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editing</title> <meta name="description" content="Search results for: film editing"> <meta name="keywords" content="film editing"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="film editing"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 1339</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: film editing</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1069</span> Studies on Radio Frequency Sputtered Copper Zinc Tin Sulphide Absorber Layers for Thin Film Solar Cells</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=G.%20Balaji">G. Balaji</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20Balasundaraprabhu"> R. Balasundaraprabhu</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Prasanna"> S. Prasanna</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20D.%20Kannan"> M. D. Kannan</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Sivakumaran"> K. Sivakumaran</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Mcilroy"> David Mcilroy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Copper Zin tin sulphide (Cu2ZnSnS4 or CZTS) is found to be better alternative to Copper Indium gallium diselenide as absorber layers in thin film based solar cells due to the utilisation of earth-abundant materials in the midst of lower toxicity. In the present study, Cu2ZnSnS4 thin films were prepared on soda lime glass using (CuS, ZnS, SnS) targets and were deposited by three different stacking orders, using RF Magnetron sputtering. The substrate temperature was fixed at 300 °C during the depositions. CZTS thin films were characterized using X-ray diffraction, X-ray photoelectron spectroscopy, Raman spectroscopy and UV-Vis-NIR spectroscopy. All the samples exhibited X-ray peaks pertaining to (112) kesterite phase of CZTS, along with the presence of a predominant wurtzite CZTS phase. X-ray photoelectron spectroscopy revealed the presence of all the elements in all the samples. The change in stacking order clearly shows that it affects the structural and phase properties of the films. Relative atomic concentrations of Zn, Cu, Sn and S, which are determined by high-resolution XPS core level spectra integrated peak areas revealed that the CZTS films exhibit inhomogeneity in both stoichiometry and elemental composition. Raman spectroscopy studies on the film showed the presence of CZTS phase. The energy band gap of the CZTS thin films was found to be in the range of 1.5 eV to 1.6 eV. The films were then annealed at 450 °C for 5 hrs and it was found that the predominant nature of the X-ray peaks has transformed from Wurtzite to Kesterite phase which is highly desirable for absorber layers in thin film solar cells. The optimized CZTS layer was used as an absorber layer in thin film solar cells. ZnS and CdS were used as buffer layers which in turn prepared by Hot wall epitaxy technique. Gallium doped Zinc oxide was used as a transparent conducting oxide. The solar cell structure Glass/Mo/CZTS/CdS or ZnS/GZO has been fabricated, and solar cell parameters were measured. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=earth-abundant" title="earth-abundant">earth-abundant</a>, <a href="https://publications.waset.org/abstracts/search?q=Kesterite" title=" Kesterite"> Kesterite</a>, <a href="https://publications.waset.org/abstracts/search?q=RF%20sputtering" title=" RF sputtering"> RF sputtering</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film%20solar%20cells" title=" thin film solar cells"> thin film solar cells</a> </p> <a href="https://publications.waset.org/abstracts/71511/studies-on-radio-frequency-sputtered-copper-zinc-tin-sulphide-absorber-layers-for-thin-film-solar-cells" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71511.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">280</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1068</span> Novel Wound Healing Biodegradable Patch of Bioactive</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abhay%20Asthana">Abhay Asthana</a>, <a href="https://publications.waset.org/abstracts/search?q=Shally%20Toshkhani"> Shally Toshkhani</a>, <a href="https://publications.waset.org/abstracts/search?q=Gyati%20Shilakari"> Gyati Shilakari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present research was aimed to develop a biodegradable dermal patch formulation for wound healing in a novel, sustained and systematic manner. The goal is to reduce the frequency of dressings with improved drug delivery and thereby enhance therapeutic performance. In present study optimized formulation was designed using component polymers and excipients (e.g. Hydroxypropyl methyl cellulose, Ethylcellulose, and Gelatin) to impart significant folding endurance, elasticity and strength. Gelatin was used to get a mixture using ethylene glycol. Chitosan dissolved in suitable medium was mixed with stirring to gelatin mixture. With continued stirring to the mixture Curcumin was added in optimized ratio to get homogeneous dispersion. Polymers were dispersed with stirring in final formulation. The mixture was sonicated casted to get the film form. All steps were carried out under under strict aseptic conditions. The final formulation was a thin uniformly smooth textured film with dark brown-yellow color. The film was found to have folding endurance was around 20 to 21 times without a crack in an optimized formulation at RT (23C). The drug content was in range 96 to 102% and it passed the content uniform test. The final moisture content of the optimized formulation film was NMT 9.0%. The films passed stability study conducted at refrigerated conditions (4±0.2C) and at room temperature (23 ± 2C) for 30 days. Further, the drug content and texture remained undisturbed with stability study conducted at RT 23±2C for 45 and 90 days. Percentage cumulative drug release was found to be 80% in 12 h and matched the biodegradation rate as drug release with correlation factor R2 > 0.9. The film based formulation developed shows promising results in terms of stability and release profiles. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biodegradable" title="biodegradable">biodegradable</a>, <a href="https://publications.waset.org/abstracts/search?q=patch" title=" patch"> patch</a>, <a href="https://publications.waset.org/abstracts/search?q=bioactive" title=" bioactive"> bioactive</a>, <a href="https://publications.waset.org/abstracts/search?q=polymer" title=" polymer"> polymer</a> </p> <a href="https://publications.waset.org/abstracts/28609/novel-wound-healing-biodegradable-patch-of-bioactive" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28609.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">516</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1067</span> Investigation of the Effect of Plasticization Temperature on Polymer Thin Film Stability through Spin Coating Process</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bilge%20Bozdogan">Bilge Bozdogan</a>, <a href="https://publications.waset.org/abstracts/search?q=Selda%20T.%20Sendogdular"> Selda T. Sendogdular</a>, <a href="https://publications.waset.org/abstracts/search?q=Levent%20Sendogdular"> Levent Sendogdular</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We report a technique to control chain conformation during the plasticization process to achieve homogeneous and stable thin films, which allows to reduce post-process annealing times along with enhanced properties like controlled irreversible adsorbed layer (Guiselin brushes) formation. In this study, spin coating temperature was considered as a parameter; hence, all equipment, including the spin coater, substrate, vials, and the solution, was kept inside the same heated fume hood where solution was spin-coated after the temperature was stabilized at a desired value. AFM and SEM results revealed severe difference for solid and air interface between ambient and temperature-controlled samples, which suggest that enthalpic contribution dynamically helps to control film stability in a way where chain entanglements and conformational restrictions are avoided before film growing and allowing to control grafting density through spin coating temperature. The adsorbed layer was also characterized with SEM and Raman-spectroscopy technique right after seeding the adsorbed layer with gold nanoparticles. Stabilized gold nanoparticles and their surface distribution manifest the existence of a controllable polymer brush structure. Acknowledgments: This study was funded by Erciyes University Scientific Research Projects (BAP) Funding(Project ID:10058) <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=chain%20stability" title="chain stability">chain stability</a>, <a href="https://publications.waset.org/abstracts/search?q=Guiselin%20brushes" title=" Guiselin brushes"> Guiselin brushes</a>, <a href="https://publications.waset.org/abstracts/search?q=polymer%20thin%20film" title=" polymer thin film"> polymer thin film</a>, <a href="https://publications.waset.org/abstracts/search?q=spin%20coating%20temperature" title=" spin coating temperature"> spin coating temperature</a> </p> <a href="https://publications.waset.org/abstracts/137600/investigation-of-the-effect-of-plasticization-temperature-on-polymer-thin-film-stability-through-spin-coating-process" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137600.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">214</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1066</span> Let’s Make Waves – Changing the Landscape for the Solent’s Film Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Roy%20Hanney">Roy Hanney</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research study aims to develop an evidential basis to inform strategic development of the film industry in the Solent (south central) region of the UK. The density of the creative industries around the region is driving the growth of jobs. Yet, film production in particular, appears to struggle with field configuration, lacks ecological cohesion, and suffers from underdeveloped ecosystems when compared to other areas bordering the region. Though thriving, a lack of coordinated leadership results in the continued reproduction of an ill-configured, constricted and socio-economically filtered workforce. One that struggles to seize strategic opportunities arising as a consequence of the ongoing investment in UK film production around the west of London. Taking a participatory approach, the study seeks to avoid the universalism of place marketing and focus on the situatedness of the region and its specific cultural, social, and economic contexts. The staging of a series of high profile networking events provided a much needed field configuring activity and enabled the capture of voices of those currently working in the sector. It will also provided the opportunity for an exploratory network mapping of the regional creative industries as a value exchange ecosystem. It is understood that a focus on production is not in itself a solution to the challenges faced in the region. There is a need to address issues of access as a counterbalance to skewed representation among the creative workforces thus the study also aims to report on opportunities for embedding diversity and inclusion in any strategic solutions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative" title="creative">creative</a>, <a href="https://publications.waset.org/abstracts/search?q=industries" title=" industries"> industries</a>, <a href="https://publications.waset.org/abstracts/search?q=ecosystem" title=" ecosystem"> ecosystem</a>, <a href="https://publications.waset.org/abstracts/search?q=ecology" title=" ecology"> ecology</a> </p> <a href="https://publications.waset.org/abstracts/154824/lets-make-waves-changing-the-landscape-for-the-solents-film-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154824.