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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Acting for film.'
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Bizri, Hisham M. "City of Brass: The Art of Masking Reality in Digital Film." Leonardo 36, no. 1 (February 2003): 7–11. http://dx.doi.org/10.1162/002409403321152211.
The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscène or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.
Archer, Neil. "Ken Loach and the Comedians: The Politics of ‘Acting’." Journal of British Cinema and Television 18, no. 3 (July 2021): 280–302. http://dx.doi.org/10.3366/jbctv.2021.0575.
This article explores a gap in the scholarship on Ken Loach's film-making, focusing on his casting of comedians in central roles and the specific impacts of such casting strategies across Loach's work. While the relevance of such casting to Loach's project has been anecdotally acknowledged in criticism, this article recommends a more systematic historical and aesthetic approach. After summarising the theoretical considerations around acting as a practice and its ‘problem’ within Loach's terms, I consequently look at the broader institutional and political contexts of actor preparation training and casting in British television and film since Loach's emergence as a director in the 1960s, and the relevance of comedian casting within these. Drawing on a sample of Loach's films, I then offer a more systematic analysis of how the comedian's body, voice and action signify, examining how such ‘realist’ performances respond to the cultural conventions of ‘trained’ actor practice, as well as the narrative and broader institutional conventions of comedy performance in mainstream film.
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Goldsmith, C. C., and C. Van Buskirk. "Residual Stress Measurements on Cr/Ni Pads Evaporated on Polyimide Thin Films." Advances in X-ray Analysis 36 (1992): 203–12. http://dx.doi.org/10.1154/s0376030800018802.
AbstractPolyimide films are becoming more important in multi-layer structures, acting as dielectric films to separate conductive layers. High thin film residual stresses can cause problems with the polyimide film, leading to loss of adhesion between the metal film and the polyimide or can cause cracking in the polyimide.In this paper, we examine the residual stresses in “as deposited” metal films evaporated onto BTDA-APB polyimide films and follow the change in residual stress of the nickel layer during subsequent thermal processing. We will show that the change in residual stresses can be correlated to the glass transition temperature of the polyimide film.
While the Russian film actor Ivan Mozzhukhin has been recognized by film scholars such as Jean Mitry as one of the important actors of the silent screen the nature of his contributions has gone unexplained and, ironically, Mozzhukhin is perhaps best remembered for a lost experiment, presumably carried out by Lev Kuleshov around 1920, that showed how the editor can construct character emotions with shots of contextual objects. The historical record and scientific attempts to replicate the experiment indicate that we need to pay attention to Mozzhukhin’s role as performer and my study of his performances suggests that we may have to rethink long-held assumptions about the relationship between performer expressiveness and editing.
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Cho, Chang-Yeol. "Film Acting Method of Dardenne Brothers." Journal of the Korea Entertainment Industry Association 16, no. 3 (April 30, 2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.
Chough, Song-Duk, and Jong-Guk Kim. "Film Acting Studies of S. Kracauer." Journal of the Korea Contents Association 16, no. 9 (September 28, 2016): 502–11. http://dx.doi.org/10.5392/jkca.2016.16.09.502.
Kim, Jong-Guk. "Gestus Film Acting of B. Brecht." Journal of the Korea Entertainment Industry Association 12, no. 1 (January 31, 2018): 71–79. http://dx.doi.org/10.21184/jkeia.2018.1.12.1.71.
Kim, Jong-Guk. "Convergence Art Education in Film Acting." Cartoon and Animation Studies 54 (March 31, 2019): 305–26. http://dx.doi.org/10.7230/koscas.2019.54.305.
Dissertations / Theses on the topic "Acting for film":
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Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15999/1/Rosalind_Nugent-Williams_Thesis.pdf.
"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them."
- Ariane Mnouchkine
(from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.)
I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance?
This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia.
My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
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Nugent-Williams, Rosalind Louise. "Thespioprudence : Australian film directors and Film performance." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15999/.
"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.
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McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
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Wells, Zachery D. "We Should Be Together: An Exploration of Acting in and Directing the Same Film." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1402947699.
Bester, Lelia. "Assessment of a training programme for actors to make the shifts from theatre acting to film acting." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75514.
