透镜技术、抗激光辐照等测试，对所制备样品的微结构、折射率、吸收率及激光损伤阈值进行了测量。实验结果表明，薄膜中晶粒主要是四方相为主的多晶结构，并且随着氧分压的增加，结晶度、折射率以及弱吸收均逐渐降低。薄膜的激光损伤阈值开始随着氧分压增加从18．5J／cm^2逐渐增加，氧分压为9×10^-3Pa时达到最大，值为26．7J／cm^2，氧分压再增加时则又降低到17．5J／cm^2。由此可见，氧分压引起的薄膜微结构变化是ZrO

离子辅助沉积中离子束流密度的作用

测量了End-Hall离子源在不同条件下的离子束流密度，在不同离子束流密度下进行了心离子辅助沉积ZrO2薄膜的实验，研究了离子束流密度对薄膜折射率、晶相的影响．根据动量传递模型分析了离子束流密度对薄膜折射率的作用；根据热尖峰理论证明了一定条件下离子束流密度不会影响薄膜晶体结构。

I. Reactively sputtered Ti-Si-N thin films for diffusion barrier applications. II. Oxidation, diffusion and crystallization of an amorphous Zr_(60)Al_(15)Ni_(25) alloy.

Films of Ti-Si-N obtained by reactively sputtering a TiSi_2, a Ti_5Si_3, or a Ti_3Si target are either amorphous or nanocrystalline in structure. The atomic density of some films exceeds 10^23 at./cm^3. The room-temperature resistivity of the films increases with the Si and the N content. A thermal treatment in vacuum at 700 °C for 1 hour decreases the resistivity of the Ti-rich films deposited from the Ti_5Si_3 or the Ti_3Si target, but increases that of the Si-rich films deposited from the TiSi_2 target when the nitrogen content exceeds about 30 at. %.

Ti_(34)Si_(23)N_(43) deposited from the Ti_5Si_3 target is an excellent diffusion barrier between Si and Cu. This film is a mixture of nanocrystalline TiN and amorphous SiN_x. Resistivity measurement from 80 K to 1073 K reveals that this film is electrically semiconductor-like as-deposited, and that it becomes metal-like after an hour annealing at 1000 °C in vacuum. A film of about 100 nm thick, with a resistivity of 660 µΩcm, maintains the stability of Si n+p shallow junction diodes with a 400 nm Cu overlayer up to 850 °C upon 30 min vacuum annealing. When used between Si and Al, the maximum temperature of stability is 550 °C for 30 min. This film can be etched in a CF_4/O_2 plasma.

The amorphous ternary metallic alloy Zr_(60)Al_(15)Ni_(25) was oxidized in dry oxygen in the temperature range 310 °C to 410 °C. Rutherford backscattering and cross-sectional transmission electron microscopy studies suggest that during this treatment an amorphous layer of zirconium-aluminum-oxide is formed at the surface. Nickel is depleted from the oxide and enriched in the amorphous alloy below the oxide/alloy interface. The oxide layer thickness grows parabolically with the annealing duration, with a transport constant of 2.8x10^(-5) m^2/s x exp(-1.7 eV/kT). The oxidation rate is most likely controlled by the Ni diffusion in the amorphous alloy.

At later stages of the oxidation process, precipitates of nanocrystalline ZrO_2 appear in the oxide near the interface. Finally, two intermetallic phases nucleate and grow simultaneously in the alloy, one at the interface and one within the alloy.

