O-film (China)

O artigo assinala a potência do olhar na experiência cinematográfica, buscando contribuir para a tradição da análise fílmica. O filme De olhos bem fechados (1999), de Stanley Kubrick, serve como fio condutor e objeto de estudo. Usamos o método da análise fílmica psicanalítica, em conjunto com uma revisão bibliográfica da literatura de conceitos lacanianos como o olhar e o semblante, para explorar a questão: em De olhos bem fechados, como o olhar irrompe na tela? Nossa hipótese é de que, onde a fantasia fílmica falha, a verdade sobre o semblante é revelada e o olhar cinematográfico surge como potência libertadora.

Cuidar de pessoas é um grande desafio e para tanto se faz necessário embasamento técnico, mecanismos na atuação para estabelecer uma comunicação impecável na formação e fortalecimento do vínculo.

The fabrication and performance of an ultrafine silver (Ag) grid film applied to flexible touch sensor as the transparent conductive electrode is reported. The ultrafine Ag grid film was fabricated based on the laser direct writing, electroforming, nano-imprint lithography. In the manufacturing process, firstly, the Nickel (Ni) mold used as the master mold was obtained by laser direct writing and electroforming technologies. Secondly, the micro-grooves were transferred from the Ni mold onto the surface of UV glue coated on the polyethylene terephthalate film through nano-imprinting technology. Lastly, the ultrafine Ag grid was generated through nano-imprint lithography with Ag paste filled into the micro-grooves on the UV glue. The result indicated that the ultrafine Ag grid film with size (L) 640 mm × (W) 520 mm had a uniform line width of 1.01 μm and showed excellent optoelectronic and mechanical properties, such as optical transmittance 90.00%, Haze 1.49%, sheet resistance 5.4 Ω/□, the variation ratio of the sheet resistance within 3% after 8000 bending cycles, and the almost negligible morphology change after the adhesion cross-cut test. Furthermore, the functional test was performed on a flexible touch sensor applying the ultrafine Ag grid film.

B ORN IN THE BICENTENNIAL FERVOR OF 1976, it was to be grand AngloAmerican enterprise, cultural equivalent of Normandy landing, Lend-Lease Act, and Marshall Plan all rolled into one. The British Broadcasting Corporation and Time-Life Television would produce all plays in special made-for-television productions tailored to general audiences. Designed to be enduring and easily understood, productions would deliberately adhere to plain style: William Shakespeare wrote his plays to please an audience that was neither very sophisticated nor literary, said Shaun Sutton, head of BBC's television drama group, and we hope to bring back these plays on same plain terms to mass audience that would have astounded Shakespeare. Undoubtedly, project will have wide educational future; but primarily, plays will be presented as they were first conceived-as entertainment.I Underwriters for $13.6 million venture were to be three corporate giants: Exxon Corporation, Morgan Guaranty Trust Company of New York, and Metropolitan Life Insurance Company. The Corporation for Public Broadcasting (CPB) would supply funding for ancillary educational activities, including special programs on National Public Radio. And WNET/Thirteen in New York would coordinate broadcasts and educational outreach in United States. Pointing out that American funding came to only $100,000 play, WNET President John Jay Iselin accurately summed up high hopes with which series began, calling it the great Anglo-American alliance of twentieth century. Iselin predicted that it would bring about a Shakespeare Renaissance and special educational experience for generation of Americans. 2 Such were high spirits that inspired unusual collaboration of television