The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to answer the main research question – How does one teach the shifts from theatre acting to film acting? The answer to this question includes defining the shifts from theatre acting to film acting and the means through which these shifts can be taught to individual actors. Four sub-aims are consequently investigated. The first sub-aim examines the performance shifts from theatre acting to film acting. The commonalities in acting in both media are defined, so that the differences may become clear. The findings of sub-aim one serves as impetus for the second sub-aim, which explores several embodied acting approaches to determine how these approaches can be applied to the teaching of the differences between acting for theatre and acting for film. Pedagogical strategies pertaining to teaching and learning are consequently studied, and the elements of these strategies are incorporated in the designing and teaching of the film acting training programme in question (sub-aim three). The final aim focuses on the efficacy of the designed programme. Feedback from the facilitator, the participating actors and a panel of experts is discussed. It is concluded that this study offers a structured film acting training programme that facilitates the shifts from theatre acting to film acting while adhering to students’ thinking and learning preferences. Thesis (PhD)--University of Pretoria, 2019. Drama PhD Unrestricted
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Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.
Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the class work lined up with my learning objectives perfectly. The actor must take control of his/her career by constantly working on the craft, and that can easily be done through going out and shooting one’s own work. Even if it doesn’t result in being ‘discovered,’ the pursuit allows the actor’s creativity and perspective to be ever widening.
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Chamberlain, Amberly. "The naked truth| An examination of gender bias in the field of acting." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118892.
This thesis exposes unconscious gender bias in actor training and the entertainment industry. Such exposure will aid teachers and industry professionals in identifying language and practices that perpetuate this prejudice, and ultimately, effect revisions, forging a new standard for good acting. I posit that images generated by an industry that continues to drive this bias through unequal opportunities for women, double standards, and the preeminence of the male gaze in cinematic practices, contribute to situating women as objects of desire, rather than as subjects who command professional equity and respect. I will introduce the science behind this long-standing problem and the need to reorient the brain toward gender equality, thereby offering means through which students, educators, and industry professionals can forge an equitable environment, one that empowers young women to take ownership of their presence in the entertainment industry and thus society’s perception of them.
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O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
Koble, Sean. "Acting the Role of Gods: Shinoda Masahiro's Cinematic Confrontations with the Absolute Image." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18363.
The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity.
By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism.
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Foley, Damian T. "Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
This practice-led research formulates a method for collaborative characterisation by merging the filmmaker/director’s approach and the screen actor’s technique. This method provides access to a deeper emotional ‘inner world’ submerged within the imagined subconscious of the fictive character. This exploration into varying improvisational filmmaker/director’s practices aimed to identify the most effective methods of supporting the screen actor’s access to emotional subtext by submergence and living through the fictive character’s subjective experience. The outcome is a flexible directorial approach focused on collaborative characterisation method/s to be employed during the filming process while remaining within the scripted context.
The research was inspired by luminary improvisational and collaborative filmmakers, including John Cassavetes and Mike Leigh, and further contextualised by contemporaries such as Derek Cianfrance, Milos Forman, Darren Aronofsky and Lynn Shelton. This thesis draws parallels between the theoretical underpinnings of their approaches and the pedagogical frameworks of acting technique authors, teachers and coaches, including Judith Weston, Sandford Meisner, William Esper and Robert Carnegie.
Apart from literature and practice reviews, this research involved three practice-led phases: shadowing improvisational filmmaking practice alongside studio exploration, semi-structured interviews (with the student actors), and journaling. Investigation into Leigh’s process was extended by direct observation and participation in the creative practices of directors Chris Edmund and Robert Marchand. The initial inquiry into Leigh’s process investigated whether any improvisational techniques could be extended to evoke an unexpected moment-to-moment awareness in an actor’s performance during the actual filming.
This led to the second phase of questioning to determine which techniques practiced by Leigh could be reformulated and extended to those of filmmakers such as Cassavetes, Cianfrance and Shelton. In addition, Judith Weston’s active engagement in improvisational rehearsal techniques led me to participate in her directors’ workshop at Judith Weston Studio in Los Angeles, California.
