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    Deposition of bismuth-titanate films with liquid-delivery spin MO-CVD

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    A vertical liquid-delivery metal-organic chemical vapour deposition (MO-CVD) reactor was used to deposit Bi4Ti3O12 films on SrTiO3(100) substrates. Depending on the growth conditions the films show a pure Bi4Ti3O12 phase or additionally a Bi poor phase. Well-ordered, (001)oriented, epitaxially grown Bi4Ti3O12 films were obtained at a growth temperature of 700 degrees C, a Bi excess of 25%, and a substrate rotation between 500 and 750 rpm. The Bi deficiency can be influenced by the concentration of MO precursor in the liquid solution. Depositions on NdGaO3(110) also result in epitaxial (001)-oriented Bi4Ti3O12 films, but the structural quality was slightly poorer. (c) 2007 Elsevier B.V. All rights reserved

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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