Rozprawy doktorskie na temat „Low-budget film”
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1
Ivanisevic, Paunovic Jelena. "From Low Budget to Big Business : Releasing Strategies for Indeoendent Films and Industry Division". Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181523.
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The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film. This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US. Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market. The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.
2
Fair, James. "A different understanding of low and micro-budget film production in the UK". Thesis, Staffordshire University, 2017. http://eprints.staffs.ac.uk/4936/.
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This thesis examines whether there is a different perspective to low and microbudget filmmaking than has previously been understood, challenging the Low and Micro-Budget Film Production in the UK report, commissioned by the UK Film Council (UKFC) in 2008 to inform their policies. The introduction of this thesis illustrates how the UKFC report used inappropriate methodologies and poses the research question: would a different methodology present a perspective of low and micro-budget film production that differs from the ‘comprehensive picture’ that the UKFC claimed to portray? Participatory Action Research (PAR) is presented as a suitable methodology, as it has not previously been used to explore film production and it enables a plurality of perspectives to be presented from across the crew. However, the participatory action of filmmaking is resource intensive and required various stakeholders to collaborate in order to address the research question. A feature-length film, The Ballad of Des and Mo, was shot, edited and screened as part of the Melbourne International Film Festival in 2010, and artefacts created as part of the film’s production (including a further feature length documentary following the process) are presented as evidence within this thesis. However, serious limitations were encountered within the PAR process, including incomplete data collection, contested representation of the process within the artefacts and struggles over ownership. The discussion contends that PAR within film production is unreliable, but argues that the artefacts created were still examples of low and micro-budget filmmaking, and subsequent analysis is conducted using grounded theory to establish themes within the artefacts. The outcomes correlate with wider literature and establish that the UKFC’s report was incomplete and did not present a ‘comprehensive picture’ of low and micro-budget filmmaking. Two findings are established: the limitations of PAR in a filmmaking context and the discovery that low and micro-budget filmmaking places unique pressures on social relationships.
3
Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.
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The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
4
Local, Patrick. "How to Produce a Movie in the Middle of Nowhere with No Money". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1544178023546224.
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Fasolo, Damian. "The making of Broken: A manifesto for a democratised cinema". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2340.
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The enemy of art is the absence of limitations.
(Orson Welles cited in Hurbis-Cherrier, 2011, p. 16)
While much has been written on low budget independent film movements, there is little research on the correlations that exist between them, and in particular, the filmmaking approaches and techniques which significantly affect their final form. The key argument of this project is that, central to the critical success of any low budget film, is a filmmaker’s ability to transform the limitations imposed on them, and the constraints that they choose, into creative gain. Though it would appear to operate contrary to ordinary reasoning and intuition, constraint in an artistic context, is one of the filmmaker’s most powerful tools. The ensuing research and practice reveal how the implementation of this approach can, for example, bring about selfreflexivity and expressionism, political subversion, active viewing, and ambiguity. Furthermore, constraints are often used as a marketing tool to leverage a film’s status by creating a point of differentiation.
This exegesis examines the development of 20th century low budget movements which operated within a ‘manifesto of constraints’. Specifically, it seeks to identify filmmaking approaches of limitation, whether that be through strategies of constraint in budget, crewing, narrative form, and stylistic approach, and how these contributed to the critical success of the resulting work. In addition, there is an analysis on current trends in filmmaking practice, primarily resulting from a democratisation in technologies as well as new methods of funding, marketing and distribution.
By identifying shared commonalities of limitation among the movements and their manifestos, and by taking into account recent advancements in filmmaking practices, an informed, synthesised manifesto is subsequently devised. The creative film component of this research project, a no budget, semi-autobiographical feature film entitled Broken (Fasolo, 2017), is then produced, testing the rules set out in the synthesised manifesto. Finally, both the process of production and creative work are critically examined in light of the research; and as a result of the gaps identified through practice, a new manifesto is developed and presented for the 21st century democratised, no budget filmmaker.
6
McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16558/1/Matt_McMillan_Thesis.pdf.
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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director.
The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.
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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
8
Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.
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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Conner, William. "Less Lost: No Touchdown Dance". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.
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Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
10
Catling, Aaron. "The Ending Needs Work AKA the Good, the Bad and the Ugly of being an independent filmmaker in Australia". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16091/1/Aaron_Catling_Thesis.pdf.