The findings from the first two phases resulted in a third, unexpected question, suggesting this directing approach be reframed and contextualised by the acting technique pedagogies of Weston and Meisner. Consequently, the final significance of my research findings occurred while auditing a Meisner acting class taught by founding director Carnegie at the Playhouse West, North Hollywood, California. This research offers an alternative model for collaborative directors, which is based on Meisner’s acting technique and newly aligned with the directing practices of Cassavetes and Shelton. My conclusive outcome involved reformulating screen acting techniques based on Meisner’s departure from Konstantin Stanislavski. Subsequently, this reformulation clarified and revealed my own pedagogical schism with Leigh’s and Weston’s approaches.
The goal remained to find an acting technique that would cohesively merge with a directing approach that allowed the actor to retain immediacy and spontaneity while staying emotionally congruent with the character’s imaginative backstory and yet working moment-to-moment with their still emerging ‘life script’. The significance of this research is its formulation of a collaborative language and working method for actors, directors and filmmakers focused on evoking an authentic voice for the fictive character as if they possessed a consciousness of their own volition while living through the actor.
Hooks, Ed. "Introduction to film analysis." In Acting for Animators, 88–89. Fourth edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315618272-7.
Baron, Cynthia, and Yannis Tzioumakis. "Stardom and the Indie Film Industry." In Acting Indie, 185–208. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-40863-1_8.
Fernald, John. "Acting." In Drama and the Theatre with Radio, Film and Television, 65–83. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003398790-4.
Baron, Cynthia, and Yannis Tzioumakis. "Hollywood Studio Specialty Film Divisions and Indie-Hollywood Stars." In Acting Indie, 237–66. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-40863-1_10.
Baron, Cynthia, and Yannis Tzioumakis. "Independent Film Production and Performance in the Hollywood Renaissance." In Acting Indie, 77–102. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-40863-1_4.
Holmlund, Chris. "Casing Indie Acting." In A Companion to American Indie Film, 469–92. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118758359.ch21.
Barton-Farcas, Stephanie. "Acting for Film and the Variations of Film." In Acting & Auditioning for the 21st Century, 19–25. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351131551-3.
Berselli, Giovanni, Rocco Vertechy, Gabriele Vassura, and Vincenzo Parenti Castelli. "Design of a Single-Acting Constant-Force Actuator Based on Dielectric Elastomers." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49836.
The interest in actuators based on dielectric elastomer films as a promising technology in robotic and mechatronic applications is increasing. The overall actuator performances are influenced by the design of both the active film and the film supporting frame. This paper presents a single-acting actuator which is capable of supplying a constant force over a given range of motion. The actuator is obtained by coupling a rectangular film of silicone dielectric elastomer with a monolithic frame designed to suitably modify the force generated by the dielectric elastomer film. The frame is a fully compliant mechanism whose main structural parameters are calculated using a pseudo-rigid-body model and then verified by finite element analysis. Simulations show promising performance of the proposed actuator.
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Xu, Li, Jaewon Chung, and Costas P. Grigoropoulos. "Double Laser Crystallization (DLC) of Pre-Patterned Amorphous Silicon Film and Amorphous Silicon Film With a Patterned Assisting SiO2 Layer." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56729.
In this study, pre-patterned amorphous silicon films are crystallized by the double laser crystallization (DLC) technique. Temperature distribution upon laser irradiation is modified by patterning the a-Si film, thus controlling the crystal growth. Patterns with a flattened concave feature is found to be favorable for large crystal growth with high localization, yielding grains with the size of 1.5 μm × 4 μm. As an alternate method (to pre-patterning the amorphous silicon film) for obtaining large crystal growth, double laser crystallization of amorphous silicon film with patterned SiO2 cap layer is proposed. The SiO2 layer assists the lateral growth of the crystals by acting as a thermal reservoir and slowing down the cooling rate, and additionally helps reduce the roughness of the polycrystalline surface to about 3nm (R.M.S.). With this alternate method, the grain width is increased from 0.5 μm to 1.5μm.
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Wu, Zhengqian, Ruizhe Li, Jiahao Guo, Zhongyuan Wang, and Chao Liang. "A Deep Understanding Video Q&A System for Film Education in Acting Department." In 2023 International Conference on Intelligent Education and Intelligent Research (IEIR). IEEE, 2023. http://dx.doi.org/10.1109/ieir59294.2023.10391232.
