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. ^

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.

Ion-beam sources based on superionic solid electrolytes

An ion emitter consisting of a sharp silver tip covered in RbAg4I5 solid electrolyte film has been developed and studied. An accelerating potential is applied and Ag+ ions are emitted from the tip’s apex by field evaporation. The emitted ions are collected by a Faraday cup, producing a current on the pico/nanoampere level which is read by an electrometer. The tips were produced mechanically by sandpaper polishing. The sharpest tip produced had a 2:4 m apex radius. Two deposition methods were studied: thermal vacuum and pulsed laser deposition. The best tip produced a peak current value of 96nA at 180oC, and a quasi-stable 4nA emission current at 160oC, both using an extraction potential of 10kV . The emission dependence on time, temperature and accelerating potential has been studied. Deposited films were characterized by X-ray diffraction (XRD), profilometry, optical and Scanning Electron Microscope (SEM) and Secondary Ion Mass Spectroscopy (SIMS) measurements. Several ion emitters were developed, the latter ones were all able to maintain stable high ion emissions for long periods of time. This investigation was a continuation of an ongoing project backed by the European Space Agency, with the objective of making a proof of concept of this kind of ion emitter with potential application on ion thrusters for orbiting satellites. Going forward, it would be interesting to make a finer analysis of the electrolyte’s conductivity at high temperatures, explore Wien Effect-based emission and to further develop a multi-tip ion emitter prototype.

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.

Modelling the propagation of terahertz radiation through a tissue simulating phantom

Terahertz (THz) frequency radiation, 0.1 THz to 20 THz, is being investigated for biomedical imaging applications following the introduction of pulsed THz sources that produce picosecond pulses and function at room temperature. Owing to the broadband nature of the radiation, spectral and temporal information is available from radiation that has interacted with a sample; this information is exploited in the development of biomedical imaging tools and sensors. In this work, models to aid interpretation of broadband THz spectra were developed and evaluated. THz radiation lies on the boundary between regions best considered using a deterministic electromagnetic approach and those better analysed using a stochastic approach incorporating quantum mechanical effects, so two computational models to simulate the propagation of THz radiation in an absorbing medium were compared. The first was a thin film analysis and the second a stochastic Monte Carlo model. The Cole–Cole model was used to predict the variation with frequency of the physical properties of the sample and scattering was neglected. The two models were compared with measurements from a highly absorbing water-based phantom. The Monte Carlo model gave a prediction closer to experiment over 0.1 to 3 THz. Knowledge of the frequency-dependent physical properties, including the scattering characteristics, of the absorbing media is necessary. The thin film model is computationally simple to implement but is restricted by the geometry of the sample it can describe. The Monte Carlo framework, despite being initially more complex, provides greater flexibility to investigate more complicated sample geometries.

Spectacle and value in classical Hollywood cinema

This is a primarily meta-critical essay and is in direct dialogue with the argument presented in my essay on Gone with the Wind (published in 'Screen'). Here, however, the emphasis is much more on the challenge my definition of spectacle represents for important traditions of film analysis, particularly ‘mise-en-scène criticism’. I argue for the possibility of spectacle to form part of the ‘organic’ whole of a film’s texture and form, while noting the challenge the concept represents (by dint of certain ideological associations and its taint of commercialism) with ‘organicist’ traditions of interpretative film analysis.

Eye candy for the blind: re-introducing Lyotard's Acinema into discourses on excess, motion and spectacle in contemporary Hollywood

Jean-François Lyotard's 1973 essay ‘Acinema’ is explicitly concerned with the cinematic medium, but has received scant critical attention. Lyotard's acinema conceives of an experimental, excessive form of film-making that uses stillness and movement to shift away from the orderly process of meaning-making within mainstream cinema. What motivates this present paper is a striking link between Lyotard's writing and contemporary Hollywood production; both are concerned with a sense of excess, especially within moments of motion. Using Charlie's Angels (McG, 2000) as a case study – a film that has been critically dismissed as ‘eye candy for the blind’ – my methodology brings together two different discourses, high culture theory and mainstream film-making, to test out and propose the value of Lyotard's ideas for the study of contemporary film. Combining close textual analysis and engagement with key scholarship on film spectacle, I reflexively engage with the process of film analysis and re-direct attention to a neglected essay by a major theorist, in order to stimulate further engagement with his work.

A disputa pela memória: os filmes Lamarca e O que é isso companheiro?

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Memória e cinema: representação da guerrilha no filme Lamarca (1994)

Um dos maiores divulgadores de visões de mundo no século XX, o cinema, se apresenta como uma fonte preciosa para a reflexão do historiador. Neste sentido, realizamos uma análise fílmica de Lamarca (1994) procurando refletir sobre as opções realizadas pelo diretor Sérgio Rezende em relação ao tema. Essa análise nos ajuda a enxergar em que sentido esse filme insere-se na disputa pela memória, sobre o período ditatorial brasileiro que se inicia nos anos de 1960, notadamente o confronto entre as forças armadas e os focos de guerrilha dos anos 60 e 70 do século passado.