不同沉积参量下ZrO_2薄膜的微结构和激光损伤阈值

ZrO2采用X射线衍射(XRD)技术分析了不同充氧条件和沉积温度对ZrO2溥膜组成结构的影响，并对不同工艺下制备的薄膜的表面粗糙度和激光损伤阈值进行了测量。结果发现随着氧压的升高，ZrO2溥膜将由单斜相多晶态逐渐转变为非晶态结构，而随着基片温度的增加，溥膜将由非晶态逐渐转变为单斜相多晶态。同时发现随着氧压升高晶粒尺寸减小，而随着沉积温度增加，晶粒尺寸增大。氧压增加时工艺对表面粗糙度有一定程度的改善，而沉积温度升高，工艺对表面粗糙度的改善不明显。晶粒尺寸大小变化与表面粗糙度变化存在对应关系。激光损伤测量表明

Y_2O_3稳定ZrO_2薄膜的结构和光学特性

用电子束蒸发法制备出四种不同Y2O3含量的Y2O3稳定ZrO2（YSZ）薄膜,用X射线衍射和透射光谱测定薄膜的结构和光学性能.结果表明：随着Y2O3含量的增加,ZrO2薄膜从单斜相向高温相（四方相和立方相）转变,获得了结构稳定的YSZ薄膜;YSZ薄膜的晶粒尺寸都比ZrO2薄膜的大,但随着Y2O3加入量的增加,晶粒尺寸有减小的趋势,薄膜表面也趋向光滑平整.所有YSZ薄膜的透射谱线都与ZrO2薄膜相似,在可见光和红外光区都有较高的透过率.Y2O3的加入还可以改变薄膜的折射率,在一定范围内可得到所需的任意折射率

三种不同后处理方式对ZrO_2薄膜性能的影响

采用有氧热处理、激光预处理和离子后处理三种方式对电子束蒸发(EBE)制备的单层ZrO_2薄膜进行了后处理,并分别对样品的光学性能和抗激光损伤阈值(LIDT)特性进行了研究。实验结果表明,热处理方式可以有效排除膜层内吸附的水气,弥补薄膜制备过程中的氧损失,使得光谱短移、吸收减小、损伤阈值增高;激光预处理过程可以在一定程度上减少缺陷、提高损伤阈值,但对膜层的光谱和吸收情况没有明显的改善作用;而离子后处理能够提高膜层的堆积密度、减少缺陷、降低吸收从而提高损伤阈值。由于三种方式处理机制不同,在实际应用中应根据膜层的性能选择合适的处理方式。

At breaking point? Challenges for Australian film policy through the lens of genre (horror) films

Cultural policy settings attempting to foster the growth and development of the Australian feature film industry in era of globalisation are coming under increasing pressure. Global forces and emerging production and distribution models are challenging the “narrowness” of cultural policy – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced through cultural policy driven subvention models. Australian horror film production is an important case study. Horror films are a production strategy well suited to the financial limitations of the Australian film industry with competitive advantages for producers against international competitors. However, emerging within a “national” cinema driven by public subsidy and social/cultural objectives, horror films – internationally oriented with a low-culture status – have been severely marginalised within public funding environments. This paper introduces Australian horror film production, and examines the limitations of cultural policy, and the impacts of these questions for the Producer Offset.

'We just make the pictures...?' How work is portrayed in children's feature length films

This article explores how adult paid work is portrayed in 'family' feature length films. The study extends previous critical media literature which has overwhelmingly focused on depictions of gender and violence, exploring the visual content of films that is relevant to adult employment. Forty-two G/PG films were analyzed for relevant themes. Consistent with the exploratory nature of the research, themes emerged inductively from the films' content. Results reveal six major themes: males are more visible in adult work roles than women; the division of labour remains gendered; work and home are not mutually exclusive domains; organizational authority and power is wielded in punitive ways; there are avenues to better employment prospects; and status/money is paramount. The findings of the study reflect a range of subject matters related to occupational characteristics and work-related communication and interactions which are typically viewed by children in contemporary society.

Whither culture? Australian horror films and the limitations of cultural policy

Cultural policy that attempts to foster the Australian film industry’s growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005), and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy – a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry’s financial limitations, they are a growth strategy for producers, and a training ground for emerging filmmakers.

Aural auteur : sound in the films of Rolf de Heer

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.