Venkatadri, Vikram, Mark Downey, Xiaojie Xue, Dipak Sengupta, Daryl Santos, Ross Havens, and Krishnaswami Srihari. "Optimizing System-on-Film (SOF) Design Using Finite Element Analysis." In ASME 2011 Pacific Rim Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Systems. ASMEDC, 2011. http://dx.doi.org/10.1115/ipack2011-52143.
System-On-Film (SOF) module is a complex integration of a fine pitch high density die and surface mounted discrete devices on a polyimide (PI) film laminate. The die is connected to the film using a thermo-compression flip-chip bonding (TCB) process which is capable of providing a very high density interconnect at less than 50um pitch. Several design and bonding parameters have to be controlled in order to achieve a reliable bond between the Au bumps on the die and the Sn plated Cu traces on the PI film. In the current work, the TCB process is studied using Finite Element Analysis (FEA) to optimize the design parameters and assure proper process margins. The resultant forces acting on the bump-to-trace interfaces are quantified across the different potential geometrical combinations. Baseline simulations showed higher stresses on specific bump locations and stress gradients acting on the bumps along the different sides of the die. These observations were correlated to both the failures and near failures on the actual test vehicles. Further simulations were then utilized to optimize and navigate design tradeoffs at both the die and flexible substrate design levels for a more robust design solution. Construction analysis performed on parts built using optimized design parameters showed significant improvements and correlated well with the simulation results.
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Martiny, M., A. Schulz, S. Wittig, and M. Dilzer. "Influence of a Mixing-Jet on Film Cooling." In ASME 1997 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/97-gt-247.
An experimental analysis of the slot film cooling performance downstream of a mixing jet has been performed. The mixing jet was blown into the main flow at a position five jet diameters downstream of the slot exit. Flow visualizations of the jet and of the cooling film are presented for blowing rates of 1 and 2 with jet momentum rates of 7 and 10. LDV-measurements in the symmetry plane show the strong perturbation acting on the cooling film downstream of the mixing jet injection. Heat transfer coefficients and adiabatic wall effectiveness were determined using electrical heater foils in combination with infrared-thermography. The results clearly show the decrease in film cooling performance in the region downstream of the mixing jet.
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Guo, Qing, G. Z. Cao, and I. Y. Shen. "Cost-Effective Measurements of Piezoelectric Coefficient d33 of Thin-Film PZT Using a Mini Force Hammer." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47512.
Lead Zirconate Titanate (PbZrxTi1−xO3 or PZT) is a piezoelectric material widely used as sensors and actuators. For microactuators, PZT often appears in the form of thin films to maintain proper aspect ratios. One major challenge encountered is accurate measurement of piezoelectric coefficients of PZT thin films. In this paper, we present a simple, low-cost, and effective method to measure piezoelectric coefficient d33 of PZT thin films through use of basic principles in mechanics of vibration. We use a small impact hammer with a tiny tip to generate an impulsive force acting perpendicularly to the surface of a PZT film. In the meantime, we measure the impulsive force via a load cell and the responding charge of the PZT thin film via a charge amplifier. Then the piezoelectric coefficient d33 is obtained from the measured force and charge based on piezoelectricity and a finite element modeling. We also conduct a thorough parametric study to understand the sensitivity of this method on various parameters, such as substrate material, boundary conditions, specimen size, specimen thickness, thickness ratio, and PZT thin-film material. To demonstrate the feasibility, we calibrate the new method via a PZT thick film disk resonator with a known d33. Experimental results show that d33 measured via this method is as accurate as those from the manufacturer’s specifications within its tolerance. We then apply the new method to PZT thin films deposited on silicon substrate, and successfully measure the corresponding piezoelectric coefficient d33.
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Leuschner, R., M. Franosch, and T. Dow. "Wafer warp caused by thick film resists acting as a permanent part of the device." In SPIE Advanced Lithography, edited by Clifford L. Henderson. SPIE, 2008. http://dx.doi.org/10.1117/12.772530.
Alam, Tanweer, and Rakesh Kumar. "Dynamic Response Evaluation of Platinum Thin Film Gauge." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-69072.
