Advertisement
| film history an introduction pdf: Film History Kristin Thompson, David Bordwell, 2003 This comprehensive survey not only acknowledges the contributions of Hollywood and films from other US sources, but broadens its scope to examine film-making internationally. |
| film history an introduction pdf: Film History: An Introduction Kristin Thompson, David Bordwell, 2010 This book introduce the history of film as it is presently conceived, written, and taught by its most accomplished scholars. However, this book is not a distillation of everything that is known about film history. |
| film history an introduction pdf: Film Studies Warren Buckland, 2003 Both film buffs and students of the cinema will find this reference indispensable. It gives a chronological overview of film, analyzing genres such as westerns and sci-fi; explores different artistic approaches, techniques, and effects; and profiles a wide variety of directors, from Alfred Hitchcock to Steven Spielberg.. . The book uncovers the secrets of film reviewing and the conventions reviewers adopt when they evaluate films. This new edition includes an expanded section concerning film studies on the Internet. Whatever readers' interest in film, Teach Yourself Film Studies will provide them with the skills to turn them into well-informed film critics.. |
| film history an introduction pdf: Exporting Entertainment Kristin Thompson, 1985 |
| film history an introduction pdf: On the History of Film Style David Bordwell, 1997 Bordwell scrutinizes the theories of style launched by various film historians and celebrates a century of cinema. The author examines the contributions of many directors and shows how film scholars have explained stylistic continuity and change. |
| film history an introduction pdf: Film Studies Ed Sikov, 2010 American film scholar Ed Sikov discusses all aspects of narrative films, describing mise-en-scéne, the significance of montages, editing, lighting, the use of color and sound, and related topics; and providing practical advice, suggested assignments, and other resources. |
| film history an introduction pdf: Introduction to Surface and Thin Film Processes John Venables, 2000-08-31 This book covers the experimental and theoretical understanding of surface and thin film processes. It presents a unique description of surface processes in adsorption and crystal growth, including bonding in metals and semiconductors. Emphasis is placed on the strong link between science and technology in the description of, and research for, new devices based on thin film and surface science. Practical experimental design, sample preparation and analytical techniques are covered, including detailed discussions of Auger electron spectroscopy and microscopy. Thermodynamic and kinetic models of structure are emphasised throughout. The book provides extensive leads into practical and research literature, as well as resources on the World Wide Web (see http://venables.asu.edu/book). Each chapter contains problems which aim to develop awareness of the subject and the methods used. Aimed as a graduate textbook, this book will also be useful as a sourcebook for graduate students, researchers and practitioners in physics, chemistry, materials science and engineering. |
| film history an introduction pdf: A History of Film Music Mervyn Cooke, 2008-09-25 This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices. |
| film history an introduction pdf: The Oxford History of World Cinema Geoffrey Nowell-Smith, 1996 Featuring nearly three thousand film stills, production shots, and other illustrations, an authoritative history of the cinema traces the development of the medium, its filmmakers and stars, and the evolution of national cinemas around the world. |
| film history an introduction pdf: The History of Cinema: A Very Short Introduction Geoffrey Nowell-Smith, 2017-11-16 Cinema was the first, and is arguably still the greatest, of the industrialized art forms that came to dominate the cultural life of the twentieth century. Today, it continues to adapt and grow as new technologies and viewing platforms become available, and remains an integral cultural and aesthetic entertainment experience for people the world over. Cinema developed against the backdrop of the two world wars, and over the years has seen smaller wars, revolutions, and profound social changes. Its history reflects this changing landscape, and, more than any other art form, developments in technology. In this Very Short Introduction, Nowell-Smith looks at the defining moments of the industry, from silent to sound, black and white to colour, and considers its genres from intellectual art house to mass market entertainment. ABOUT THE SERIES: The Very Short Introduction series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. |
| film history an introduction pdf: Narration in the Fiction Film David Bordwell, 2013-09-27 In this study, David Bordwell offers a comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives. |
