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Senoussaoui, Nadia. Einfluss der Oberflächenstrukturierung auf die optischen Eigenschaften der Dünnschichtsolarzellen auf der Basis von a-Si : H und [mu]c-Si : H. Jülich : Forschungszentrum Jülich, Zentralbibliothek, 2004.
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Symposium H on Laser Processing of Surfaces and Thin Films (1996 Strasbourg, France). Laser processing of surfaces and thin films : Proceedings of Symposium H on Laser Processing of Surfaces and Thin Films of the 1996 E-MRS Spring Conference, Strasbourg, France, June 4-7, 1996. Amsterdam : Elsevier, 1997.
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C-MRS International Conference (1990 Beijing, China). Thin films and beam-solid interactions : Proceedings of the symposia I, Thin films and H, Laser and particle-beam interactions with solids of the C-MRS International 1990 Conference, Beijing, China, 18-22 June 1990. Sous la direction de Huang Liji et Chinese Materials Research Society. Amsterdam : North-Holland, 1991.
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Laser processing of surfaces and thin films : Proceedings of symposium H of the 1996 E-MRS Spring conference, Strasbourg, France, June 4-7, 1996. 1997.
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Jackson, Robert. This Southern Advent. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0002.
Texte intégralRésumé :
Chapter 1 surveys the contributions of southerners to film with an emphasis on activity within the South. Linking the early development of the medium to post-Reconstruction “New South” ideology and grounding it in the efforts of several early innovators from Virginia, this chapter covers a number of important events and movements: the Spanish-American War of 1898, the emergence of Jacksonville, Florida as a major production center in the 1910s, the diverse history of North Carolina’s early film cultures (Asheville as a production center, Karl Brown’s Stark Love, diverse filmmaking ventures throughout the state, the state’s popular education film program, the brilliant career of town documentarian H. Lee Waters), and the long career of King Vidor.
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Towlson, Jon. Candyman. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325543.001.0001.
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When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head on. As critic Kirsten Moana Thompson has remarked, Candyman is “the return of the repressed as national allegory”: the film's hook-handed killer of urban legend embodies a history of racism, miscegenation, lynching, and slavery, “the taboo secrets of America's past and present.” This book considers how Candyman might be read both as a “return of the repressed” during the George H. W. Bush era, and as an example of 1990s neoconservative horror. It traces the project's development from its origins as a Clive Barker short story (The Forbidden); discusses the importance of its gritty real-life Cabrini-Green setting; and analyzes the film's appropriation (and interrogation) of urban myth. The two official sequels (Candyman: Farewell to the Flesh [1995] and Candyman: Day of the Dead [1999]) are also considered, plus a number of other urban myth-inspired horror movies such as Bloody Mary (2006) and films in the Urban Legend franchise. The book features an in-depth interview with Candyman's writer-director Bernard Rose.
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Foltz, Jonathan. Out of Focus. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.003.0004.
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This chapter explores the contacts and conflict between novelistic point of view and the practice of cinematic spectatorship. It focuses on H. D.’s singular contributions to the film journal Close Up (1927–1933). This film criticism was an important context for developing the forms of prose experimentation that would occupy her during the early 1930s. In detaching vision from a presumed subject, H. D. found that film asks its viewers not only to see but to translate encrypted “abstract . . . remote . . . symbolical” meanings from the “raw-picked” images that pass across the screen. This literary appropriation of spectatorship would come to structure her contemporaneous work, The Usual Star. This novel exemplifies the formal ambition of H. D.’s prose innovations, suggesting an alternate history of the modernist novel in which the totemic value of point of view had been dislodged.
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Papanikolaou, Dimitris. Greek Weird Wave. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474436311.001.0001.
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This book is the first to provide a reading of the recent ‘Weird’ or ‘New Wave’ of Greek cinema, both through the concept of biopolitics and in the context of contemporary World Cinema politics, aesthetics, as well as production and circulation strategies. Its main aim is to show the ways in which, since the beginning of the 21st century, cinema and other cultural forms in Greece have responded to a sense of Crisis and an ever expansive management of life that we have now come to call biopolitics. Through close cultural and film analysis, the Greek Weird Wave is proposed as a paradigmatic cinema of biopolitical realism, a trend observable more widely in world cinema today. Key films such as Yorgos Lantimos’s Dogtooth, Alps and The Lobster, Athina Rachel Tsangari’s Attenberg, Syllas Tzoumerkas’s Homeland, Alexandros Avranas’s Miss Violence and Panos H. Koutras’s Strella, are read together with less well-known short, medium and feature-length films by directors such as Konstantina Kotzamani, Yorgos Zois, Vassilis Kekatos, Alexandros Voulgaris, Argyris Papadimitropoulos, Babis Makridis. At the same time, the book offers an analysis of the larger cultural context of 21st-century Greece, often explaining the films’ major thematic and formal choices through references to contemporary novels, theatre performances, activist texts and political events.
