Thematische Bibliographien / Committee of Ethnographic Film

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Committee of Ethnographic Film“

Autor: Grafiati
Veröffentlicht am 21. Dezember 2024

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Zeitschriftenartikel zum Thema "Committee of Ethnographic Film"

1

Цорос, Алтман Валерьевич, und Эльза Петровна Бакаева. „Kalmyk Shrines: Part 4 of the Documentary Film “Secrets of the Kalmyk Steppe: From the Life of the Kalmyks and Tatars”“. ТРАДИЦИОННАЯ КУЛЬТУРА, Nr. 4 (25.11.2021): 61–72. http://dx.doi.org/10.26158/tk.2021.22.4.005.

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В статье рассматривается часть документального фильма, снятого в начале 1920-х гг. швейцарской экспедицией. Благодаря фильму Августа Керна сохранились визуальные материалы о культуре и быте калмыков в эпоху перехода от кочевой жизни к оседлой. Исследование показало, что создание фильма “Die Geheimnisse der Kalmückensteppe. Aus dem Leben der Tataren und Kalmücken” (Тайны калмыцкой степи. Из жизни калмыков и татар) было связано с актуальным направлением гуманитарного кино начала 1920-х гг., создававшегося при поддержке организаций Международного комитета Красного Креста. А. Керн снимал фильм, являясь представителем Швейцарского общества Красного Креста на юге России, но сохранившиеся части фильма являются кинохроникой этнографического типа, в которой отражена буддийская культура калмыков, несомненно представлявшая особый интерес для европейского зрителя. Сохранились две из четырех частей фильма, имеются два их варианта: с титрами на чешском языке и с немецкими и французскими титрами. Калмыцкая часть фильма была снята в поселениях Зёты и Ханата. Спустя сто лет «Тайны калмыцкой степи…» представляет важный визуальный документ как для ученых, так и для широкой аудитории, и его исследование только начинается. This article discusses part of a documentary film shot in the early 1920s by a Swiss expedition. Thanks to the director, August Kern, visual material has been preserved about the life and culture of the Kalmyks in the era of their transition from nomadic to sedentary life. The article shows how the film “Die Geheimnisse der Kalmückensteppe. Aus dem Leben der Tataren und Kalmücken” (“Secrets of the Kalmyk Steppe. From the Life of the Kalmyks and Tatars”) reflects the humanitarian tendency in cinema of the early 1920s, created with the support of organizations like the International Committee of the Red Cross. Kern shot the film as a representative of the Swiss Red Cross in southern Russia. The surviving parts of the film are newsreels of an ethnographic type and examine the Kalmyks’ Buddhist culture, undoubtedly of particular interest to the European viewer. Two of the four parts of the film have been preserved; there are two versions of them, with titles in Czech and with German and French titles. The Kalmyk part of the film was shot in the settlements of Zeta and Khanate. A hundred years after it was made, the “Secrets of the Kalmyk Steppe” is an important visual document for both scholars and the general public.
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Lidya Meti Fiorentina und Lalu Takdir Jumaidi. „Accounting Practices in the Barapan Kebo Custom in Sumbawa Regency“. Formosa Journal of Multidisciplinary Research 3, Nr. 3 (27.03.2024): 189–212. http://dx.doi.org/10.55927/fjmr.v3i3.8567.

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Traditional accounting practices in the context of the Barapan Kebo tradition in Sumbawa Regency have not yet been widely researched. This research seeks to fill this gap in the literature by focusing on how buffalo breeders and traditional actors in this tradition record, measure costs and determine profits. Using an ethnographic approach, data was collected through observations and interviews for days in the field. The results show that the concept of profit and loss is not only seen from a material perspective, but is also influenced by spiritual beliefs and local beliefs. Even though financial recording practices tend to be informal, the importance of financial monitoring is still reflected through simple recording carried out by the executive committee. The emphasis on non-material aspects in assessing profits, such as happiness and gratitude, illustrates that spiritual cultural values play a key role in accounting practices in the Barapan Kebo tradition. Accounting is understood as financial management that is not only practical, but also closely connected to the cultural and spiritual values of society.
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Jhala, Jayasinhji. „Encountering Ethnographic Film: Innovation in Ethnographic Film . Peter Loizos.“ American Anthropologist 96, Nr. 4 (Dezember 1994): 982–84. http://dx.doi.org/10.1525/aa.1994.96.4.02a00240.