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Over the period of candidature, write and direct a feature film to completion. Furthermore, undertake a thorough reflective phase which involves the analysis of each aspect relating to those key components, writing and directing. Through this form of creative practice and utilising state of the art digital filmmaking techniques it is hoped that an addition to knowledge will be achieved.
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Catling, Aaron. "The Ending Needs Work AKA the Good, the Bad and the Ugly of being an independent filmmaker in Australia". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16091/.
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Over the period of candidature, write and direct a feature film to completion. Furthermore, undertake a thorough reflective phase which involves the analysis of each aspect relating to those key components, writing and directing. Through this form of creative practice and utilising state of the art digital filmmaking techniques it is hoped that an addition to knowledge will be achieved.
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Goshorn, John. "The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.
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The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels - aesthetic, narrative, technical, and industrial - while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience.ID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
13
Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
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McLoughlin, Aaron. "Gravy". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50947/1/Aaron_McLoughlin_Thesis.pdf.
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To many aspiring writer/directors of feature film breaking into the industry may be perceived as an insurmountable obstacle. In contemplating my own attempt to venture into the world of feature filmmaking I have reasoned that a formulated strategy could be of benefit. As the film industry is largely concerned with economics I decided that writing a relatively low-cost feature film may improve my chances of being allowed directorship by a credible producer. As a result I have decided to write a modest feature film set in a single interior shooting location in an attempt to minimise production costs, therefore also attempting to reduce the perceived risk in hiring the writer as debut director.
As a practice-led researcher, the primary focus of this research is to create a screenplay in response to my greater directorial aspirations and to explore the nature in which the said strategic decision to write a single-location film impacts on not only the craft of cinematic writing but also the creative process itself, as it pertains to the project at hand.
The result is a comedy script titled Gravy, which is set in a single apartment and strives to maintain a fast comedic pace whilst employing a range of character and plot devices in conjunction with creative decisions that help to sustain cinematic interest within the confines of the apartment. In addition to the screenplay artifact, the exegesis also includes a section that reflects on the writing process in the form of personal accounts, decisions, problems and solutions as well as examination of other author’s works.
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Poch, Sabarich Francesc. "El petit productor de cinema. El cas d'en Josep Mª Cunillés". Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/69938.
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El cinema comercial independent de baix pressupost elaborat amb els elements industrials i artístics del sector cinematogràfic del propi país és viable, sostenible i exportable. Aquest ha sigut el cas d’El Lute, Crimen en familia i altres pel•lícules que Cunillés ha produït. Estudiar els mecanismes de finançament, fabricació i venda d’aquest tipus de producció ens permetrà extrapolar-ho, generalitzar-ho i explicar-ho als actuals i futurs decisors audiovisuals.
En el cas de Cunillés, el trobem gestionant sales cinematogràfiques, distribuint o coproduint pel•lícules, o implicant-se en operacions corporatives per millorar les condicions del sector.
Ha calgut introduir el context històric, sota l’etiqueta de “cinema de transició”, estudiar la persona i els orígens temàtics per acabar construint un mètode que el propi productor ha abandonat per dedicar-se únicament a l’explotació dels seus drets audiovisuals. Altres productors continuen emprant aquest model amb èxit, però els paràmetres han canviat i Cunillés no vol tornar a navegar.Commercial, independent low-budget filmmaking produced with industrial and artistic elements of the film sector in one’s own country is viable, sustainable and exportable. It’s the case of El Lute, Crimen en familia and other films that Cunillés has produced. Studying the financing, manufacturing and sales of this kind of production will allow us to extrapolate, generalize and explain it to current and future film decision-makers. Cunillés can be found managing cinemas, distributing or producing films, or getting involved in corporative operations to improve the sector’s conditions. It’s been necessary to introduce the historical context under the label “transition filmmaking”, and study the person and his thematic origins in order to devise a method that the producer himself has abandoned to work solely on the exploitation of film rights. Other producers still use this method successfully, but the parameters have changed and Cunillés doesn’t want to navigate again.
17
Tarrant-Willis, Tim. "Finding an audience : evaluating the production and marketing of low budget British films in the iFeatures production scheme, 2009-2014". Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/31722/.