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1065</span> Administration Model for the College of Film, Television, Multimedia and Performing Arts, Suan Sunandha Rajabhat University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Somdech%20Rungsrisawat">Somdech Rungsrisawat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of this research was to investigate how to develop an appropriate management and administration model for the College of Film, Television, Multimedia and Performing Arts at Suan Sunandha Rajabhat University. A combination of qualitative and quantitative data collection and analysis methods was employed. The data collection was from the 8 experts who were the academic staff and entrepreneurs in films, television, multimedia and performing arts, and from 471 students studying in the communication arts field. The findings of this research paper presented the appropriate management and administration model for the College of Film, Television, Multimedia and Performing Arts, which depended on 3 factors: [i] the marketing management and the supporting facilities such as buildings, equipments and accessibility for students to the college; [ii] the competency of academic staff or lecturers and supporting staff; and [iii] career opportunities after graduation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=educational%20institution%20management" title="educational institution management">educational institution management</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20management" title=" educational management"> educational management</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20resources" title=" learning resources"> learning resources</a>, <a href="https://publications.waset.org/abstracts/search?q=non-formal%20education" title=" non-formal education"> non-formal education</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20qualifications%20framework%20for%20higher%20education" title=" Thai qualifications framework for higher education "> Thai qualifications framework for higher education </a> </p> <a href="https://publications.waset.org/abstracts/17829/administration-model-for-the-college-of-film-television-multimedia-and-performing-arts-suan-sunandha-rajabhat-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17829.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">330</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1064</span> Thickness-Tunable Optical, Magnetic, and Dielectric Response of Lithium Ferrite Thin Film Synthesized by Pulsed Laser Deposition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prajna%20Paramita%20Mohapatra">Prajna Paramita Mohapatra</a>, <a href="https://publications.waset.org/abstracts/search?q=Pamu%20Dobbidi"> Pamu Dobbidi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Lithium ferrite (LiFe5O8) has potential applications as a component of microwave magnetic devices such as circulators and monolithic integrated circuits. For efficient device applications, spinel ferrites in the form of thin films are highly required. It is necessary to improve their magnetic and dielectric behavior by optimizing the processing parameters during deposition. The lithium ferrite thin films are deposited on Pt/Si substrate using the pulsed laser deposition technique (PLD). As controlling the film thickness is the easiest parameter to tailor the strain, we deposited the thin films having different film thicknesses (160 nm, 200 nm, 240 nm) at oxygen partial pressure of 0.001 mbar. The formation of single phase with spinel structure (space group - P4132) is confirmed by the XRD pattern and the Rietveld analysis. The optical bandgap is decreased with the increase in thickness. FESEM confirmed the formation of uniform grains having well separated grain boundaries. Further, the film growth and the roughness are analyzed by AFM. The root-mean-square (RMS) surface roughness is decreased from 13.52 nm (160 nm) to 9.34 nm (240 nm). The room temperature magnetization is measured with a maximum field of 10 kOe. The saturation magnetization is enhanced monotonically with an increase in thickness. The magnetic resonance linewidth is obtained in the range of 450 – 780 Oe. The dielectric response is measured in the frequency range of 104 – 106 Hz and in the temperature range of 303 – 473 K. With an increase in frequency, the dielectric constant and the loss tangent of all the samples decreased continuously, which is a typical behavior of conventional dielectric material. The real part of the dielectric constant and the dielectric loss is increased with an increase in thickness. The contribution of grain and grain boundaries is also analyzed by employing the equivalent circuit model. The highest dielectric constant is obtained for the film having a thickness of 240 nm at 104 Hz. The obtained results demonstrate that desired response can be obtained by tailoring the film thickness for the microwave magnetic devices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=PLD" title="PLD">PLD</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20response" title=" optical response"> optical response</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20films" title=" thin films"> thin films</a>, <a href="https://publications.waset.org/abstracts/search?q=magnetic%20response" title=" magnetic response"> magnetic response</a>, <a href="https://publications.waset.org/abstracts/search?q=dielectric%20response" title=" dielectric response"> dielectric response</a> </p> <a href="https://publications.waset.org/abstracts/153150/thickness-tunable-optical-magnetic-and-dielectric-response-of-lithium-ferrite-thin-film-synthesized-by-pulsed-laser-deposition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153150.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">98</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1063</span> Structural Analysis of Polymer Thin Films at Single Macromolecule Level</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hiroyuki%20Aoki">Hiroyuki Aoki</a>, <a href="https://publications.waset.org/abstracts/search?q=Toru%20Asada"> Toru Asada</a>, <a href="https://publications.waset.org/abstracts/search?q=Tomomi%20Tanii"> Tomomi Tanii</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The properties of a spin-cast film of a polymer material are different from those in the bulk material because the polymer chains are frozen in an un-equilibrium state due to the rapid evaporation of the solvent. However, there has been little information on the un-equilibrated conformation and dynamics in a spin-cast film at the single chain level. The real-space observation of individual chains would provide direct information to discuss the morphology and dynamics of single polymer chains. The recent development of super-resolution fluorescence microscopy methods allows the conformational analysis of single polymer chain. In the current study, the conformation of a polymer chain in a spin-cast film by the super-resolution microscopy. Poly(methyl methacrylate) (PMMA) with the molecular weight of 2.2 x 10^6 was spin-cast onto a glass substrate from toluene and chloroform. For the super-resolution fluorescence imaging, a small amount of the PMMA labeled by rhodamine spiroamide dye was added. The radius of gyration (Rg) was evaluated from the super-resolution fluorescence image of each PMMA chain. The mean-square-root of Rg was 48.7 and 54.0 nm in the spin-cast films prepared from the toluene and chloroform solutions, respectively. On the other hand, the chain dimension in a bulk state (a thermally annealed 10- μm-thick sample) was observed to be 43.1 nm. This indicates that the PMMA chain in the spin-cast film takes an expanded conformation compared to the unperturbed chain and that the chain dimension is dependent on the solvent quality. In a good solvent, the PMMA chain has an expanded conformation by the excluded volume effect. The polymer chain is frozen before the relaxation from an un-equilibrated expanded conformation to an unperturbed one by the rapid solvent evaporation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=chain%20conformation" title="chain conformation">chain conformation</a>, <a href="https://publications.waset.org/abstracts/search?q=polymer%20thin%20film" title=" polymer thin film"> polymer thin film</a>, <a href="https://publications.waset.org/abstracts/search?q=spin-coating" title=" spin-coating"> spin-coating</a>, <a href="https://publications.waset.org/abstracts/search?q=super-resolution%20optical%20microscopy" title=" super-resolution optical microscopy"> super-resolution optical microscopy</a> </p> <a href="https://publications.waset.org/abstracts/41961/structural-analysis-of-polymer-thin-films-at-single-macromolecule-level" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41961.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">287</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1062</span> Structural and Optical Properties of Pr3+ Doped ZnO and PVA:Zn98Pr2O Nanocomposites Free Standing Film </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pandiyarajan%20Thangaraj">Pandiyarajan Thangaraj</a>, <a href="https://publications.waset.org/abstracts/search?q=Mangalaraja%20Ramalinga%20Viswanathan"> Mangalaraja Ramalinga Viswanathan</a>, <a href="https://publications.waset.org/abstracts/search?q=Karthikeyan%20Balasubramanian"> Karthikeyan Balasubramanian</a>, <a href="https://publications.waset.org/abstracts/search?q=H%C3%A9ctor%20D.