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4

Sperschneider, Werner. „Voices in Ethnographic Film“. Anthropology Today 12, Nr. 6 (Dezember 1996): 22. http://dx.doi.org/10.2307/2783406.

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Strecker, Ivo. „Creativity in ethnographic film“. Visual Anthropology 14, Nr. 2 (Juni 2001): 203–11. http://dx.doi.org/10.1080/08949468.2001.9966826.

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Otto, Ton. „Ethnographic Film as Exchange“. Asia Pacific Journal of Anthropology 14, Nr. 2 (April 2013): 195–205. http://dx.doi.org/10.1080/14442213.2013.768698.

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Clarfield, Geoffrey. „On Teaching Ethnographic Film“. Academic Questions 26, Nr. 4 (20.10.2013): 465–75. http://dx.doi.org/10.1007/s12129-013-9390-3.

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Aldridge, Michael. „Scholarly Practice—Ethnographic Film and Anthropology. “Beyond Ethnographic Film: Hypermedia and Scholarship”“. Visual Anthropology 7, Nr. 3 (Januar 1995): 233–35. http://dx.doi.org/10.1080/08949468.1995.9966650.

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Cabezas, Sue, Mary Wolff und Judith Nierenberg. „Ethnographic Film in the Classroom“. Practicing Anthropology 8, Nr. 3-4 (01.07.1986): 22–23. http://dx.doi.org/10.17730/praa.8.3-4.2187621pu51t25hh.

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Any discussion of ethnographic film in the classroom must begin by defining what constitutes ethnographic film. For the purposes of this paper, the definition given by Karl Heider in Ethnographic Film (University of Texas, 1976) is useful: "ethnographic film is film which reflects ethnographic understanding." If a film is informed by this understanding; it enables the viewer to see the activities in a cultural context, not simply, as isolated or exotic behaviors. The ethnographic content can be provided directly in the film through narration, titling, or interviews; or written ethnographies can be used to provide the information needed to place the film's events and activities in a relevant cultural context.
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PEDERSEN, LENE. „Timothy Asch and Ethnographic Film:Timothy Asch and Ethnographic Film“. American Anthropologist 108, Nr. 3 (September 2006): 518–19. http://dx.doi.org/10.1525/aa.2006.108.3.518.2.

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Dissertationen zum Thema "Committee of Ethnographic Film"

1

De, Coninck Cécile. „Enjeux politiques et esthétiques de l'anthropologie visuelle. Programmes et débats du Comité du Film Ethnographique (1947-1962)“. Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH048.pdf.

