Relevant bibliographies by topics / The Hollywood films of the 1980s

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'The Hollywood films of the 1980s'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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Journal articles on the topic "The Hollywood films of the 1980s"

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Yunis, Alia, and Gaelle Picherit-Duthler. "Tramps vs. Sweethearts: Changing Images of Arab and American Women in Hollywood Films." Middle East Journal of Culture and Communication 4, no. 2 (2011): 225–43. http://dx.doi.org/10.1163/187398611x571382.

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AbstractThe portrayal of Arab women in Hollywood from the silent movies to today stands in sharp contrast to the portrayal of American women over the same time period and can be defined by off screen politics. By examining important American films over nearly 100 years, this article describes Arab and American women characters through five political-historical phases of US international relations that define their Hollywood images: 1) pre-World War II, 2) from World War II to the 1960s, 3) the 1970s, 4) the 1980s to 11 September 2001 and 5) post-9/11. The analysis reveals a variety of archetyp
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Sibgatullina, Alfina T. "An Ingush Star of “Turkish Hollywood”." Oriental Courier, no. 2 (2022): 139. http://dx.doi.org/10.18254/s268684310021619-8.

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In the history of Turkish cinematography, Yeshilcham is perceived as a local level Hollywood. The heyday of Yeshilcham falls on 1960–1970s and is considered the "golden period" of Turkish cinema. In the 1960s during the rule of the Democratic Party, there was a growth in Turkish cinema and production companies began to open their offices on Yeshilcham Street in the famous Beyoglu quarter in the heart of Istanbul. It was here that the stars of such outstanding actors as Kemal Sunal, Turkan Shoray, Taryk Arkan, Fatma Girik, Ediz Hun, Yilmaz Güney, Ferdi Tayfur, Hulya Kochiigit
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Parvulescu, Constantin, and Emanuel Copilaş. "Hollywood Peeks." East European Politics and Societies: and Cultures 27, no. 2 (2012): 241–59. http://dx.doi.org/10.1177/0888325412467054.

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In socialist Romania of the mid-1980s, workers’ clubs, theaters, student centers, opera houses, and even philharmonics used the new medium of the videocassette to organize film-viewing venues exhibiting pirated cinematic material. They were called videotheques and sold tens of thousands of admission tickets to an audience hungry for Western commercial films. This article studies the development of this quasi-legal and hybrid economic experiment. It describes its operation, analyzes its spectatorship, the alternative public spheres and patterns of resistance it produced, and the reaction of the
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Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.

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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock
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Silver, Samantha. "“Funnier Than Moms Mabley”." Feminist Media Histories 11, no. 1 (2025): 172–91. https://doi.org/10.1525/fmh.2025.11.1.172.

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This article examines the stand-up comedy albums of comedian and blues singer Hattie Noel released in the 1960s. Her career reveals previously unrecognized connections between the classic blues of the 1920s–1930s and the stand-up comedy albums of the 1960s and presents a Black feminist perspective on sexuality and the politics of the civil rights era. Noel’s comedy transcends the stereotypes she played in Hollywood films and the dehumanization she faced in her work with Disney. Using the sonic archive of her LPs to understand the history of stand-up comedy offers an alternate narrative about h
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Gallagher, Richard. "The Troubles crime thriller and the future of films about Northern Ireland." On the Cultural Circulation of Contemporary European Crime Cinema, no. 22 (March 2, 2022): 42–53. http://dx.doi.org/10.33178/alpha.22.03.

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Troubles-based crime thrillers were once a staple of Hollywood cinema in the 1990s. However, these types of films have become something of a subgenre of European crime films in the last few decades given that films produced over the period have all been produced and financed by either the United Kingdom, Ireland, France or Germany. Owing to both the financial and critical success of these films, relative to other types of films about Northern Ireland, and the more market-driven approach adopted by policymakers, the crime thriller genre has also become the primary way that audiences engage with
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Rasmus, Agnieszka. "Hollywood remakes of British films: A case of cross-pollination." Journal of Adaptation in Film & Performance 14, no. 1 (2021): 53–63. http://dx.doi.org/10.1386/jafp_00042_1.

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This article is an attempt at analysing Hollywood remakes and their British originals in terms of constructing and articulating their shared identity and their difference. Although the source films are considered British, they are often UK/US co-productions, made at the time of Hollywood’s active involvement in the domestic film scene during the so-called ‘Hollywood England’. This complicates neat labels not only in terms of nationality and geography but also original versus copy and points to the existence of transnational and transcultural flows already in evidence in the original works. The
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Gergely, Gábor. "Sonority, Difference and the Schwarzenegger Star Body." Film-Philosophy 23, no. 2 (2019): 137–58. http://dx.doi.org/10.3366/film.2019.0106.