%20Mansilla"> Héctor D. Mansilla</a>, <a href="https://publications.waset.org/abstracts/search?q=Jos%C3%A9%20Ruiz"> José Ruiz</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Contreras"> David Contreras</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We report a systematic study of structural and optical properties of Pr-doped ZnO nanostructures and PVA:Zn98Pr2O polymer matrix nanocomposites free standing films are performed. These particles are synthesized through simple wet chemical route and solution casting technique at room temperature, respectively. Structural studies carried out by X-ray diffraction method, conﬁrms that the prepared pure ZnO and Pr-doped ZnO nanostructures are in hexagonal wurtzite structure and the microstrain is increased upon doping. TEM analysis reveals that the prepared materials are in the sheet-like nature. Absorption spectra show free excitonic absorption band at 370 nm and red shift for the Pr-doped ZnO nanostructures. The PVA:Zn98Pr2O composite film exhibits both free excitonic and PVA absorption bands at 282 nm. Fourier transform infrared spectral studies confirm the presence of A1 (TO) and E1 (TO) modes of Zn-O bond vibration and the formation of polymer composite materials. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pr%20doped%20ZnO" title="Pr doped ZnO">Pr doped ZnO</a>, <a href="https://publications.waset.org/abstracts/search?q=polymer%20nanocomposites" title=" polymer nanocomposites"> polymer nanocomposites</a>, <a href="https://publications.waset.org/abstracts/search?q=optical%20properties" title=" optical properties"> optical properties</a>, <a href="https://publications.waset.org/abstracts/search?q=free%20standing%20film" title=" free standing film "> free standing film </a> </p> <a href="https://publications.waset.org/abstracts/13307/structural-and-optical-properties-of-pr3-doped-zno-and-pvazn98pr2o-nanocomposites-free-standing-film" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13307.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">469</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1061</span> Life Expansion: Visual Autobiography, Identity, Representation and the Degrees of Fictionalization of the Self on Instagram</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pablo%20De%20Macedo%20Silveira%20Vallejos">Pablo De Macedo Silveira Vallejos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article aims to observe autobiographical and visual narrative practices among users on Instagram. In this way, the work proposes to reflect on how image resources are used to develop edited representations of the self in that social network. The research aims to explore the uses of editing and the degrees of fictionalization present on Instagram. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autobiography" title="autobiography">autobiography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20narratives" title=" visual narratives"> visual narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a> </p> <a href="https://publications.waset.org/abstracts/172749/life-expansion-visual-autobiography-identity-representation-and-the-degrees-of-fictionalization-of-the-self-on-instagram" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172749.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1060</span> South Africa’s Post-Apartheid Film Narratives of HIV/AIDS: A Case of ‘Yesterday’</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Moyahabo%20Molefe">Moyahabo Molefe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The persistence of HIV/AIDS infection rates in SA has not only been a subject of academic debate but a mediated narrative that has dominated SA’s post-apartheid film space over the last two decades. SA’s colonial geo-spatial architecture still influences migrant labour patterns, which the Oscar-nominated (2003) SA film ‘Yesterday’ has erstwhile reflected upon, yet continues to account for the spread of HIV/AIDS in SA society. Accordingly, men who had left their homes in the rural areas to work in the mines in the cities become infected with HIV/AIDS, only to return home to infect their wives or partners in the rural areas. This paper analyses, through Social Semiotic theory, how SA geo-spatial arrangement had raptured family structures with both men and women taking new residences in the urban areas where they work away from their homes. By using Social semiotic theory, this paper seeks to understand how images and discourses have been deployed in the film ‘Yesterday’ to demonstrate how HIV/AIDS is embedded in the socio-cultural, economic and political architect of SA society. The study uses qualitative approach and content/text/visual semiotic analysis to decipher meanings from array of imagery and discourses/dialogues that are used to mythologise the relationship between the spread of HIV/AIDS and SA migrant labour patterns. The findings of the study are significant to propose a conceptual framework that can be used to mitigate the spread of HIV/AIDS among SA populace, against the backdrop of changing migrant labour patterns and other related factors <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colonialism" title="colonialism">colonialism</a>, <a href="https://publications.waset.org/abstracts/search?q=decoloniality" title=" decoloniality"> decoloniality</a>, <a href="https://publications.waset.org/abstracts/search?q=HIV%2FAIDS" title=" HIV/AIDS"> HIV/AIDS</a>, <a href="https://publications.waset.org/abstracts/search?q=labour%20migration%20patterns" title=" labour migration patterns"> labour migration patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20semiotics" title=" social semiotics"> social semiotics</a> </p> <a href="https://publications.waset.org/abstracts/172940/south-africas-post-apartheid-film-narratives-of-hivaids-a-case-of-yesterday" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172940.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">74</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1059</span> The United States Film Industry and Its Impact on Latin American Identity Rationalizations</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alfonso%20J.%20Garc%C3%ADa%20Osuna">Alfonso J. García Osuna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background and Significance: The objective of this paper is to analyze the inception and development of identity archetypes in early XX century Latin America, to explore their roots in United States culture, to discuss the influences that came to bear upon Latin Americans as the United States began to export images of standard identity paradigms through its film industry, and to survey how these images evolved and impacted Latin Americans’ ideas of national distinctiveness from the early 1900s to the present. Therefore, the general hypothesis of this work is that United States film in many ways influenced national identity patterning in its neighbors, especially in those nations closest to its borders, Cuba and Mexico. Very little research has been done on the social impact of the United States film industry on the country’s southern neighbors. From a historical perspective, the US’s influence has been examined as the projection of political and economic power, that is to say, that American influence is seen as a catalyst to align the forces that the US wants to see wield the power of the State. But the subtle yet powerful cultural influence exercised by film, the eminent medium for exporting ideas and ideals in the XX century, has not been significantly explored. Basic Methodologies and Description: Gramscian Marxist theory underpins the study, where it is argued that film, as an exceptional vehicle for culture, is an important site of political and social struggle; in this context, it aims to show how United States capitalist structures of power not only use brute force to generate and maintain control of overseas markets, but also promote their ideas through artistic products such as film in order to infiltrate the popular culture of subordinated peoples. In this same vein, the work of neo-Marxist theoreticians of popular culture is employed in order to contextualize the agency of subordinated peoples in the process of cultural assimilations. Indication of the Major Findings of the Study: The study has yielded much data of interest. The salient finding is that each particular nation receives United States film according to its own particular social and political context, regardless of the amount of pressure exerted upon it. An example of this is the unmistakable dissimilarity between Cuban and Mexican reception of US films. The positive reception given in Cuba to American film has to do with the seamless acceptance of identity paradigms that, for historical reasons discussed herein, were incorporated into the national identity grid quite unproblematically. Such is not the case with Mexico, whose express rejection of identity paradigms offered by the United States reflects not only past conflicts with the northern neighbor, but an enduring recognition of the country’s indigenous roots, one that precluded such paradigms. Concluding Statement: This paper is an endeavor to elucidate the ways in which US film contributed to the outlining of Latin American identity blueprints, offering archetypes that would be accepted or rejected according to each nation’s particular social requirements, constraints and ethnic makeup. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title="film studies">film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=United%20States" title=" United States"> United States</a>, <a href="https://publications.waset.org/abstracts/search?q=Latin%20America" title=" Latin America"> Latin America</a>, <a href="https://publications.waset.org/abstracts/search?q=identity%20studies" title=" identity studies"> identity studies</a> </p> <a href="https://publications.waset.org/abstracts/38664/the-united-states-film-industry-and-its-impact-on-latin-american-identity-rationalizations" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/38664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1058</span> The Characteristcs and Amino Acid Profile of Edible Coating Extracted from Pigskin Gelatin </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meity%20Sompie">Meity Sompie</a>, <a href="https://publications.waset.org/abstracts/search?q=Agnes%20Triasih"> Agnes Triasih</a>, <a href="https://publications.waset.org/abstracts/search?q=Wisje%20Ponto"> Wisje Ponto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Edible coating is thin layers that act as a barrier to the external factors and protect the food products. The addition of the plasticizer to the edible coating is required to overcome film caused by extensive intermolecular forces. The potential development of pigskin with different ages as a raw material for the manufacture of edible films had not been widely publicized. This research was aimed to determine the influence of gelatin concentration and different type of plasticizer on the edible coating characteristics extracted from pigskin gelatin. This study used Completely Randomized Design (CRD) with two factors and three replicates of treatments. The first factor was consisted of pigskin gelatin concentration ( 10, 20, and 30 %) and the second factor was different type of plasticizer (glycerol, sorbitol and PEG). The results show that the interaction between the use of gelatin concentrations and type of plasticizer had significant effect (P< 0.05) on the thickness, tensile strength, elongation, water vapor transmission rate (WVTR), water content and amino acid profile of edible coating. It was concluded that the edible coating from pigskin gelatin with plasticizer gliserol had the best film characteristics, and it can be applied as an edible coating. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=edible%20coating" title="edible coating">edible coating</a>, <a href="https://publications.waset.org/abstracts/search?q=edible%20film" title=" edible film"> edible film</a>, <a href="https://publications.waset.org/abstracts/search?q=pigskin%20gelatin" title=" pigskin gelatin"> pigskin gelatin</a>, <a href="https://publications.waset.org/abstracts/search?q=plasticizer" title=" plasticizer"> plasticizer</a> </p> <a href="https://publications.waset.org/abstracts/86037/the-characteristcs-and-amino-acid-profile-of-edible-coating-extracted-from-pigskin-gelatin" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/86037.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">214</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1057</span> Faceless Women: The Blurred Image of Women in Film on and Off-Screen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ana%20Sofia%20Torres%20Pereira">Ana Sofia Torres Pereira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Till this day, women have been underrepresented and stereotyped both in TV and Cinema Screens all around the World. While women have been gaining a different status and finding their own voice in the work place and in society, what we see on-screen is still something different, something gender biased, something that does not show the multifaceted identities a woman might have. But why is this so? Why are we stuck on this shallow vision of women on-screen? According to several cinema industry studies, most film screenwriters in Hollywood are men. Women actually represent a very low percentage of screenwriters. So why is this relevant? Could the underrepresentation of women screenwriters in Hollywood be affecting the way women are written, and as a result, are depicted in film? Films are about stories, about people, and if these stories are continuously told through a man’s gaze, is that helping in the creation of a gender imbalance towards women? On the other hand, one of the reasons given for the low percentage of women screenwriters is: women are said to be better at writing specific genres, like dramas and comedies, and not as good writing thrillers and action films, so, as women seem to be limited in the genres they can write, they are undervalued and underrepresented as screenwriters. It seems the gender bias and stereotype isn’t saved exclusively for women on-screen, but also off-screen and behind the screen. So film appears to be a men’s world, on and off-screen, and since men seem to write the majority of scripts, it might be no wonder that women have been written in a specific way and depicted in a specific way on-screen. Also, since films are a mass communication medium, maybe this over-sexualization and stereotyping on-screen is indoctrinating our society into believing this bias is alive and well, and thus targeting women off-screen as well (ergo, screenwriters). What about at the very begging of film? In the Silent Movies and Early Talkies era, women dominated the screenwriting industry. They wrote every genre, and the majority of scripts were written by women, not men. So what about then? How were women depicted in films then? Did women screenwriters, in an era that was still very harsh on women, use their stories and their power to break stereotypes and show women in a different light, or did they carry on with the stereotype, did they continue it and standardize it? This papers aims to understand how important it is to have more working women screenwriters in order to break stereotypes regarding the image of women on and off-screen. How much can a screenwriter (male or female) influence our gaze on women (on and off-screen)? <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20bias" title=" gender bias"> gender bias</a>, <a href="https://publications.waset.org/abstracts/search?q=stereotype" title=" stereotype"> stereotype</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20on-screen" title=" women on-screen"> women on-screen</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20screenwriters" title=" women screenwriters"> women screenwriters</a> </p> <a href="https://publications.waset.org/abstracts/30065/faceless-women-the-blurred-image-of-women-in-film-on-and-off-screen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30065.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">348</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1056</span> Sand Dollars: Sex Tourism and Coloniality of Power in the Dominican Republic</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fernando%20Valerio-Holguin">Fernando Valerio-Holguin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the recent three decades, the tourism industry in the Dominican Republic has had an enormous impact on the country’s culture. The arrival of tourists from Germany, France, Italy, Russia and the United States has rewritten Dominican cultural identity and created a cultural palimpsest in the areas of language, gastronomy, habits, fashion, values, and gender relations. As a consequence of tourism, a prostitution network has flourished across the country. In the film Sand Dollars (2015) directed by Laura Amelia Guzmán and Israel Cárdenas, Noelí (Janet Mojica), a young mulatto woman, altogether with her boyfriend (Ricardo Ariel Toribio), strips tourists of dollars and euro through prostitution. One of her frequent clients is Anne, a mature French woman (Geraldine Chaplin). While Noeli’s goal is to get all the euros she can, Anne falls in love with her and tries to bring her to France. Both the content of the film and its cinematographic languages are analyzed in light of theory of coloniality. This concept shows how European and American tourism, through the power of money, perpetuates colonial discourse, i. e., how race and ethnocentrism permeate cultural activities in their former colonies. Moreover, in the content analysis of the film the concepts of exchange value and fetishism are crucial to understanding how the colonial body becomes sexual commodity. They facilitate grasping the film’s inequity in terms of power in the relationship between the two women: the white old European woman and the young, poor, third-world mulatta. Even though the film attempts to break away from compulsory heterosexuality, the power relation between the two women persists due to the presence of the axis of race, ethnicity, age and gender. Both the novel Les dollars des sables written by Jean-Noel Pancrazi, and the film Sand Dollars offer an interesting insight into sex tourism and coloniality and shed additional light on the power relations between the former colonizers and its colonies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=coloniality" title="coloniality">coloniality</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnocentrism" title=" ethnocentrism"> ethnocentrism</a>, <a href="https://publications.waset.org/abstracts/search?q=exchange%20value" title=" exchange value"> exchange value</a>, <a href="https://publications.waset.org/abstracts/search?q=Europe" title=" Europe"> Europe</a>, <a href="https://publications.waset.org/abstracts/search?q=fetishism" title=" fetishism"> fetishism</a>, <a href="https://publications.waset.org/abstracts/search?q=money" title=" money"> money</a>, <a href="https://publications.waset.org/abstracts/search?q=power" title=" power"> power</a>, <a href="https://publications.waset.org/abstracts/search?q=prostitution" title=" prostitution"> prostitution</a>, <a href="https://publications.waset.org/abstracts/search?q=sex%20tourism" title=" sex tourism"> sex tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=United%20States%20of%20America" title=" United States of America"> United States of America</a> </p> <a href="https://publications.waset.org/abstracts/49875/sand-dollars-sex-tourism-and-coloniality-of-power-in-the-dominican-republic" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49875.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">450</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1055</span> An Assessment of Female Representation in Philippine Cinema in Comparison to American Cinema (1975 to 2020)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amanda%20Julia%20Binay">Amanda Julia Binay</a>, <a href="https://publications.waset.org/abstracts/search?q=Patricia%20Elise%20Suarez"> Patricia Elise Suarez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Female representation in media is an important subject in the discussion of gender equality, especially in impactful and influential media like film. As the Filipino film industry continues to grow and evolve, the need for analysis on Filipino female representation on screen is imperative. Additionally, there has been limited research made on female representation in the Philippine film scene. Thus, the paper aims to analyze the presence and evolution of female representation in Philippine cinema and compare the findings with that of American films to see how Filipino filmmakers hold their own against the standards of international movements that call for more and better female representation, especially in Hollywood. The participants selected were Filipino and American films released within the years 1975 to 2020 in five (5) year intervals. Twenty (20) critically acclaimed and highest-grossing Filipino films and twenty (20) critically acclaimed and highest-grossing Hollywood films were then subject to the Bechdel and Peirce tests to obtain statistical measures of their female representation. The findings of the study reveal that the presence of female representation in Philippine film history has been consistent and has continued to grow and evolve throughout the years, with strong female leads with vibrant characteristics and diverse stories. However, analysis of female representation regarding American films has shown an extreme lack thereof with more misogynistic, sexist, and limiting ideals. Thus, the study concludes that the state of female representation in Philippine cinema and film industry holds its own when compared to American cinema and film industry and even outperforms it in many aspects of female representation, such as consistent inclusion and depiction of multi-dimensional female leads and female relationships. Hence, the study implies that women’s consistent presence in Philippine cinema mirrors Filipino women’s prominent role in Philippine society and that American cinema must continue to make efforts to change their portrayals of female characters, leads, and relationships to make them more grounded in reality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=female%20representation" title="female representation">female representation</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20studies" title=" gender studies"> gender studies</a>, <a href="https://publications.waset.org/abstracts/search?q=feminism" title=" feminism"> feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=philippine%20cinema" title=" philippine cinema"> philippine cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=American%20cinema" title=" American cinema"> American cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=bechdel%20test" title=" bechdel test"> bechdel test</a>, <a href="https://publications.waset.org/abstracts/search?q=peirce%20test" title=" peirce test"> peirce test</a>, <a href="https://publications.waset.org/abstracts/search?q=comparative%20analysis" title=" comparative analysis"> comparative analysis</a> </p> <a href="https://publications.waset.org/abstracts/144689/an-assessment-of-female-representation-in-philippine-cinema-in-comparison-to-american-cinema-1975-to-2020" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144689.