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Cette étude propose de retracer l'histoire du Comité du Film Ethnographique (CFE) dont les fondements furent établis à Paris en 1947 lors du Premier Congrès du Film Ethnologique et de géographie humaine. Les enjeux politiques et esthétiques de cette institution, créée officiellement en 1952, seront analysés à travers l'examen des documents d'archives relatifs aux catalogues de films, à leur réalisation et à leur réception ainsi qu'aux comptes rendus des débats-projections lors des séminaires et des festivals internationaux organisés par ses membres de 1953 à 1962. En proposant un tour d'horizon historiographique des différentes acceptions du concept d'anthropologie visuelle, nous examinerons dans quelle mesure le CFE fait figure de pionnier dans ce domaine en nous fondant sur les films qu'il produit et programme durant cette période. Si Jean Rouch en est la principale cheville ouvrière, il n'en est pas le seul artisan. Aussi cette étude se propose-t-elle de réinscrire ses films dans l'ensemble de la production des années trente jusqu'au début des années soixante en apportant un éclairage sur des films ethnographiques moins connus, notamment ceux de Luc de Heusch qui inventa le concept de caméra participante comme moyen de révéler les pouvoirs heuristiques du médium tout en contrecarrant sur le plan éthique, les stéréotypes des films de voyage « exotisants » et de propagande coloniale. Ainsi le CFE se situait-il à l'avant-garde d'une culture visuelle promouvant la recherche d'une alliance entre les ethnographes et les cinéastes pour créer une nouvelle forme de partage du sensible entre filmeur et filmé contribuant, dans le même temps, à faire bouger les lignes des fondements épistémologiques de la discipline ethnographique ainsi que celles des usages du médium-film
This study proposes to retrace the history of the Ethnographic Film Committee (CFE) whose foundations were established in Paris in 1947 during the First Congress of Ethnological Film and Human Geography. The political and aesthetic issues of this institution, officially created in 1952, will be analyzed through the examination of archival documents relating to film catalogues, the making of films and their reception, reports of debates and screenings at seminars and international festivals organized by its members from 1955 to 1962. By offering a historiographical overview of the different meanings of the concept of visual anthropology, we will examine to what extent the CFE is a pioneer in this field based on the films it produced and programmed during this period. While Jean Rouch is the main driving force, he is not the only craftsman. This study therefore aims to re-inscribe his films in the overall production from 1930 to 1962 by shedding light on lesser-known ethnographic films, notably those of Luc de Heusch, who invented the concept of the participatory camera as a means of revealing the heuristic powers of the medium while ethically counteracting the stereotypes of “exotic” travel films and colonial propaganda. The CFE was thus at the forefront of a visual culture promoting the search for an alliance between ethnographers and filmmakers to create a new form of sharing the sensible between the filmmaker and the filmed, contributing at the same time to shifting the lines of the epistemological foundations of the ethnographic discipline as well as those of the uses of the film medium
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Taylor, John. „About Aboutness: The Ethnographic Film "Reassemblage"“. University of Arizona, Department of Anthropology, 1994. http://hdl.handle.net/10150/112129.

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Attridge, Jeffrey Nathaniel. „Indigeneity on Display: Ethnographic Adventure Film in Amazonia“. Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77691.

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This paper seeks to explore the early twentieth century trend of ethnographic adventure filmmaking. A subgenre of the ethnographic film, these works blended ethnographic observations with scripted and staged adventure stories, advancing popular tropes of indigenous first contact and the superiority of Western civilization. Focusing on a 1931 expedition to the Amazon which resulted in the creation of the first sync-sound ethnographic adventure film, titled Matto Grosso: The Great Brazilian Wilderness, I argue that despite flaws in its conception, production, and media coverage, this film serves as an example of how non-academic sources of knowledge production can still create important primary documents for indigenous source communities.
Master of Arts
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Bisson, Vincent J. 1984. „Historical Film Reception: An Ethnographic Focus beyond Entertainment“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.

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xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen
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Cohen, Hart K. „From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.

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An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference is retreivable in the terms set by ethnography. The emergence of the indigenous ethnographer has consequences for understanding the problems in the relations between Western and non-Western cultural formations. As a means through which a culture or nation may represent its own historical evolution, indigenous media is also, however, a discourse in formation--characterized by heterogenous claims and practices.
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Erik, Rosshagen. „Sync Event : The Ethnographic Allegory of Unsere Afrikareise“. Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.

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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Ribera, Deborah. „(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

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Rosshagen, Erik. „Sync Event : The Ethnographic Allegory of Unsere Afrikareise“. Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183273.

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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audiovision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly.Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Kaplan, Mark J. „Ethnographic film : an investigation with specific reference to the Bushman ethnographies of John Marshall“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75516.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaf 43).
This thesis consists of a text and a videotape, entitled Pull Ourselves Up or Die Out. The written thesis is an examination of the tradition of documentary film making with particular reference to notions of Realism, particularly as revealed in the ethnographic films made by John Marshall. The Marshall material spans a period from 1951 to the present day and relates the changes that the !Kung Bushman of Namibia have been forced to undergo. The material is unique and this thesis elaborates on the conditions and influences that have determined the film maker's strongly personal approach. The videotape that accompanies this thesis is 3/4 inch U-Matic, 25 minutes long, color, sound and. in English, Afrikaans and Ju/Wasi languages.
by Mark J. Kaplan.
M.S.V.S.
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Ferrari, Matthew P. „Mysterious Objects of Knowledge: An Interpretation of Three Feature Films by Apichatpong Weerasethakul in Terms of the Ethnographic Paradigm“. Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150466591.