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Foltz, Jonathan. The Novel after Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.001.0001.
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The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.
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Brown, Matthew H. Indirect Subjects. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021506.
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In Indirect Subjects, Matthew H. Brown analyzes the content of the prolific Nigerian film industry's mostly direct-to-video movies alongside local practices of production and circulation to show how screen media play spatial roles in global power relations. Scrutinizing the deep structural and aesthetic relationship between Nollywood, as the industry is known, and Nigerian state television, Brown tracks how several Nollywood films, in ways similar to both state television programs and colonial cinema productions, invite local spectators to experience liberal capitalism not only as a form of exploitation but as a set of expectations about the future. This mode of address, which Brown refers to as “periliberalism,” sustains global power imbalances by locating viewers within liberalism but distancing them from its processes and benefits. Locating the wellspring of this hypocrisy in the British Empire's practice of indirect rule, Brown contends that culture industries like Nollywood can sustain capitalism by isolating ordinary African people, whose labor and consumption fuel it, from its exclusive privileges.
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Johnston, Mark. Sensory Disclosure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198732570.003.0007.
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This chapter presents a general theory of color perception that focuses on something close to what Wilfred Sellars called “the sensory core”, something well-described in a passage from H. H. Price’s Perception. It develops the implications of that theory for (i) the distinctive epistemology of perception, which in the best case involves something better than mere knowledge, (ii) the nature of ganzfelds, film color, highlights, lightened and darkened color, auras, after-images, color hallucinations and the like, (iii) the account of when things are predicatively colored, and (iv) the nature of the category of quality. The chapter argues that as a consequence of understanding the sensory core we should reject the two most influential views in the philosophical theory of perception. Our most basic perceptual experiences are not adequately modeled as attitudes directed upon propositions. Nor are they adequately modeled as directed upon facts, understood as items in our perceived environment.
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Sutherland, Doris V. The Mummy. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325956.001.0001.
Texte intégralRésumé :
Released in 1932, The Mummy moved Universal horror away from the Gothic Europe of Dracula and Frankenstein and into a land of deserts, pyramids, and long-lost tombs. In doing so, the film continued a tradition of horror fiction that is almost as old as the Western pursuit of Egyptology, as numerous European and American authors from the nineteenth and early twentieth centuries had portrayed Egypt as a place of mystery and magic. This book examines the roots of The Mummy. It shows how the film shares many of its motifs with the work of writers such as Bram Stoker, Arthur Conan Doyle, and H. Rider Haggard, whose tales of living mummies, immortal sorcerers, and Egyptian mysticism bear strong resemblances to Universal's movie. In addition, the book discusses how The Mummy drew upon a contemporary vogue for all things ancient Egyptian: the tomb of Tutankhamun was discovered the decade before the film was released, prompting sensationalistic rumours of a curse. This is the story of what happened when Hollywood horror went to Egypt.
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Blyth, Michael. In the Mouth of Madness. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325406.001.0001.
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Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing instalment of the acclaimed director's self-described “apocalypse trilogy” (following The Thing and Prince Of Darkness) stands today as one of his most thematically complex and stylistically audacious pieces of work. The story of an insurance investigator drawn into the supposedly fictional universe of a best-selling horror novelist, the film is an extension of many recurring themes found in Carpenter's filmography (the end of the world, the loss of free will, a distrust of mass industry and global corporations, the cataclysmic resurgence of ancient evil), as well as an affectionate homage to the works of H. P. Lovecraft (and horror literature more broadly) and a self-reflexive celebration of the horror genre that predates the Scream-inspired postmodernist boom of late-nineties genre cinema. While numerous books and countless academic essays have been written about Carpenter's work, surprisingly little has focused exclusively on In the Mouth of Madness, a film which feels more prescient, more essential, and more daringly complex than ever. This book seeks to redress this imbalance, at last positioning this overlooked masterpiece as essential Carpenter.