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This thesis explores the first iteration of iFeatures, a grant-aided low budget production scheme in Bristol, UK, from 2009 – 2014. The scheme encouraged and trained filmmakers to develop digital marketing and distribution strategies to enable the three feature films, In the Dark Half (2012), Flying Blind (2013) and 8 Minutes Idle (2014) to compete in the market place against bigger budgeted films. Little original research on low budget marketing and distribution has been carried out which this thesis attempts to rectify. The research captured a specific period in history in which digital marketing and distribution was regarded by the UK Film Council (UKFC) and other stakeholders as techniques that would allow the low budget sector to find its audience, and overcame the century-long problems of how to sustain indigenous feature film production. The research findings are based on multiple data sources that collectively fill a gap in original research. Unprecedented access was obtained to major stakeholders including the iFeatures creative teams, BBC Films, the UKFC, sales agents and distributors. The in-depth interviews uncovered motivations and attitudes to marketing and these were analysed using Pierre Bourdieu’s framework (1986, 1996, 2001, 2003). In a separate chapter, conceptual approaches underpinning digital marketing and distribution, and the emerging strategies are also analysed. The three films are presented as case studies to show how each film adopted different strategies using digital and traditional marketing techniques. These case studies drew on unique data which captured the impact and scope of the online marketing, and over a thousand surveys from cinemagoers which showed the relative persuasiveness of both digital and traditional marketing. The thesis argues that iFeatures’ objectives were not achieved. Training filmmakers to become marketers did not account for their attitudinal dissonance nor the importance of symbolic capital. Also, coherent marketing strategies were lacking that understood and deployed the principles of marketing and emerging paradigms and logics. The case studies showed that digital marketing is only effective for defined audiences and when manipulated by expert personnel, and that traditional techniques should not be ignored. These results suggest that, as the commercial returns are so small, low budget filmmaking should exist to take creative risks and to develop talent and that its future may best be supported within a television business model.
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Bowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.
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Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities
19
Ranni, Davide. "La produzione di videoclip attraverso le sue trasformazioni economiche, sociali e distributive". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23538/.
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Questo lavoro intende dimostrare in quali modi e tramite quali strumenti la produzione di videoclip sia cambiata nel corso degli anni attraverso le sue trasformazioni nei campi della distribuzione, della legislazione e dei finanziamenti al videoclip. Comprendere cosa voglia dire oggi produrre un videoclip significa constatare come questi tre macro-argomenti abbiano influenzato, secondo diverse sfaccettature, i budget e gli investimenti monetari da parte delle case discografiche. Inoltre, non si vuole dare un giudizio sulla natura stilistica dei videoclip o fare una critica su quelli che stilisticamente si avvicinano a una bellezza cinematografica, ma affermare che una buona produzione e un discreto budget, uniti a una buona collocazione distributiva e l’uso di finanziamenti pubblici e privati, può far sì che il videoclip sia ancora un mezzo remunerativo, sia a livello economico sia a livello di immagine dell’artista. L’obiettivo principale, quindi, del videoclip è riferito alla sua funzione sociale e non alla finalità economica; l’engagement tra artista e audiece non comporta un ritorno ecnomico, ma un guadagno sociale, di immagine e di fidelizzazione perché un’artista, che sia un cantante, un attore o un qualsiasi performer nell’industria dell’entertainment, è possibile assimilarlo a un brand, a un’azienda che ha bisogno di “fedeli seguaci” che supportino il prodotto, il quale, in questi casi, coincide con la persona stessa.
20
Teng, Li-Feng, i 鄧立峯. "Study on transparent oxide thin film transistors with low thermal budget post-treatments". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/78056947262316473209.