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1054</span> Filling the Gaps with Representation: Netflix’s Anne with an E as a Way to Reveal What the Text Hid</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arkadiusz%20Adam%20Garda%C5%9B">Arkadiusz Adam Gardaś</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In his theory of gaps, Wolfgang Iser states that literary texts often lack direct messages. Instead of using straightforward descriptions, authors leave the gaps or blanks, i.e., the spaces within the text that come into existence only when readers fill them with their understanding and experiences. This paper’s aim is to present Iser’s literary theory in an intersectional way by comparing it to the idea of intersemiotic translation. To be more precise, the author uses the example of Netflix’s adaption of Lucy Maud Montgomery’s Anne of Green Gables as a form of rendering a book into a film in such a way that certain textual gaps are filled with film images. Intersemiotic translation is a rendition in which signs of one kind of media are translated into the signs of the other media. Film adaptions are the most common, but not the only, type of intersemiotic translation. In this case, the role of the translator is taken by a screenwriter. A screenwriter’s role can reach beyond the direct meaning presented by the author, and instead, it can delve into the source material (here – a novel) in a deeper way. When it happens, a screenwriter is able to spot the gaps in the text and fill them with images that can later be presented to the viewers. Anne with an E, the Netflix adaption of Montgomery’s novel, may be used as a highly meaningful example of such a rendition. It is due to the fact that the 2017 series was broadcasted more than a hundred years after the first edition of the novel was published. This means that what the author might not have been able to show in her text can now be presented in a more open way. The screenwriter decided to use this opportunity to represent certain groups in the film, i.e., racial and sexual minorities, and women. Nonetheless, the series does not alter the novel; in fact, it adds to it by filling the blanks with more direct images. In the paper, fragments of the first season of Anne with an E are analysed in comparison to its source, the novel by Montgomery. The main purpose of that is to show how intersemiotic translation connected with the Iser’s literary theory can enrich the understanding of works of art, culture, media, and literature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intersemiotic%20translation" title="intersemiotic translation">intersemiotic translation</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20gaps" title=" literary gaps"> literary gaps</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a> </p> <a href="https://publications.waset.org/abstracts/139620/filling-the-gaps-with-representation-netflixs-anne-with-an-e-as-a-way-to-reveal-what-the-text-hid" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/139620.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1053</span> Vfx-Creativity or Cost Cutting Study of the Use of Vfx in Hindi Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nidhi%20Patel">Nidhi Patel</a>, <a href="https://publications.waset.org/abstracts/search?q=Amol%20Shinde"> Amol Shinde</a>, <a href="https://publications.waset.org/abstracts/search?q=Amrin%20Moger"> Amrin Moger</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Mainstream Hindi cinema also known as Bollywood, is the largest film producing industry in India. The Indian film industry underwent a sea change since last few years. The industry adapted to the latest technologies and creative manpower to improve visual and cinematic effects. The changes helped the industry to improve its creative looks and ease on production budget. The research focuses on this very change, i.e. the use of VFX. There has been growing use of VFX in feature films. The primary focus is on how VFX can make a difference in the experience of watching a movie. The research examines the use of CGI/VFX in the narrative, which delivers a visually fulfilling film. It also focuses on the use of CGI/ VFX as a cost cutting tool. The research was exploratory in nature. It studies the industry’s evolvement, increment in its use by filmmakers and their intention to use it in their films. The researcher used qualitative method for data collection as an in-depth interview of 10 artists from VFX studios in Mumbai was conducted. The finding reveals the way VFX is used in Hindi cinema by the directors. The researcher learnt that VFX is majorly used as a tool to enhance creativity and provide the audience with creative viewing experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bollywood" title="Bollywood">Bollywood</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindi%20cinema" title=" Hindi cinema"> Hindi cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=VFX" title=" VFX"> VFX</a>, <a href="https://publications.waset.org/abstracts/search?q=CGI" title=" CGI"> CGI</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=cost%20cutting" title=" cost cutting"> cost cutting</a> </p> <a href="https://publications.waset.org/abstracts/40206/vfx-creativity-or-cost-cutting-study-of-the-use-of-vfx-in-hindi-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40206.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1052</span> The Difference of Learning Outcomes in Reading Comprehension between Text and Film as The Media in Indonesian Language for Foreign Speaker in Intermediate Level</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Siti%20Ayu%20Ningsih">Siti Ayu Ningsih</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to find the differences outcomes in learning reading comprehension with text and film as media on Indonesian Language for foreign speaker (BIPA) learning at intermediate level. By using quantitative and qualitative research methods, the respondent of this study is a single respondent from D'Royal Morocco Integrative Islamic School in grade nine from secondary level. Quantitative method used to calculate the learning outcomes that have been given the appropriate action cycle, whereas qualitative method used to translate the findings derived from quantitative methods to be described. The technique used in this study is the observation techniques and testing work. Based on the research, it is known that the use of the text media is more effective than the film for intermediate level of Indonesian Language for foreign speaker learner. This is because, when using film the learner does not have enough time to take note the difficult vocabulary and don't have enough time to look for the meaning of the vocabulary from the dictionary. While the use of media texts shows the better effectiveness because it does not require additional time to take note the difficult words. For the words that are difficult or strange, the learner can immediately find its meaning from the dictionary. The presence of the text is also very helpful for Indonesian Language for foreign speaker learner to find the answers according to the questions more easily. By matching the vocabulary of the question into the text references. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indonesian%20language%20for%20foreign%20speaker" title="Indonesian language for foreign speaker">Indonesian language for foreign speaker</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20outcome" title=" learning outcome"> learning outcome</a>, <a href="https://publications.waset.org/abstracts/search?q=media" title=" media"> media</a>, <a href="https://publications.waset.org/abstracts/search?q=reading%20comprehension" title=" reading comprehension"> reading comprehension</a> </p> <a href="https://publications.waset.org/abstracts/82676/the-difference-of-learning-outcomes-in-reading-comprehension-between-text-and-film-as-the-media-in-indonesian-language-for-foreign-speaker-in-intermediate-level" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82676.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">197</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1051</span> Naturalistic Neuroimaging: From Film to Learning Disorders</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Asha%20Dukkipati">Asha Dukkipati</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cognitive neuroscience explores neural functioning and aberrant brain activity during cognitive and perceptual tasks. Neurocinematics is a subfield of cognitive neuroscience that observes neural responses of individuals watching a film to see similarities and differences between individuals. This method is typically used for commercial use, allowing directors and filmmakers to produce better visuals and increasing their results in the box office. However, neurocinematics is increasingly becoming a common tool for neuroscientists interested in studying similar patterns of brain activity across viewers outside of the film industry. In this review, it argue that neurocinematics provides an easy, naturalistic approach for studying and diagnosing learning disorders. While the neural underpinnings of developmental learning disorders are traditionally assessed with well-established methods like EEG and fMRI that target particular cognitive domains, such as simple visual and attention tasks, there is initial evidence and theoretical background in support of neurocinematics as a biomarker for learning differences. By using ADHD, dyslexia, and autism as case studies, this literature review discusses the potential advantages of neurocinematics as a new tool for learning disorders research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=behavioral%20and%20social%20sciences" title="behavioral and social sciences">behavioral and social sciences</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=neurocinematics" title=" neurocinematics"> neurocinematics</a>, <a href="https://publications.waset.org/abstracts/search?q=biomarkers" title=" biomarkers"> biomarkers</a>, <a href="https://publications.waset.org/abstracts/search?q=neurobehavioral%20disorders" title=" neurobehavioral disorders"> neurobehavioral disorders</a> </p> <a href="https://publications.waset.org/abstracts/156890/naturalistic-neuroimaging-from-film-to-learning-disorders" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156890.