| film history an introduction pdf: Filming History from Below Efrén Cuevas, 2022-01-11 Traditional historical documentaries strive to project a sense of objectivity, producing a top-down view of history that focuses on public events and personalities. In recent decades, in line with historiographical trends advocating “history from below,” a different type of historical documentary has emerged, focusing on tightly circumscribed subjects, personal archives, and first-person perspectives. Efrén Cuevas categorizes these films as “microhistorical documentaries” and examines how they push cinema’s capacity as a producer of historical knowledge in new directions. Cuevas pinpoints the key features of these documentaries, identifying their parallels with written microhistory: a reduced scale of observation, a central role given to human agency, a conjectural approach to the use of archival sources, and a reliance on narrative structures. Microhistorical documentaries also use tools specific to film to underscore the affective dimension of historical narratives, often incorporating autobiographical and essayistic perspectives, and highlighting the role of the protagonists’ personal memories in the reconstruction of the past. These films generally draw from family archives, with an emphasis on snapshots and home movies. Filming History from Below examines works including Péter Forgács’s films dealing with the Holocaust such as The Maelstrom and Free Fall; documentaries about the Israeli-Palestinian conflict; Rithy Panh’s work on the Cambodian genocide; films about the internment of Japanese Americans during the Second World War such as A Family Gathering and History and Memory; and Jonas Mekas’s chronicle of migration in his diary film Lost, Lost, Lost. |
| film history an introduction pdf: Film and the Natural Environment Adam O'Brien, 2017-12-26 Environmental themes are present in cinema more than ever before. But the relationship between film and the natural world is a long and complex one, not reducible to issues such as climate change and pollution. This volume demonstrates how an awareness of natural features and dynamics can enhance our understanding of three key film-studies topics – narrative, genre, and national cinema. It does so by drawing on examples from a broad historical and geographical spectrum, including Sunrise, A River Called Titas, and Profound Desires of the Gods. The first introductory text on a topic which has long been overlooked in the discipline, Film and the Natural Environment argues that the nonhuman world can be understood not just as a theme but as a creative resource available to all filmmakers. It invites readers to consider some of the particular strengths and weaknesses of cinema as communicator of environmental phenomena, and collates ideas and passages from a range of critics and theorists who have contributed to our understanding of moving images and the natural world. |
| film history an introduction pdf: A Companion to Documentary Film History Joshua Malitsky, 2021-04-28 This volume offers a new and expanded history of the documentary form across a range of times and contexts, featuring original essays by leading historians in the field In a contemporary media culture suffused with competing truth claims, documentary media have become one of the most significant means through which we think in depth about the past. The most rigorous collection of essays on nonfiction film and media history and historiography currently available, A Companion to Documentary Film History offers an in-depth, global examination of central historical issues and approaches in documentary, and of documentary's engagement with historical and contemporary topics, debates, and themes. The Companion's twenty original essays by prominent nonfiction film and media historians challenge prevalent conceptions of what documentary is and was, and explore its growth, development, and function over time. The authors provide fresh insights on the mode's reception, geographies, authorship, multimedia contexts, and movements, and address documentary's many aesthetic, industrial, historiographical, and social dimensions. This authoritative volume: Offers both historical specificity and conceptual flexibility in approaching nonfiction and documentary media Explores documentary's multiple, complex geographic and geopolitical frameworks Covers a diversity of national and historical contexts, including Revolution-era Soviet Union, post-World War Two Canada and Europe, and contemporary China Establishes new connections and interpretive contexts for key individual films and film movements, using new primary sources Interrogates established assumptions about documentary authorship, audiences, and documentary's historical connection to other media practices. A Companion to Documentary Film History is an ideal text for undergraduate and graduate courses covering documentary or nonfiction film and media, an excellent supplement for courses on national or regional media histories, and an important new resource for all film and media studies scholars, particularly those in nonfiction media. |
| film history an introduction pdf: Poetics of Cinema David Bordwell, 2012-11-12 Bringing together twenty-five years of work on what he has called the historical poetics of cinema, David Bordwell presents an extended analysis of a key question for film studies: how are films made, in particular historical contexts, in order to achieve certain effects? For Bordwell, films are made things, existing within historical contexts, and aim to create determinate effects. Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema. |
| film history an introduction pdf: Film History Robert Clyde Allen, Douglas Gomery, 1985 |