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Hsu, Shi-Ling. International Market Mechanisms. Sous la direction de Kevin R. Gray, Richard Tarasofsky et Cinnamon Carlarne. Oxford University Press, 2016. http://dx.doi.org/10.1093/law/9780199684601.003.0012.
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This chapter describes the role of international market mechanisms in reducing pollution and the costs of doing so. It looks into two mechanisms established by economists John H. Dales and Arthur Cecil Pigou. Dales propounded the mechanism of ‘pollution permit-trading’ which, instead of regulating pollution on a source-by-source or emitter class-by-emitter class basis, a regulatory agency from the beginning would limit the overall amount of pollution allowed. Firms could then trade amongst themselves, effectively using the market to determine which of them should be able to pollute, how much, and when. The other market mechanism is the Pigouvian tax, which is the tax levied per unit of pollution emitted. By pricing these external costs and forcing polluters to consider them in their private calculus, Pigouvian taxes force polluters to balance the social costs and their private economic benefits of polluting.
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Minett, Mark. Robert Altman and the Elaboration of Hollywood Storytelling. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523827.001.0001.
Texte intégralRésumé :
Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the “Hollywood Renaissance” or “New Hollywood” period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs a historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman’s filmmaking history and profile—lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate on their sanctioned practices and aims. We misunderstand Altman’s work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
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Interplay between thin film ferroelectric composition, microstructure, and microwave phase shifter performance / Carl H. Mueller ... [et al.] ; prepared for the 13th International Symposium on Integrated Ferroelectrics, sponsored by the Ultrasonics, Ferroelectrics, and Frequency Control Society, Nara, Japan, May 28-June 1, 2002. [Cleveland, Ohio] : National Aeronautics and Space Administration, Glenn Research Center, 2003.
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Hoof, Florian. Angels of Efficiency. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886363.001.0001.
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Corporate consulting, a one-time seemingly marvelous mixture of bare-knuckle rationalization, esoterica, and visionary futurism, is invariably deployed when business structures threaten to lose their equilibrium. What it actually means to be consulted, the part played by media in consulting, and how the branch of corporate consulting became a system of knowledge with such a socially important role is the object of this book. For the first time, it explores the ways in which the latest media technology, avant-garde aesthetics, economic pressures, and holistic philosophy together constituted the form of consulting dominant today, and which consequences arise from this. Thus it follows the work of early corporate consultants like Frank and Lillian Gilbreth and H. L. Gantt, while analyzing and describing their visual consulting models. The book develops a new, innovative, interdisciplinary approach, situated between media and business history, media archeology, and social theory, and thereby charts the genesis of modern consulting knowledge. It reveals that corporate consulting must be conceptualized in close relation to the visual culture that prevailed during this time, one which drew from nineteenth-century visualization methods and, more particularly, the new medium of film. Consulting is a cultural technique that is markedly characterized by media processes, in which the boundaries of economic logic and legitimacy emerge, and which, at the same time, considerably shapes and stabilizes this modus operandi up to the present day.
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Woller, Megan. From Camelot to Spamalot. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.001.0001.
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This book explores musicalizations of Arthurian legend as filtered through specific tellings by Mark Twain, T. H. White, and Monty Python. For centuries, Arthurian legend with its tales of Camelot, romance, and chivalry has captured imaginations throughout Europe and the Americas. In the twentieth and twenty-first centuries, musical versions of King Arthur and his Knights of the Round Table have abounded in the United States, shaping the legend for American audiences through song. The ever-shifting, age-old tale of King Arthur and his world is one which thrives on adaptation for its survival. New generations tell the story in their own ways, updating or enhancing the relevance for a fresh audience. Taking a case-study approach, this work foregrounds the role of music in selected Arthurian adaptations, examining six stage and film musicals. It considers how musical versions in twentieth- and twenty-first-century popular culture interpret the legend of King Arthur, contending that music guides the audience to understand this well-known tale and its characters in new and unexpected ways. All of the productions considered include an overtly modern perspective on the legend, intruding and even commenting on the tale of King Arthur. Shifting from an idealistic utopia to a silly place, the myriad notions of Camelot offer a look at the importance of myth in American popular culture.