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">96</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1050</span> Cinema Reception in a Digital World: A Study of Cinema Audiences in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanjay%20Ranade">Sanjay Ranade</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience" title="audience">audience</a>, <a href="https://publications.waset.org/abstracts/search?q=digital" title=" digital"> digital</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=reception" title=" reception"> reception</a>, <a href="https://publications.waset.org/abstracts/search?q=reception%20spectatorship" title=" reception spectatorship"> reception spectatorship</a> </p> <a href="https://publications.waset.org/abstracts/116139/cinema-reception-in-a-digital-world-a-study-of-cinema-audiences-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/116139.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">130</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1049</span> The Works of Ibrahim Eissa: A Controversy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Malak%20Khaled%20Hosny">Malak Khaled Hosny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper inspects Ibrahim Eissa, a famous Egyptian writer and TV persona, and his literary and film works. Having faced threats of persecution and assassination, Eissa is a controversial figure in Egyptian media, and his works always pose a trigger of outrage and conversation. His book The Preacher, his movie The Guest, and his TV show Faten Amal Harby all led to some controversy unfolding in Egyptian society, and all led to conversations erupting in Egyptian households and on social media platforms. Through a close reading of his written work and an analytic watch of his work on-screen, the paper delves into the details of the intentions behind and the repercussions of Ibrahim Eissa's work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=censorship" title="censorship">censorship</a>, <a href="https://publications.waset.org/abstracts/search?q=film" title=" film"> film</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a> </p> <a href="https://publications.waset.org/abstracts/175686/the-works-of-ibrahim-eissa-a-controversy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175686.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1048</span> Study on the Voltage Induced Wrinkling of Elastomer with Different Electrode Areas</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhende%20Hou">Zhende Hou</a>, <a href="https://publications.waset.org/abstracts/search?q=Fan%20Yang"> Fan Yang</a>, <a href="https://publications.waset.org/abstracts/search?q=Guoli%20Zhang"> Guoli Zhang </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Dielectric elastomer is a promising class of Electroactive polymers which can deform in response to an applied electric field. Comparing general smart material, the Dielectric elastomer is more compliance and can achieve higher energy density, which can be for diverse applications such as actuators, artificial muscles, soft robotics, and energy harvesters. The coupling of the Electroactive polymers and the electric field is that the elastomer is sandwiched between two compliant electrodes and when the electrodes are subjected to a voltage, the positive and negative charges on the two electrodes compress the polymer, so that the polymer reduces in thickness and expands in area. However, the pre-stretched dielectric elastomer film not only can achieve large electric-field induced deformation but also is prone to wrinkling, under the interaction of its own strain energy and the applied electric field energy. For a uniaxially pre-stretched dielectric elastomer film, the electrode area is an important parameter to the electric-field induced deformation and may also be a key factor affecting the film wrinkling. To determine and quantify the effect experimentally, VHB 9473 tapes were employed and compliant electrodes with different areas were pant on each of them. The tape was first tensed to a uniaxial stretch of 8. Then a DC voltage was applied to the electrodes and increased gradually until wrinkling occurred in the film. Then, the critical wrinkling voltages of the film with different electrode areas were obtained, and the wrinkle wavelengths were obtained simultaneously for analyzing the wrinkling characteristics. Experimental results indicate when the electrode area is smaller the wrinkling voltage is higher, and with the increases of electrode area, the wrinkling voltage decreases rapidly until a specific area. Beyond that, the wrinkling voltage becomes larger gradually with the increases of the area. While the wrinkle wavelength decreases gradually with the increase of voltage monotonically. That is, the relation between the critical wrinkling voltage and the electrode areas is U-shaped. Analysis believes that the film wrinkling is a kind of local effect, the interaction and the energy transfer between electrode region and non-electrode region have great influence on wrinkling. In the experiment, very thin copper wires are used as the electrode leads that just contact with the electrodes, which can avoid the stiffness of the leads affecting the wrinkling. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=elastomers" title="elastomers">elastomers</a>, <a href="https://publications.waset.org/abstracts/search?q=uniaxial%20stretch" title=" uniaxial stretch"> uniaxial stretch</a>, <a href="https://publications.waset.org/abstracts/search?q=electrode%20area" title=" electrode area"> electrode area</a>, <a href="https://publications.waset.org/abstracts/search?q=wrinkling" title=" wrinkling"> wrinkling</a> </p> <a href="https://publications.waset.org/abstracts/93758/study-on-the-voltage-induced-wrinkling-of-elastomer-with-different-electrode-areas" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93758.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">248</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1047</span> Active Packaging Films Based on Chitosan Incorporated with Thyme Essential Oil and Cross Linkers and Its Effect on the Quality Shelf Life of Food</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aiman%20Zehra">Aiman Zehra</a>, <a href="https://publications.waset.org/abstracts/search?q=Sajad%20Mohd%20Wani"> Sajad Mohd Wani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Packaging has a vital role as it contains and protects the food that moves from the supply chain to the consumer. Chitosan (CH) has been extensively used in food packaging applications among the plentiful natural macromolecules, including all the polysaccharide class, owing to its easy film-forming capacity, biodegradability, better oxygen and water vapour barrier ability and good mechanical strength. Compared to synthetic films, the films produced from chitosan present poor barrier and mechanical properties. To overcome its deficient qualities, a number of modification procedures are required to enhance the mechanical and physical properties. Various additives such as plasticizers (e.g., glycerol and sorbitol), crosslinkers (e.g.,CaCl₂, ZnO), fillers (nanoclay), and antimicrobial agents (e.g. thyme essential oil) have been used to improve the mechanical, thermal, morphological, antimicrobial properties and emulsifying agents for the stability and elasticity of chitosan-based biodegradable films. Different novel biocomposite films based on chitosan incorporated with thyme essential oil and different additives (ZnO, CaCl₂, NC, and PEG) were successfully prepared and used as packaging material for carrot candy. The chitosan film incorporated with crosslinkers was capable of forming a protective barrier on the surface of the candy to maintain moisture content, water activity, TSS, total sugars, and titratable acidity. ZnO +PEG +NC +CaCl₂ remarkably promotes a synergistic effect on the barrier properties of the film. The combined use of ZnO +PEG +NC +CaCl₂ in CH-TO films was more effective in preventing the moisture gain in candies. The lowest a𝓌 (0.624) was also observed for the candies stored in treatment. The color values L*, a*, b* of the candies were also retained in the film containing all the additives during the 6th month of storage. The value for L*, a*, and b* observed for T was 42.72, 9.89, and 10.84, respectively. The candies packaged in film retained TSS and acidity. The packaging film significantly p≤0.05 conserved sensory qualities and inhibited microbial activity during storage. Carrot candy was found microbiologically safe for human consumption even after six months of storage in all the packaging materials. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=chitosan" title="chitosan">chitosan</a>, <a href="https://publications.waset.org/abstracts/search?q=biodegradable%20films" title=" biodegradable films"> biodegradable films</a>, <a href="https://publications.waset.org/abstracts/search?q=antimicrobial%20activity" title=" antimicrobial activity"> antimicrobial activity</a>, <a href="https://publications.waset.org/abstracts/search?q=thyme%20essential%20oil" title=" thyme essential oil"> thyme essential oil</a>, <a href="https://publications.waset.org/abstracts/search?q=crosslinkers" title=" crosslinkers"> crosslinkers</a> </p> <a href="https://publications.waset.org/abstracts/161528/active-packaging-films-based-on-chitosan-incorporated-with-thyme-essential-oil-and-cross-linkers-and-its-effect-on-the-quality-shelf-life-of-food" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161528.