| film history an introduction pdf: Film Art David Bordwell, Kristin Thompson, 2004 Film is an art form with a language and an aesthetic all its own, and since 1979 David Bordwell and Kristin Thompson's Film Art has been the most repected introduction to the art and analysis of cinema. In the new seventh edition, Film Art continues its commitment to providing the best introduction to the fundamentals of serious film study - images throughout the book are collected from actual film frames, not from production stills or advertising photos - but the book has been extensively re-designed to improve readability and teachability. Additionally, the text can be packaged with the award-winning Film, Form, and Culture CD-ROM, and is supported by an extensive Instructor's Manual and text-specific website. |
| film history an introduction pdf: Teen Film Catherine Driscoll, 2011-06-01 What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family, and experiments in sexual development and identity formation. But not every film featuring these components is a teen film and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, Teen Film presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including The Wild One, Heathers, Akira and Donnie Darko, the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence. |
| film history an introduction pdf: Horror Film Murray Leeder, 2018-01-25 An introduction to the horror film genre. |
| film history an introduction pdf: Film William H. Phillips, 2009-01-02 This clear, well illustrated text takes the reader through the basics of film analysis, drawing on a wide range of film for discussion. Questions of genre and the contexts and meanings of film are considered. |
| film history an introduction pdf: Art Cinema and India’s Forgotten Futures Rochona Majumdar, 2021-10-12 Co-Winner, 2023 Chidananda Dasgupta Award for the Best Writing on Cinema, Chidananda Dasgupta Memorial Trust Shortlisted, 2022 MSA Book Prize, Modernist Studies Association Longlisted, 2022 Moving Image Book Award, Kraszna-Krausz Foundation The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term “art film” and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak—the leading figures of Indian art cinema—became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India’s Forgotten Futures offers sweeping new insights into film’s relationship with the postcolonial condition and its role in decolonial imaginations of the future. |
| film history an introduction pdf: Film Theory Robert Stam, 2017-11-20 This book is a lively and provoking introduction to film theory. It is suitable for students from any discipline but is particularly aimed at students studying film and literature as it examines issues common to both subjects such as realism, illusionism, narration, point of view, style, semiotics, psychoanalysis and multiculturalism. It also includes coverage of theorists common to both, Barthes, Lacan and Bakhtin among others. Robert Stam, renowned for his clarity of writing, will also include studies of cinema specialists providing readers with a depth of reference not generally available outside the field of film studies itself. Other material covered includes film adaptations of works of literature and analogies between literary and film criticism. |
| film history an introduction pdf: An Introduction to Film Thomas Sobchack, Vivian Carol Sobchack, 1987 This text introduces students to the major aspects of film aesthetics, criticism, and history, while emphasizing the relationship between art, artists, and the film industry itself. |
| film history an introduction pdf: Film Music: A History James Wierzbicki, 2009-01-21 Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the Silent Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the Classical-Style Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of great film scores and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path. |
| film history an introduction pdf: Historical Film Jonathan Stubbs, 2013-03-28 Although precise definitions have not been agreed on, historical cinema tends to cut across existing genre categories and establishes an intimidatingly large group of films. In recent years, a lively body of work has developed around historical cinema, much of it proposing valuable new ways to consider the relationship between cinematic and historical representation. However, only a small proportion of this writing has paid attention to the issue of genre. In order to counter this omission, this book combines a critical analysis of the Hollywood historical film with an examination of its generic dimensions and a history of its development since the silent period. Historical Film: A Critical Introduction is concerned not simply with the formal properties of the films at hand, but also the ways in which they have been promoted, interpreted and discussed in relation to their engagement with the past. |
| film history an introduction pdf: After Uniqueness Erika Balsom, 2017-03-21 Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form. |