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博士國立交通大學
光電工程研究所
101
Recently, transparent metal oxide semiconductor attracts great attention due to the characteristics of high mobility, high transparency, room temperature deposited, and high process compatibility with present solid-state semiconductor technologies. Among several novel oxide semiconductors, amorphous InGaZnO (a-IGZO) thin film received considerable attention for their use in next-generation active matrix liquid crystal display (AMLCD) and active-matrix organic light-emitting diode display (AMOLED) technologies. The sputter-deposited a-IGZO active layer typically requires thermal annealing at around 300℃ for 30 min or longer to achieve a satisfactory device performance and stability. In this study, we presents a novel microwave annealing process for a-IGZO TFT fabrication with low thermal budget process. Microwave heating process can transfer the energy directly to the target materials by absorption of microwave energy throughout the volume of the material. Among its advantages include low thermal budget, rapid heating process, thermal uniformity, suppression of unexpected species diffusion, and selective heating of materials, which is impossible with the typical furnace annealing process, microwave annealing is highly promising for a-IGZO TFT manufacturing. The performance of a-IGZO TFTs with microwave annealing are well competitive with its counterpart with furnace annealing at 450℃ for 1 hour with a carrier mobility of 13.5 cm2/Vs, threshold voltage of 3.28 V, and subthreshold swing of 0.43 V/decade. Although a-IGZO TFTs performed good electrical performance, containing the rare-dispersive elements will increase the cost and be a critical issue for the long-term applications. Therefore, rare elements-free transparent metal oxide semiconductors are considered to be the promising candidates for the next generation display technologies. In this work, we developed a novel rare elements-free oxide semiconductor, amorphous AlZnSnO (a-AZTO), TFT technologies. The band-gap of a-AZTO is larger than 3.6 eV, therefore it shows high transparency in visible light region. We have investigated the effects of SnO2 content on performance of a-AZTO TFTs. Moreover, we employed the plasma treatment to enhance the electrical reliability of a-AZTO TFTs. The experiment results showed that the O2 and N2O plasma could effectively oxidize Sn in back channel of a-AZTO thin film and improve the reliability and stability of a-AZTO TFTs. Furthermore, we decreased the fabrication temperature from 450°C to 350°C by H2 plasma process and remained great performance of a-AZTO TFTs. In the end of this study, a supercritical fluid (SCF) technology is proposed at 150°C to enhance the electrical performance and reliability of a-AZTO TFTs. The SCF provides good liquid-like solvency and high gas-like diffusivity, giving it excellent transport capacity to take the H2O molecules into metal oxide films and terminate the traps in metal oxide films by the oxidization reaction.
21
Chang, Yao-Yuan, i 張耀元. "Microwave Annealing as a Low Thermal Budget Technique for Amorphous InGaZnO Thin-Film Transistors Fabricated Using AP-PECVD". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/76hfh9.
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Chueh-Kuei, Jan, i 詹爵魁. "Characteristics of Pulsed-Laser Deposition (Pb0.6Sr0.4)TiO3 Thin Films with Low Thermal Budget Post Treatment". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/85786501585430724757.
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碩士國立交通大學
電子工程系
91
Since high temperature post-annealing for ferroelectric materials was usually required to get the fine crystallinity and ferroelectric characteristics. But many trouble issues was induced by the high thermal budget, such as the inter-diffusion of ferroelectric and substrate, and the deformation of junction profile etc. Therefore it is essential for the reduction of post-annealing temperature in order to make the ferroelectric material compatible the Si-base fabrication process. In this these, low temperature and low thermal budget for fabrication and post-annealing methods are introduced in this thesis. The (Pb,Sr)TiO3 (PST) ferroelectric material with low crystallization temperature was deposited onto the Pt/Ti/Ox/Si substrate for the research of capacitor type 1T-FeRAM. The PST thin film was fabricated by pulse-laser-deposition (PLD) method at low substrate temperature 200oC. At first, the results of conventional post annealing methods (Rapid Thermal Annealing (RTA), Furnace Annealing (FA) were acquired, witch surface cracks and interface lift were found by lager thermal stress. Therefore, novel post-treatment for Excimer Laser Annealing (ELA) method was introduced to suppress the above troubles. The PST thin films were irradiated with conditions of different laser energy density and shot number at low substrate temperature 300oC. The improvement of ferroelectric characteristic was apparently observed from electrical measurement and physical analysis, and it is further inferred that the crystallization phenomenon was occurred only on the surface region. The better improvement for crystallinity was found by appropriate control of laser energy density and shot number. Besides the larger improvement on crystallinity and characteristic of whole thin film were obtained with the combination of ELA and RTA post-treatment. The fine reliability properties for PST thin film with treatment of combination of ELA and RTA method were acquired after Fatigue, Imprint, and TDDB tests. Finally, the better crystallization and ferroelectric characteristic of the whole PST thin film treatments had been successfully achieved under low temperature post-treatment, and it is excellent for the most promising candidate in capacitor type 1T-FeRAM applications.