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Discussions of the exilic body in Hollywood cinema have tended to focus on the personal trajectories of émigré actors in the context of the broader history of the industry in which they achieved star status. Significant work has been done in particular on the fate of European women stars in Hollywood but what has been rarely addressed, however, is the way in which Hollywood films imagine the exilic experience via the narratives built around specific stars. This article focuses on Arnold Schwarzenegger as one of the dominant stars of the 1980s–1990s, whose foreignness, accent and body are used
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Feldman-Barrett, Christine. "Through a glass darkly: How Goth reflected and reimagined the Sixties." Punk & Post-Punk 13, no. 2 (2024): 167–82. http://dx.doi.org/10.1386/punk_00246_1.

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When Goth emerged as a post-punk music genre and subcultural style in the late 1970s and early 1980s, its references to the past included nineteenth-century Gothic literature and classic Hollywood ‘monster movies’ such as 1931’s Dracula starring Bela Lugosi. Less discussed, however, is Goth’s inclusion of 1960s culture into its repertoire. While the 1960s are often synonymous with the Mod joys of ‘Swinging London’ and the cheerful flower power of San Francisco, it was also a period marked by the popular Hammer Horror films and the real-life terrors of the Moors and Manson Murders. As children
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Chan, Jessica Ka Yee. "The screen kiss in 1937: Re-reading Street Angel and Crossroads." East Asian Journal of Popular Culture 8, no. 1 (2022): 71–89. http://dx.doi.org/10.1386/eapc_00063_1.

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This article traces the evolution of the screen kiss and the discourse surrounding it in Republican Shanghai leftwing cinema in the 1930s. The period from the 1910s to the 1930s in semi-colonial Shanghai witnessed an influx of Hollywood motion pictures that featured the screen kiss. By the 1930s, the circulation of images of Hollywood screen kiss in semi-colonial Shanghai triggered erotic imagination, comparison with Hollywood norms and most importantly the desire to appropriate, if not to reproduce, Hollywood screen kisses despite censorship. Two Shanghai leftist films, Street Angel (Malu tia
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Dissertations / Theses on the topic "The Hollywood films of the 1980s"

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Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate fe
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Davison, Annette. "Hollywood theory, non-Hollywood practice : cinema soundtracks in the 1980s." Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310816.

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Stanfield, Peter. "Dixie cowboys : Hollywood and 1930s westerns." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285389.

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Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.

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Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Rea
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Ben, Mna Ilias [Verfasser]. "Echoes of Reaganism in Hollywood Blockbuster Movies from the 1980s to the 2010s." Berlin : Humboldt-Universität zu Berlin, 2021. http://d-nb.info/1227300867/34.

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Mazdon, Lucy. "Translation and nation : Hollywood remakes of French films, 1980-1996." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241735.

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Warwick, Harry. "The aesthetics of enclosure : dystopia and dispossession in the 1980s Hollywood science-fiction film." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/427159/.

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As an increasing body of historical and economic scholarship attests, the processes Marx placed under the heading of 'primitive accumulation', and which he saw as the precondition of capitalism, continue today in a particularly intense form. If Marx's main example in Capital, Volume 1 (1867) was the enclosure of English land from the late fifteenth century, now scholars can point to the expansion of intellectual property rights, the privatisation of water and other public services, the sale of the US national forests, the imposition of 'structural adjustment programmes', and the war in Afghani
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Egerton, Jodi Heather. ""Kush mir in tokhes!" : humor and Hollywood in Holocaust films of the 1990s /." Thesis, Electronic version from University of Texas Libraries, 2006. http://www.lib.utexas.edu/etd/d/2006/egertond25518/egertond25518.pdf#page=3.

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Tanaka, Elder Kôei Itikawa. "Inimigos públicos em Hollywood: estratégias de contenção e ruptura em dois filmes de gângster dos anos 1930-1940." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-29082016-114306/.

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O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de se
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Kvet, Bryan W. "Red and White on the Silver Screen: The Shifting Meaning and Use of American Indians in Hollywood Films from the 1930s to the 1970s." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449250157.

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Books on the topic "The Hollywood films of the 1980s"

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William, Evans Peter, and Deleyto Celestino, eds. Terms of endearment: Hollywood romantic comedy of the 1980s and 1990s. Edinburgh University Press, 1998.

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Backer, Ron. Mystery movie series of 1940s Hollywood. McFarland & Co., 2010.

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Kendall, Elizabeth. The runaway bride: Hollywood romantic comedy of the 1930s. Anchor Books, 1991.

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Matthews, Melvin E. 1950s science fiction films and 9/11: Hostile aliens, Hollywood, and today's news. Algora Pub., 2007.

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Winokur, Mark. American laughter: Immigrants, ethnicity, and 1930s Hollywood film comedy. St. Martin's Press, 1995.

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Winokur, Mark. American laughter: Immigrants, ethnicity, and 1930s Hollywood film comedy. Macmillan, 1995.

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Eberts, Jake. My indecision is final: The spectacular rise and fall of Goldcrest Films, the independent studio that challenged Hollywood. Atlantic Monthly Press, 1990.