Abstract The temperature gauge with quick response characteristic and ability to provide highly precise instantaneous temperature data is usually selected for the systems with minimal time available for the measurement. Thin-film gauges are best suited for such transient measurement. In this paper, the convective environment created by blower-heater arrangement is used to evaluate the dynamic response of platinum thin-film as a heat flux gauge. The in-house fabrication of the gauge is made by using quartz as a substrate and a thin-film of pure platinum acting as a sensing element. The response is measured to the step changes for the enforced convective heat flux. The heat flux value is inferred from transient temperature data from one-dimensional heat conduction model subjected to a semi-infinite body. Numerical analysis is also performed. The similarities of experimental and numerical results authenticate the experimental set up as well as the thin film gauge efficacy.
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Sunding, Jacob, and Stuart J. Williams. "Electrothermal Pumping With Thin Film Resistive Heaters." In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-64725.
The ability to manipulate small amounts of fluid is important for a variety of lab-on-a-chip applications. Electrokinetic microfluidic actuation methods, such as electrothermal pumping, are popular due to their simple implementation and reliability from no moving parts. Electrothermal motion in aqueous solutions results from the electric field acting upon dielectric inhomogeneities in the liquid induced by temperature gradients. The most traditional method of inducing temperature gradients is through direct Joule heating of the fluid itself, which is a function of the electrical conductivity of the liquid. In this case, the microelectrode geometry controls both the location of the Joule heating and the nature of the electric field. Therefore, it is impossible to independently control temperature and electric field with a single set of electrodes. A novel electrothermal microfluidic pump is demonstrated herein. The distinguishing feature of this electrothermal pump is an independent heating source using resistive heating of microfabricated metal traces. A second set of electrodes for electrothermal pumping have been layered on top of the electrically isolated heating elements. An arrangement of coplanar electrode strips with an additional resistive heating electrode was used to demonstrate electrothermal pumping. Fluid motion results were compared to established theory.
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Shibutani, Tadahiro, Qiang Yu, Masaki Shiratori, and Takeshi Akai. "Evaluation of Damage Process Near Interfaces During Nanoscratch Test." In ASME 2005 Pacific Rim Technical Conference and Exhibition on Integration and Packaging of MEMS, NEMS, and Electronic Systems collocated with the ASME 2005 Heat Transfer Summer Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/ipack2005-73159.
In multi-layered films on a silicon substrate for an advanced electronics devices, interfacial fracture often takes place and its strength (thin film adhesion) is very important in reliability. This study aims that the mechanism of damage initiation during nanoscratch test is examined for Si3N4/Cu/TaN films on a silicon substrate. In the case that the interfacial strength is weak, the interfacial damage initiates before surface film failure. In the case of edge-forward scratching, there are little effects of the rates of normal stress and scratching on the critical load. Contact analysis without friction for the system consisting of the tip, films and substrate reveals that the peak of shear stress appears on the track near the tip. Face-forward scratching shows the same behavior of damage as edge-forward scratching. Stress states acting on the interface in scratch tests suggest that the damage initiates when shear stress reaches the critical value.
Reports on the topic "Acting for film":
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Doebling, Scott, and Alee Ali. Weapons Active Repository for Radiographs and Film (WARF). Office of Scientific and Technical Information (OSTI), November 2021. http://dx.doi.org/10.2172/1833243.
Goldner, R. B. Attaining a solar energy economy with active thin film structures. Office of Scientific and Technical Information (OSTI), October 1995. http://dx.doi.org/10.2172/132828.
William L. Dunn and Douglas McGregor. High-Efficiency Thin-Film-Coated Semiconductor Neutron Detectors for Active Dosimetry Monitors. Office of Scientific and Technical Information (OSTI), December 2009. http://dx.doi.org/10.2172/970981.
Carman, Greg P., and Catherine A. Kerrigan. Damping MEMS Devices in Harsh Environments Using Active Thin Films. Fort Belvoir, VA: Defense Technical Information Center, June 2008. http://dx.doi.org/10.21236/ada499154.
Arnold, Zachary, Joanne Boisson, Lorenzo Bongiovanni, Daniel Chou, Carrie Peelman, and Ilya Rahkovsky. Using Machine Learning to Fill Gaps in Chinese AI Market Data. Center for Security and Emerging Technology, February 2021. http://dx.doi.org/10.51593/20200064.