| film history an introduction pdf: Documenting the World Gregg Mitman, Kelley Wilder, 2016-12-20 Imagine the twentieth century without photography and film. Its history would be absent of images that define historical moments and generations: the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. It would be a history, in other words, of just artists’ renderings and the spoken and written word. To inhabitants of the twenty-first century, deeply immersed in visual culture, such a history seems insubstantial, imprecise, and even, perhaps, unscientific. Documenting the World is about the material and social life of photographs and film made in the scientific quest to document the world. Drawing on scholars from the fields of art history, visual anthropology, and science and technology studies, the chapters in this book explore how this documentation—from the initial recording of images, to their acquisition and storage, to their circulation—has altered our lives, our ways of knowing, our social and economic relationships, and even our surroundings. Far beyond mere illustration, photography and film have become an integral, transformative part of the world they seek to show us. |
| film history an introduction pdf: Film: A Very Short Introduction Michael Wood, 2012-01-26 Film is considered to be the dominant art form of the twentieth century. It can be considered many other things; a record of events, a modern mythology, a career, an industry, an art, a hobby, and much else. Michael Wood explores the history of film, its venture into the digital age, and its role and impact on modern society. |
| film history an introduction pdf: The Classical Mexican Cinema Charles Ramírez Berg, 2015-09-01 From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood’s paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano. Charles Ramírez Berg begins by locating the classical style’s pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas’ El Automóvil Gris, the crowning achievement of Mexico’s silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically. |
| film history an introduction pdf: Film History as Media Archaeology Thomas Elsaesser, 2019-02-05 Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the 'death of cinema' debate, Film History as Media Archaeology presents a robust argument for the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the 'new film history' and 'media archaeology'. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction, as we experience them today. |
| film history an introduction pdf: Framing Blackness Ed Guerrero, 2012-06-20 A challenge to Hollywood's one-dimensional images of African Americans. |
| film history an introduction pdf: Sculpting in Time Andrey Tarkovsky, Kitty Hunter-Blair, 1989-04 A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity |
| film history an introduction pdf: Reinventing Hollywood David Bordwell, 2017-10-02 Introduction: the way Hollywood told it -- The frenzy of five fat years; Interlude: Spring 1940: lessons from our town |
| film history an introduction pdf: Post-Theory David Bordwell, Noel Carroll, 2012-11 Since the 1970s, the academic study of film has been dominated by Structuralist Marxism, varieties of cultural theory, and the psychoanalytic ideas of Freud and Lacan. With Post-Theory, David Bordwell and Noel Carroll have opened the floor to other voices challenging the prevailing practices of film scholarship. Addressing topics as diverse as film scores, national film industries, and audience response. Post-Theory offers fresh directions for understanding film. |
| film history an introduction pdf: Expanded Cinema Gene Youngblood, 2020-03-03 Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication. |
| film history an introduction pdf: Storytelling in the New Hollywood Kristin Thompson, 1999-11-05 Drawing on a wide range of films from the 1920s to the 1990s—from Keaton’s Our Hospitality to Casablanca to Terminator 2, Kristin Thompson offers the first in-depth analysis of Hollywood’s storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films. |
| film history an introduction pdf: Killer Images Joram ten Brink, Joshua Oppenheimer, 2013-01-08 Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them |
| film history an introduction pdf: Novel to Film Brian McFarlane, 1996 First systematic theoretical study of the process in which works of literature are transformed into the medium of cinema. Draws on recent literary and cinema theory. |
| film history an introduction pdf: The Art of the Film Ernest Lindgren, 2011-12 |
| film history an introduction pdf: Film Art David Bordwell, Kristin Thompson, 2001 6. udg. Originaludgave fra 1977 |
「film」「movie」「cinema」等词之间的区别是什么？ - 知乎
film经常也指某部具体的影片，a good film，这时候才译作“影片”，和movie的意思相同，但按一般的习惯，film更严肃一点，高雅一点，movie显得较通俗一点。 movie的词源也和运动有关，它 …
大模型推理框架，SGLang和vLLM有哪些区别？ - 知乎
文章中的TODO有待补充，第一次认真写知乎，有任何问题欢迎大家在评论区指出. 官方vllm和sglang均已支持deepseek最新系列模型(V3,R)，对于已经支持vllm和sglang的特定硬件（ …
如何评价美剧《黑镜》第七季第三集「Hotel Reverie 白日梦酒店 …
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
什么是cmp工艺？ - 知乎
Apr 12, 2020 · 将层间介质层无缝隙地嵌入布线之间的Gap中，这种技术称为间隙填充（Gap Fill），在成膜工艺（Thin Film）中提高台阶覆盖率（Step Coverage）非常重要，各种CVD的 …
入职半导体公司，八大工艺和部门应该怎么选择和规划？ - 知乎
于是Thin Film区的工艺工程师根据这几批产品在Thin Film区的RUN记录找到了当初RUN这几批货的A CVD机台; 并查阅了RUN货当天的测机记录本;从本子的测机记录看来该班的MA按时测机; …
导师让写审稿意见怎么写？ - 知乎
What was the rationale for the film/SBF volume ratio? 对研究问题的定义： Try to set the problem discussed in this paper in more clear,write one section to define the problem. 如何凸现原创性 …
有什么好的ed2k下载器？ - 知乎
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
家庭影院没片源？什么是PT？手把手教你下载4K蓝光原盘电影
Dec 6, 2023 · 由于有 passkey，用户上传及下载即可统计，在大多数的 PT 站会以上下载比例（分享率） 规定用户需上传多少后才可下载多少，分享率过低者会被系统取消使用 PT 的资格。
"Best" series of colors to use for differentiating series in ...