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Bücher zum Thema "Committee of Ethnographic Film"

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Heider, Karl G. Ethnographic film. Austin: University of Texas Press, 2006.

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1947-, Lewis E. Douglas, Hrsg. Timothy Asch & ethnographic film. London: Routledge, 2004.

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Beate, Engelbrecht, Hrsg. Memories of the origins of ethnographic film. Frankfurt am Main: Peter Lang, 2007.

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Connor, Linda. Jero Tapakan, Balinese healer: An ethnographic film monography. Cambridge: Cambridge University Press, 1986.

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Patsy, Asch, und Asch Timothy, Hrsg. Jero Tapakan, Balinese healer: An ethnographic film monograph. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.

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Vannini, Phillip. The Routledge International Handbook of Ethnographic Film and Video. Herausgegeben von Phillip Vannini. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997.

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1951-, Wilson Thomas M., MacKillop James und Wilson Thomas, Hrsg. Images of the Irish & Irish-Americans in commercial & ethnographic film. Boston: Northeastern University, 1987.

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Loizos, Peter. Innovation in ethnographic film: From innocence to self-consciousness, 1955-85. Manchester: Manchester University Press, 1993.

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Nordic Anthropological Film Association. Conference, Hrsg. Beyond the visual: Sound and image in ethnographic and documentary film. Højbjerg: Intervention Press, 2010.

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Gribben, Arthur. Images of the Irish & Irish-Americans in commercial and ethnographic film. Boston, MA: Northeastern University, 1987.

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Buchteile zum Thema "Committee of Ethnographic Film"

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Friedman, P. Kerim. „Defining ethnographic film“. In The Routledge International Handbook of Ethnographic Film and Video, 15–29. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-3.

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Cubero, Carlo. „Ethnographic Film Festivals“. In The Routledge International Handbook of Ethnographic Film and Video, 313–22. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-35.

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Norton, Barley. „Intimacy in Ethnographic Film“. In Ethnomusicology and its Intimacies, 148–62. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003365792-15.

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Chio, Jenny. „Theorizing in/of ethnographic film“. In The Routledge International Handbook of Ethnographic Film and Video, 30–39. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-4.

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Willim, Robert. „Beyond ethnographic representation“. In The Routledge International Handbook of Ethnographic Film and Video, 61–70. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-7.

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Henley, Paul. „Anthropology: The Evolution of Ethnographic Film“. In The Documentary Film Book, 309–19. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_35.

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Lowenstein, Adam. „Horror's Otherness and Ethnographic Surrealism“. In A Companion to the Horror Film, 519–35. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch29.

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Beattie, Keith. „Constructing and Contesting Otherness: Ethnographic Film“. In Documentary Screens, 44–62. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-62803-8_4.

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Gill, Harjant S. „How to Distribute Your Ethnographic Film“. In The Routledge International Handbook of Ethnographic Film and Video, 281–92. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-32.

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Collins, Samuel Gerald, und Matthew Durington. „From ethnographic media to multimodality“. In The Routledge International Handbook of Ethnographic Film and Video, 71–80. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-8.

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Konferenzberichte zum Thema "Committee of Ethnographic Film"

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Doroschuk, Elena Sergeevna. „Basic Approaches to Ethnographic Film Usage as a Method of Developing of Ethnocultural Competence of Future Journalists“. In All-Russian scientific and practical conference. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99277.

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The article discusses the features of the application of the methodology of visual education based on the use of ethnographic films in the organization of independent work of future journalists. On the basis of emic and ethical approaches, the main functions of ethnographic cinema are identified and described in the light of creating an image of ethnoculture in the process of training future journalists. The principles of representation of ethnoculture in the media sphere are considered, on the basis of which the ethnological motivation of future journalists is formed as the basis of ethnocultural competence.
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„Organizing committee“. In 2009 Compact Thin-Film Transistor Modeling for Circuit Simulation (TFT/CTFT). IEEE, 2009. http://dx.doi.org/10.1109/ctft.2009.5379861.