In this proof-of-concept project, CSET and Amplyfi Ltd. used machine learning models and Chinese-language web data to identify Chinese companies active in artificial intelligence. Most of these companies were not labeled or described as AI-related in two high-quality commercial datasets. The authors' findings show that using structured data alone—even from the best providers—will yield an incomplete picture of the Chinese AI landscape.
6
Steinbach, Andrew. Final Technical Report for project entitled Highly Active, Durable, and Ultra-Low PGM NSTF Thin Film ORR Catalysts and Support. Office of Scientific and Technical Information (OSTI), March 2020. http://dx.doi.org/10.2172/1608958.
TRL were commissioned by City of London to undertake research into the vehicle emissions emitted whilst idling. Across all 32 London Boroughs, campaigns have been launched to raise public awareness of the impact of idling on environmental air quality and human health. These campaigns use a combination of education, training and enforcement. Historically, the key strapline that has been used in campaigns UK-wide is that an idling car can fill up to 150 balloons with harmful exhaust emissions every minute. However, the reliability and applicability of this statement to the vehicles in London today has recently been called into question. This project aimed to provide an updated, evidence-based conclusion to support the upcoming anti-idling campaign planned for launch in February 2021.Through analysis of real-world data, TRL have quantified the emissions and associated costs from idling events, taking into account NO2, NOx, NO and CO2 emissions from petrol and diesel cars and vans. TRL have then compared the outputs to tangible constructs so the impact of idling can be easily understood by a wide audience.
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Himberg, Harvey. Use of Country Systems: Equivalence Analysis. Inter-American Development Bank, November 2011. http://dx.doi.org/10.18235/0009120.
The overall objectives of this technical note are as follows: (a) develop and provide specific, detailed Use of Country Systems (UCS) guidance for "Equivalence Analysis" for the borrowing country's environmental and social safeguards systems (the set of laws and regulations, including its procedural requirements for their implementation); (b) identify gaps; (c) identify and propose a staged approach to fill the gaps; and (d) prepare an action plan to fill the identified gaps, with a focus on those elements identified as least deficient areas. This is part of a more general effort to build the necessary tools and guidance for implementation of UCS at the IDB.
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Walton, Tom. Use of Country Systems: Acceptability Analysis. Inter-American Development Bank, November 2011. http://dx.doi.org/10.18235/0009121.
The overall objectives of this technical note are as follows: (a) develop and provide specific, detailed Use of Country Systems (UCS) guidance for "Acceptability Analysis" for the borrowing country's environmental and social safeguards systems (the set of laws and regulations, including its procedural requirements for their implementation); (b) identify gaps; (c) identify and propose a staged approach to fill the gaps; and (d) prepare an action plan to fill the identified gaps, with a focus on those elements identified as least deficient areas. This is part of a more general effort to build the necessary tools and guidance for implementation of UCS at the IDB.
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Campbell, Seth, Rosa Affleck, and Samantha Sinclair. Ground-penetrating radar studies of permafrost, periglacial, and near-surface geology at McMurdo Station, Antarctica. Engineer Research and Development Center (U.S.), September 2022. http://dx.doi.org/10.21079/11681/45320.
Installations built on ice, permafrost, or seasonal frozen ground require careful design to avoid melting issues. Therefore, efforts to rebuild McMurdo Station, Antarctica, to improve operational efficiency and consolidate energy resources require knowledge of near-surface geology. Both 200 and 400 MHz ground-penetrating radar (GPR) data were collected in McMurdo during January, October, and November of 2015 to detect the active layer, permafrost, excess ice, fill thickness, solid bedrock depth, and buried utilities or construction and waste debris. Our goal was to ultimately improve surficial geology knowledge from a geotechnical perspective. Radar penetration ranged between approximately 3 and 10 m depth for the 400 and 200 MHz antennas, respectively. Both antennas successfully detect buried utilities and near-surface stratified material to ~0.5–3.0 m whereas 200 MHz profiles were more useful for mapping deeper stratified and un-stratified fill over bedrock. Artificially generated excess ice which appears to have been created from runoff, water pooling and refreezing, aspect shading from buildings, and snowpack buried under fill, are prevalent. Results show that McMurdo Station has a complex myriad of ice-rich fill, scoria, fractured volcanic bedrock, permafrost, excess ice, and buried anthropogenically generated debris, each of which must be considered during future construction.
