Polycrystalline silicon (pc-Si, grain size > 1??m, no amorphous tissue) on glass is an interesting material for thin-film solar cells due to the low costs, the abundance and the non-toxic character of Si, and the properties of pc-Si like long-term stability and lateral conductance. Glass as supporting material significantly complicates the fabrication process as it limits the thermal budget and the maximum temperature. In this work, the feasibility of forming large-grained pc-Si thin-film solar cells on glass by ion-assisted deposition (IAD) on aluminium-induced crystallisation (AIC) seed layers (ALICIA solar cells) is investigated. IAD allows epitaxial growth at high rate, and being based on evaporation, is of low cost (high source material usage, no toxic gases involved). High-quality epitaxy on (100)-oriented Si wafer substrates is demonstrated in a non{UHV environment, to further increase its industrial appli- cability. High{rate growth and a sacrificial protective layer control contamination problems associated with the non-UHV environment. The process is then trans- ferred to AIC-seeded glass and optimised, with particular focus on the influence of the glass. Using high-temperature rapid thermal annealing and hydrogenation as post-deposition treatments, ALICIA solar cells with a 1-Sun open-circuit voltage of 420 mV are achieved. Moreover, two novel characterisation techniques are presented. One allows the fast and non-destructive assessment of the structural quality of pc-Si films using opti- cal measurements. Furthermore, `impedance analysis', a novel capacitance-voltage measurement technique based on impedance spectroscopy, is presented. It allows the reliable determination of the absorber layer doping density and the built{in potential of non-ideal p-n junction solar cells. The latter is used to investigate the influence of post{deposition treatments on the n-type absorber layer doping of ALICIA solar cells. It is found, using temperature dependent impedance analysis, that unintentional doping and defects have a strong influence on the absorber layer doping. A maximum in the short-circuit current density of ALICIA solar cells is found for phosphorus concentrations in the absorber of 1??1017 cm??3. For such ALI- CIA cells a base difusion length in the range 600 - 950nm, a short{circuit current density in the range 10 - 13.5 mA/cm2 and an energy conversion efficiency of 2.2% are obtained.

University of Technology Sydney. Faculty of Humanities and Social Sciences. / The growing concern about the role of ethics in western society has also touched documentary film-making. Yet, since the emergence in the late 1980s of the first journal articles discussing documentary ethics, the theoretical exploration of the key arguments in this field has been fitful. Debates amongst filmmakers about ethics are often immersed in topical discussions of production issues or issues relating to a few controversial films. With the exception of a few insightful works, there is little new analysis or examination devoted to exploring ethics in this discipline. This dissertation adds to the available body of work by examining in depth the ethics encountered in the production of a documentary film, Tagged, with young people, especially the ethics encoded in the aesthetic and discursive elements of the film. Theoretical discussions about ethics range from the analytical focus on the ethics of representation, through the use of subjective modes of expressivity and filmic techniques to epistemological analyses of specific issues such as privacy and the nature of consent that draw on legal and medical models. A study of relevant documentary films reveals the variety of approaches to the moral values reflected in their discourses and visual representations, and a range of authorial voices, heavily influenced by the relationship between filmmakers and subjects and by the production circumstances of each film. In Australia, broadcasters, funding bodies and production companies dominate the documentary film-making environment and their codes, editorial policies and protocols influence the whole sector of documentary filmmaking. By categorizing documentary within the broad scope of factual programming, they reflect an institutional gaze that fails to acknowledge those individuals including children and youth, who participate in its production. Through my examination of ethics in both the theory and practice, I address the relevant question of whether there should be a code of practice for documentary film-making. In focussing on my own ethical position and its translation into practice through the making of Tagged, I explore the ways in which the ethical stance that I established is pivotal to the documentary and represented both in the text and in the pragmatic choices of production. This led me to conclude that the development of an ethical position specific to a current project is an effective focus on the potential ethical conflicts in a production. From this I argue that while a broad code of conduct can provide valuable guidelines, it cannot replace the filmmakers’ investigation of their ethical practice and their establishment of an ethical statement and stance for their films thus creating a platform from which ethical conflicts can be understood and either avoided or resolved.

Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities. This thesis charts the movement of popular music across cinema. Rock’n’Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach – converging film analysis, popular music studies and music journalism – this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched. Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted. This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.

Thesis (Ph.D.)--Tufts University, 2000. / Adviser: Jerry Meldon. Submitted to the Dept. of Chemical Engineering. Includes bibliographical references (leaves 221-225). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (M.S.)--University of North Texas, Aug., 2007. / Title from title page display. Includes bibliographical references.

Thesis (Ph.D.)--Auburn University, 2007. / List of publication generated from this dissertation research (ℓ. ix) Abstract. Vita. Includes bibliographic references (ℓ. 231-259)

Proefschrift Universiteit van Amsterdam. / Met lit. opg. - Met een samenvatting in het Nederlands.

Thesis (Ph. D.)--Dept. of Chemistry and School of Computing and Engineering. University of Missouri--Kansas City, 2005. / "A dissertation in chemistry and computer networking." Advisor: Yan-Ching Jean. Typescript. Vita. Description based on contents viewed Nov. 12, 2007; title from "catalog record" of the print edition. Includes bibliographical references (leaves 162-174). Online version of the print edition.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Nov. 9, 2007). PDF text: iv, 129 p. : ill. ; 5 Mb. UMI publication number: AAT 3266778. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.