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3

Olarescu, Dumitru. „Ethnological motifs in the non-fiction film“. In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.

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Annotation:
The possibilities of the documentary film to fix ethnological and ethnographic phenomena in all their audiovisual integrity contributed to the realization of this category of films right from the beginnings of non-fiction cinema. At the «Moldova-film» studio, despite the very vigilant ideological conditions of the totalitarian regime, especially when it came to the cultural heritage of the native people, our filmmakers released a series of films, dedicated to customs, rituals and traditions – important components of our national identity. This category of films has been talked about and written in some specialized studies. The cinematographic works “Trânta/Wrestling” (director Anatol Codru) and “Jocurile copilăriei noastre/The Games of our Childhood” (directors Vlad Druc, Mircea Chistrugă) serve as research topic for us. They are dedicated to popular sports games, which, besides being captivating manifestations that have survived through centuries until the present, are imposed in the context of national identity, but, through this prism, the respective works have not been researched yet.
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4

Ramos, Igor, und Helena Barbosa. „100 years of design in the Portuguese film poster: 1912-2012“. In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0117.

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5

Peng, Ling-ling, Qingduo Duanmu, Ji-kai Yang und Guo-zheng Wang. „Research on resistance properties of conductive layer materials of microchannel plate film dynode“. In Selected Proceedings of the Photoelectronic Technology Committee Conferences held August-October 2014, herausgegeben von Xun Hou, Zhihong Wang, Lingan Wu und Jing Ma. SPIE, 2015. http://dx.doi.org/10.1117/12.2175993.

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6

Miao, Lei, Jia-ming Shi, Da-peng Zhao, Hao Liu, Chao Wang und Yan-liang Xu. „Design of camouflage material for visible and near infrared based on thin film technology“. In Selected Proceedings of the Photoelectronic Technology Committee Conferences held June-July 2015, herausgegeben von Shenggang Liu, Songlin Zhuang, Michael I. Petelin und Libin Xiang. SPIE, 2015. http://dx.doi.org/10.1117/12.2220797.

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7

Zhang, Ni, Yu-Feng Zhu, Dan Li, Jing Nie, Fan Zhang, Tai-min Zhang, Xiao-jian Liu, Zhao-lu Liu, Wei Cheng und Chang Chen. „Measurement and analysis on ion barrier film of MCP by ion beam sputtering deposition“. In Selected Proceedings of the Photoelectronic Technology Committee Conferences held August-October 2014, herausgegeben von Xun Hou, Zhihong Wang, Lingan Wu und Jing Ma. SPIE, 2015. http://dx.doi.org/10.1117/12.2177787.

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8

Zhu, Yu-feng, Fan Zhang, Ni Zhang, Jing Nie, Dan Li, Tai-min Zhang, Shu-fei Wang, Xiao-jian Liu und Zhao-lu Liu. „Influence and analysis on ion barrier film to the noise factor of micro-channel plate“. In Selected Proceedings of the Photoelectronic Technology Committee Conferences held August-October 2014, herausgegeben von Xun Hou, Zhihong Wang, Lingan Wu und Jing Ma. SPIE, 2015. http://dx.doi.org/10.1117/12.2177782.

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9

Lv, Yingfei, Shuhong Hu, Yonggang Xu, Yang Wang, Guolin Yu und Ning Dai. „Two methods for characterizing the electrical properties of InAsSb film grown by liquid phase epitaxy“. In Selected Proceedings of the Photoelectronic Technology Committee Conferences held August-October 2014, herausgegeben von Xiangwan Du, Dianyuan Fan, Jialing Le, Yueguang Lv, Jianquan Yao, Weimin Bao und Lijun Wang. SPIE, 2015. http://dx.doi.org/10.1117/12.2179766.

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10

Morshed, Bashir I., Mst Moriom R. Momota und Mahfuzur Rahman. „Extended Range Wireless Power Transfer With Inkjet Printed Thin-film Flexible Loop Coils“. In 2023 United States National Committee of URSI National Radio Science Meeting (USNC-URSI NRSM). IEEE, 2023. http://dx.doi.org/10.23919/usnc-ursinrsm57470.2023.10043149.

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