Oct 6, 2014 · $\begingroup$ "Best" for what purpose? This is not a trivial or flippant question. To impress readers of an internet forum, I use graphical symbols that work without color and then …
【影视推荐】30多部高颜值、有内涵的经典爱情电影，（内附经典 …
May 18, 2024 · 4、时空恋旅人. 豆瓣评分：8.8. 简介：Tim（多姆纳尔·格利森 Domhnall Gleeson 饰）21岁了，他的老爸（比尔·奈伊 Bill Nighy 饰）告诉他，他们家族的男人都有时光旅行的超 …
「film」「movie」「cinema」等词之间的区别是什么？ - 知乎
film经常也指某部具体的影片，a good film，这时候才译作“影片”，和movie的意思相同，但按一般的习惯，film更严肃一点，高雅一点，movie显得较通俗一点。 movie的词源也和运动有关，它 …
大模型推理框架，SGLang和vLLM有哪些区别？ - 知乎
文章中的TODO有待补充，第一次认真写知乎，有任何问题欢迎大家在评论区指出. 官方vllm和sglang均已支持deepseek最新系列模型(V3,R)，对于已经支持vllm和sglang的特定硬件（ …
如何评价美剧《黑镜》第七季第三集「Hotel Reverie 白日梦酒店 …
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
什么是cmp工艺？ - 知乎
Apr 12, 2020 · 将层间介质层无缝隙地嵌入布线之间的Gap中，这种技术称为间隙填充（Gap Fill），在成膜工艺（Thin Film）中提高台阶覆盖率（Step Coverage）非常重要，各种CVD的 …
入职半导体公司，八大工艺和部门应该怎么选择和规划？ - 知乎
于是Thin Film区的工艺工程师根据这几批产品在Thin Film区的RUN记录找到了当初RUN这几批货的A CVD机台; 并查阅了RUN货当天的测机记录本;从本子的测机记录看来该班的MA按时测机; …
导师让写审稿意见怎么写？ - 知乎
What was the rationale for the film/SBF volume ratio? 对研究问题的定义： Try to set the problem discussed in this paper in more clear,write one section to define the problem. 如何凸现原创性 …
有什么好的ed2k下载器？ - 知乎
知乎，中文互联网高质量的问答社区和创作者聚集的原创内容平台，于 2011 年 1 月正式上线，以「让人们更好的分享知识、经验和见解，找到自己的解答」为品牌使命。知乎凭借认真、专业 …
家庭影院没片源？什么是PT？手把手教你下载4K蓝光原盘电影
Dec 6, 2023 · 由于有 passkey，用户上传及下载即可统计，在大多数的 PT 站会以上下载比例（分享率） 规定用户需上传多少后才可下载多少，分享率过低者会被系统取消使用 PT 的资格。
"Best" series of colors to use for differentiating series in ...
Oct 6, 2014 · $\begingroup$ "Best" for what purpose? This is not a trivial or flippant question. To impress readers of an internet forum, I use graphical symbols that work without color and then …
【影视推荐】30多部高颜值、有内涵的经典爱情电影，（内附经典 …
May 18, 2024 · 4、时空恋旅人. 豆瓣评分：8.8. 简介：Tim（多姆纳尔·格利森 Domhnall Gleeson 饰）21岁了，他的老爸（比尔·奈伊 Bill Nighy 饰）告诉他，他们家族的男人都有时光旅行的超 …