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">95</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1046</span> Influence of Crystal Orientation on Electromechanical Behaviors of Relaxor Ferroelectric P(VDF-TRFE-CTFE) Terpolymer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qing%20Liu">Qing Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Jean-fabien%20Capsal"> Jean-fabien Capsal</a>, <a href="https://publications.waset.org/abstracts/search?q=Claude%20Richard"> Claude Richard</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this current contribution, authors are dedicated to investigate influence of the crystal lamellae orientation on electromechanical behaviors of relaxor ferroelectric Poly (vinylidene fluoride –trifluoroethylene -chlorotrifluoroethylene) (P(VDF-TrFE-CTFE)) films by control of polymer microstructure, aiming to picture the full map of structure-property relationship. In order to define their crystal orientation films, terpolymer films were fabricated by solution-casting, stretching and hot-pressing process. Differential scanning calorimetry, impedance analyzer, and tensile strength techniques were employed to characterize crystallographic parameters, dielectric permittivity, and elastic Young’s modulus respectively. In addition, large electrical induced out-of-plane electrostrictive strain was obtained by cantilever beam mode. Consequently, as-casted pristine films exhibited surprisingly high electrostrictive strain 0.1774% due to considerably small value of elastic Young’s modulus although relatively low dielectric permittivity. Such reasons contributed to large mechanical elastic energy density. Instead, due to 2 folds increase of elastic Young’s modulus and less than 50% augmentation of dielectric constant, fully-crystallized film showed weak electrostrictive behavior and mechanical energy density as well. And subjected to mechanical stretching process, Film C exhibited stronger dielectric constant and out-performed electrostrictive strain over Film B because edge-on crystal lamellae orientation induced by uniaxially mechanical stretch. Hot-press films were compared in term of cooling rate. Rather large electrostrictive strain of 0.2788% for hot-pressed Film D in quenching process was observed although its dielectric permittivity equivalent to that of pristine as-casted Film A, showing highest mechanical elastic energy density value of 359.5 J/m^3. In hot-press cooling process, dielectric permittivity of Film E saw values at 48.8 concomitant with ca.100% increase of Young’s modulus. Films with intermediate mechanical energy density were obtained. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=crystal%20orientation" title="crystal orientation">crystal orientation</a>, <a href="https://publications.waset.org/abstracts/search?q=electrostroctive%20strain" title=" electrostroctive strain"> electrostroctive strain</a>, <a href="https://publications.waset.org/abstracts/search?q=mechanical%20energy%20density" title=" mechanical energy density"> mechanical energy density</a>, <a href="https://publications.waset.org/abstracts/search?q=permittivity" title=" permittivity"> permittivity</a>, <a href="https://publications.waset.org/abstracts/search?q=relaxor%20ferroelectric" title=" relaxor ferroelectric"> relaxor ferroelectric</a> </p> <a href="https://publications.waset.org/abstracts/34664/influence-of-crystal-orientation-on-electromechanical-behaviors-of-relaxor-ferroelectric-pvdf-trfe-ctfe-terpolymer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">376</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1045</span> The Study of Wetting Properties of Silica-Poly (Acrylic Acid) Thin Film Coatings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sevil%20Kaynar%20Turkoglu">Sevil Kaynar Turkoglu</a>, <a href="https://publications.waset.org/abstracts/search?q=Jinde%20Zhang"> Jinde Zhang</a>, <a href="https://publications.waset.org/abstracts/search?q=Jo%20Ann%20Ratto"> Jo Ann Ratto</a>, <a href="https://publications.waset.org/abstracts/search?q=Hanna%20Dodiuk"> Hanna Dodiuk</a>, <a href="https://publications.waset.org/abstracts/search?q=Samuel%20Kenig"> Samuel Kenig</a>, <a href="https://publications.waset.org/abstracts/search?q=Joey%20Mead"> Joey Mead</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Superhydrophilic, crack-free thin film coatings based on silica nanoparticles were fabricated by dip-coating method. Both thermodynamic and dynamic effects on the wetting properties of the thin films were investigated by modifying the coating formulation via changing the particle-to-binder ratio and weight % of silica in solution. The formulated coatings were characterized by a number of analyses. Water contact angle (WCA) measurements were conducted for all coatings to characterize the surface wetting properties. Scanning electron microscope (SEM) images were taken to examine the morphology of the coating surface. Atomic force microscopy (AFM) analysis was done to study surface topography. The presence of hydrophilic functional groups and nano-scale roughness were found to be responsible for the superhydrophilic behavior of the films. In addition, surface chemistry, compared to surface roughness, was found to be a primary factor affecting the wetting properties of the thin film coatings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=poly%20%28acrylic%20acid%29" title="poly (acrylic acid)">poly (acrylic acid)</a>, <a href="https://publications.waset.org/abstracts/search?q=silica%20nanoparticles" title=" silica nanoparticles"> silica nanoparticles</a>, <a href="https://publications.waset.org/abstracts/search?q=superhydrophilic%20coatings" title=" superhydrophilic coatings"> superhydrophilic coatings</a>, <a href="https://publications.waset.org/abstracts/search?q=surface%20wetting" title=" surface wetting"> surface wetting</a> </p> <a href="https://publications.waset.org/abstracts/114795/the-study-of-wetting-properties-of-silica-poly-acrylic-acid-thin-film-coatings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114795.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">134</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1044</span> Mg Doped CuCrO₂ Thin Oxides Films for Thermoelectric Properties</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I.%20Sinnarasa">I. Sinnarasa</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20Thimont"> Y. Thimont</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Presmanes"> L. Presmanes</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Barnab%C3%A9"> A. Barnabé</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The thermoelectricity is a promising technique to overcome the issues in recovering waste heat to electricity without using moving parts. In fact, the thermoelectric (TE) effect defines as the conversion of a temperature gradient directly into electricity and vice versa. To optimize TE materials, the power factor (PF = σS² where σ is electrical conductivity and S is Seebeck coefficient) must be increased by adjusting the carrier concentration, and/or the lattice thermal conductivity Kₜₕ must be reduced by introducing scattering centers with point defects, interfaces, and nanostructuration. The PF does not show the advantages of the thin film because it does not take into account the thermal conductivity. In general, the thermal conductivity of the thin film is lower than the bulk material due to their microstructure and increasing scattering effects with decreasing thickness. Delafossite type oxides CuᴵMᴵᴵᴵO₂ received main attention for their optoelectronic properties as a p-type semiconductor they exhibit also interesting thermoelectric (TE) properties due to their high electrical conductivity and their stability in room atmosphere. As there are few proper studies on the TE properties of Mg-doped CuCrO₂ thin films, we have investigated, the influence of the annealing temperature on the electrical conductivity and the Seebeck coefficient of Mg-doped CuCrO₂ thin films and calculated the PF in the temperature range from 40 °C to 220 °C. For it, we have deposited Mg-doped CuCrO₂ thin films on fused silica substrates by RF magnetron sputtering. This study was carried out on 300 nm thin films. The as-deposited Mg doped CuCrO₂ thin films have been annealed at different temperatures (from 450 to 650 °C) under primary vacuum. Electrical conductivity and Seebeck coefficient of the thin films have been measured from 40 to 220 °C. The highest electrical conductivity of 0.60 S.cm⁻¹ with a Seebeck coefficient of +329 µV.K⁻¹ at 40 °C have been obtained for the sample annealed at 550 °C. The calculated power factor of optimized CuCrO₂:Mg thin film was 6 µW.m⁻¹K⁻² at 40 °C. Due to the constant Seebeck coefficient and the increasing electrical conductivity with temperature it reached 38 µW.m⁻¹K⁻² at 220 °C that was a quite good result for an oxide thin film. Moreover, the degenerate behavior and the hopping mechanism of CuCrO₂:Mg thin film were elucidated. Their high and constant Seebeck coefficient in temperature and their stability in room atmosphere could be a great advantage for an application of this material in a high accuracy temperature measurement devices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=thermoelectric" title="thermoelectric">thermoelectric</a>, <a href="https://publications.waset.org/abstracts/search?q=oxides" title=" oxides"> oxides</a>, <a href="https://publications.waset.org/abstracts/search?q=delafossite" title=" delafossite"> delafossite</a>, <a href="https://publications.waset.org/abstracts/search?q=thin%20film" title=" thin film"> thin film</a>, <a href="https://publications.waset.org/abstracts/search?q=power%20factor" title=" power factor"> power factor</a>, <a href="https://publications.waset.org/abstracts/search?q=degenerated%20semiconductor" title=" degenerated semiconductor"> degenerated semiconductor</a>, <a href="https://publications.waset.org/abstracts/search?q=hopping%20mode" title=" hopping mode"> hopping mode</a> </p> <a href="https://publications.waset.org/abstracts/77467/mg-doped-cucro2-thin-oxides-films-for-thermoelectric-properties" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77467.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">199</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1043</span> Uniform Porous Multilayer-Junction Thin Film for Enhanced Gas-Sensing Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ping-Ping%20Zhang">Ping-Ping Zhang</a>, <a href="https://publications.waset.org/abstracts/search?q=Hui-Zhang"> Hui-Zhang</a>, <a href="https://publications.waset.org/abstracts/search?q=Xu-Hui%20Sun"> Xu-Hui Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Highly-uniform In2O3/CuO bilayer and multilayer porous thin films were successfully fabricated using self-assembled soft template and simple sputtering deposition technique. The sensor based on the In2O3/CuO bilayer porous thin film shows obviously improved sensing performance to ethanol at the lower working temperature, compared to single layer counterpart sensors. The response of In2O3/CuO bilayer sensors exhibits nearly 3 and 5 times higher than those of the single layer In2O3 and CuO porous film sensors over the same ethanol concentration, respectively. The sensing mechanism based on p-n hetero-junction, which contributed to the enhanced sensing performance was also experimentally confirmed by a control experiment which the SiO2 insulation layer was inserted between the In2O3 and CuO layers to break the p-n junction. In addition, the sensing performance can be further enhanced by increasing the number of In2O3/CuO junction layers. The facile process can be easily extended to the fabrication of other semiconductor oxide gas sensors for practical sensing applications. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gas%20sensor" title="gas sensor">gas sensor</a>, <a href="https://publications.waset.org/abstracts/search?q=multilayer%20porous%20thin%20films" title=" multilayer porous thin films"> multilayer porous thin films</a>, <a href="https://publications.waset.org/abstracts/search?q=In2O3%2FCuO" title=" In2O3/CuO"> In2O3/CuO</a>, <a href="https://publications.waset.org/abstracts/search?q=p-n%20junction" title=" p-n junction"> p-n junction</a> </p> <a href="https://publications.waset.org/abstracts/43275/uniform-porous-multilayer-junction-thin-film-for-enhanced-gas-sensing-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43275.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">323</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1042</span> A Comparison of Videography Tools and Techniques in African and International Contexts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Enoch%20Ocran">Enoch Ocran</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Film Pertinence maintains consistency in storytelling by sustaining the natural flow of action while evoking a particular feeling or emotion from the viewers with selected motion pictures. This study presents a thorough investigation of "Film Pertinence" in videography that examines its influence in Africa and around the world. This research delves into the dynamic realm of visual storytelling through film, with a specific focus on the concept of Film Pertinence (FP). The study’s primary objectives are to conduct a comparative analysis of videography tools and techniques employed in both African and international contexts, examining how they contribute to the achievement of organizational goals and the enhancement of cultural awareness. The research methodology includes a comprehensive literature review, interviews with videographers from diverse backgrounds in Africa and the international arena, and the examination of pertinent case studies. The investigation aims to elucidate the multifaceted nature of videographic practices, with particular attention to equipment choices, visual storytelling techniques, cultural sensitivity, and adaptability. This study explores the impact of cultural differences on videography choices, aiming to promote understanding between African and foreign filmmakers and create more culturally sensitive films. It also explores the role of technology in advancing videography practices, resource allocation, and the influence of globalization on local filmmaking practices. The research also contributes to film studies by analyzing videography's impact on storytelling, guiding filmmakers to create more compelling narratives. The findings can inform film education, tailoring curricula to regional needs and opportunities. The study also encourages cross-cultural collaboration in the film industry by highlighting convergence and divergence in videography practices. At its core, this study seeks to explore the implications of film pertinence as a framework for videographic practice. It scrutinizes how cultural expression, education, and storytelling transcend geographical boundaries on a global scale. By analyzing the interplay between tools, techniques, and context, the research illuminates the ways in which videographers in Africa and worldwide apply film Pertinence principles to achieve cross-cultural communication and effectively capture the objectives of their clients. One notable focus of this paper is on the techniques employed by videographers in West Africa to emphasize storytelling and participant engagement, showcasing the relevance of FP in highlighting cultural awareness in visual storytelling. Additionally, the study highlights the prevalence of film pertinence in African agricultural documentaries produced for esteemed organizations such as the Roundtable on Sustainable Palm Oil (RSPO), Proforest, World Food Program, Fidelity Bank Ghana, Instituto BVRio, Aflatoun International, and the Solidaridad Network. These documentaries serve to promote prosperity, resilience, human rights, sustainable farming practices, community respect, and environmental preservation, underlining the vital role of film in conveying these critical messages. In summary, this research offers valuable insights into the evolving landscape of videography in different contexts, emphasizing the significance of film pertinence as a unifying principle in the pursuit of effective visual storytelling and cross-cultural communication. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20pertinence" title="film pertinence">film pertinence</a>, <a href="https://publications.waset.org/abstracts/search?q=Africa" title=" Africa"> Africa</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20awareness" title=" cultural awareness"> cultural awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=videography%20tools" title=" videography tools"> videography tools</a> </p> <a href="https://publications.waset.org/abstracts/173782/a-comparison-of-videography-tools-and-techniques-in-african-and-international-contexts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173782.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1041</span> History on the Screen: Nasser and the Biographical Film in Egyptian Cinema</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Omar%20Khalifah">Omar Khalifah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The emergence of Muhammad Fadel’s 1996 film ‘Nasser 56’ ushered in a new era in Egyptian cinema. Not only was it the first biographical film of late Egyptian president Gamal ‘Abdel Nasser (1918-1970); it also broke a long-accepted taboo against cinematic depiction of modern political leaders. Passionately received by Egyptians and Arabs throughout the world, the success of ‘Nasser 56’ empowered other filmmakers to follow Fadel’s suit. Interestingly, the three biographical films that followed had, completely or partially, a Nasser dimension. In addition to another biographical film of Nasser, Anwar al-Qawadri’s ‘Gamal ‘Abdel Nasser’ (1999); Muhammad Khan’s ‘Ayyam al-Sadat (Days of Sadat)’ (2001), and Sherif Arafa’s ‘Halim (Halim)’ (2006) portray, as the titles clearly suggest, two significant figures whose lives thoroughly intersected with Nasser’s - Nasser’s successor Anwar al-Sadat and the legendary singer Abdel Halim Hafiz. Expectedly, therefore, Nasser himself is abundantly referenced in those films, albeit differently. This paper seeks to examine the ways in which Egyptian filmmakers impersonate Nasser on the screen. Starting with scholarly definitions of the biopic, the paper will first ponder the reasons that have made the biopic an unattractive genre to Egyptian filmmakers. It will then argue that the popularity of Nasser and his wide appeal to the public has transformed the status of the biopic genre in Egyptian cinema. However, the impersonation of Nasser in the four films above proved a daunting mission to filmmakers. As this paper will show, unless he is the main character, the reenactment of Nasser in films will constantly pose dilemmas to filmmakers, a few of which will be discussed in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20Zaki" title="Ahmad Zaki">Ahmad Zaki</a>, <a href="https://publications.waset.org/abstracts/search?q=bio-pictures" title=" bio-pictures"> bio-pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=Egyptian%20cinema" title=" Egyptian cinema"> Egyptian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=Nasser" title=" Nasser"> Nasser</a>, <a href="https://publications.waset.org/abstracts/search?q=Nasser%2056" title=" Nasser 56"> Nasser 56</a> </p> <a href="https://publications.waset.org/abstracts/38660/history-on-the-screen-nasser-and-the-biographical-film-in-egyptian-cinema" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/38660.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">419</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1040</span> Enhanced Mechanical Properties and Corrosion Resistance of Fe-Based Thin Film Metallic Glasses via Pulsed Laser Deposition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Obeydavi">Ali Obeydavi</a>, <a href="https://publications.waset.org/abstracts/search?q=Majid%20Rahimi"> Majid Rahimi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study explores the synthesis and characterization of Fe-Cr-Mo-Co-C-B-Si thin film metallic glasses fabricated using the pulsed laser deposition (PLD) technique on silicon wafer and 304 stainless steel substrates. it systematically varied the laser pulse numbers (20,000; 30,000; 40,000) and energies (130, 165, 190 mJ) to investigate their effects on the microstructural, mechanical, and corrosion properties of the deposited films. Comprehensive characterization techniques, including grazing incidence X-ray diffraction, field emission scanning electron microscopy, atomic force microscopy, and transmission electron microscopy with selected area electron diffraction, were utilized to assess the amorphous structure and surface morphology. Results indicated that increased pulse numbers and laser energies led to enhanced deposition rates and film thicknesses. Nanoindentation tests demonstrated that the hardness and elastic modulus of the amorphous thin films significantly surpassed those of the 304 stainless steel substrate. Additionally, electrochemical polarization and impedance spectroscopy revealed that the Fe-based metallic glass coatings exhibited superior corrosion resistance compared to the stainless steel substrate. The observed improvements in mechanical and corrosion properties are attributed to the unique amorphous structure achieved through the PLD process, highlighting the potential of these materials for protective coatings in aggressive environments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=thin%20film%20metallic%20glasses" title="thin film metallic glasses">thin film metallic glasses</a>, <a href="https://publications.waset.org/abstracts/search?q=pulsed%20laser%20deposition" title=" pulsed laser deposition"> pulsed laser deposition</a>, <a href="https://publications.waset.org/abstracts/search?q=mechanical%20properties" title=" mechanical properties"> mechanical properties</a>, <a href="https://publications.waset.org/abstracts/search?q=corrosion%20resistance" title=" corrosion resistance"> corrosion resistance</a> </p> <a 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