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Pfeffer, Susan Beth. Revenge of the Aztecs: A story of 1920s Hollywood. Waterbird Books, 2004.

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Terry, Ilott, ed. My indecision is final: The spectacular rise and fall of Goldcrest Films, the independent studio that challenged Hollywood. Atlantic Monthly Press, 1990.

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Herzogenrath, Bernd. The Barrandov Studios. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789462989450.

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The Barrandov Studios are one of the largest and oldest film studios in Europe. For more than 80 years so far, the studios have been the location of choice for over 2,500 Czech and International films. Barrandov’s founding fathers, the Havel brothers Vàclav and Milo. (the grandfather and uncle of later president Vàclav Havel), built the ‘Hollywood of Eastern Europe’ in the 1930s. A legendary studio like this – and its story – has so far not been told to an English-speaking readership. This collection aims to correct this, presenting the studio’s rich history, its esteemed directors, and their
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Book chapters on the topic "The Hollywood films of the 1980s"

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Mason, Fran. "Exploring Detective Films in the 1930s and 1940s: Genre, Society and Hollywood." In Hollywood's Detectives. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358676_1.

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Gautreau, Justin. "“You befouled your own nest!”." In The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.003.0006.

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This chapter argues that the relationship between the Hollywood novel and films about Hollywood underwent a reversal of sorts beginning in the late 1940s and early 1950s. It begins by examining how Los Angeles film noir of the 1940s set the stage for mainstream films to take direct aim at Hollywood. By 1950, the release of In a Lonely Place and Sunset Boulevard demonstrated Hollywood’s capacity to befoul its own nest as a handful of screenwriters, directors, and stars responded directly and critically to the industry’s rusting machinery. If film adaptations of Hollywood novels in the 1920s and
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Costanzo, William V. "British Film Comedy." In When the World Laughs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0007.

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The English reputation for dry, reserved expressions of “humour” is the starting point for an exploration of the sub-genres that typify Britain’s comic legacy. This chapter reviews the history of British comedies from the early clown-based films that sprang from vaudeville through the Ealing Studios and Carry On cycles of the 1940s and 1950s, to the Monty Python parodies and multicultural satires of the 1960s and 1970s, the regional and romantic comedies of the 1980s and 1990s, and beyond. An important focus of this chapter is how a country that shares a common language with the United States
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Mazdon, Lucy. "Remaking Paternity: Mon P ère ce h éros (Lauzier, I99I) and My Father the Hero (Miner, I994)." In French Cinema in the I990s. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198159582.003.0019.

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Abstract The 1980s and the early 1990s proved to be a fruitful period for the cinematic remake (the term is used here to refer specifically to Hollywood remakes of French cinematic works). Between 1980 and 1990 fifteen French films were remade by Hollywood, and another sixteen between 1990 and 1997. Thus the 1980s and 1990s have been the most productive period in terms of the remake in the history of cinema. French critics typically describe the process as a straightforward vertical trajectory from the ‘art’ of French cinema to the ‘popular’ commercialism of Hollywood; American studios, in nee
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O’Neill, Patrick. "Space, Interiors, and 1980s Hollywood Teen Films." In Screen Interiors. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781350150614.ch-004.

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Decherney, Peter. "7. Home video and Indiewood." In Hollywood: A Very Short Introduction. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199943548.003.0008.

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‘Home video and Indiewood’ describes how in the 1970s and 1980s home video took Hollywood by surprise. The industry took time adjusting to the changes wrought by the new medium, but in the end, home video opened up new aesthetic possibilities for filmmakers, it gave viewers more options, and it increased Hollywood’s profits. Hollywood has consistently been challenged by independent film movements. By the mid-1990s, the independent film movement had developed into a mirror of the studio system, with its own auteurs, storytelling formulas, and marketing techniques. The lines between Hollywood an
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Rasmus, Agnieszka. "Remaking Iconic British Films of the 1960s and 1970s." In Hollywood Remakes of Iconic British Films. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474448789.003.0001.

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This chapter discusses two moments in the ‘special’ relationship between the British film industry and Hollywood to provide a comprehensive background behind the phenomenon of cross-cultural remakes. First of all, it examines the impact that the Hollywood film industry exerted on the golden age of British cinema in the 1960s and early 1970s when several iconic British films were made with substantial Hollywood financial and creative involvement. The chapter then explains the reasons why Hollywood would return to these classic and cult British titles in the 2000s to give them a contemporary mak
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"FM Radio and the New Hollywood Soundtrack." In Voicing the Cinema, edited by Julie Hubbert. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0004.

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In studio production between the mid-1960s and early 1980s, the period often referred to as “New Hollywood,” the music soundtrack was the site of significant upheaval. As box office revues continued to plummet, the studios allowed filmmakers greater freedom to experiment with narrative structures and with soundtrack conventions. Specifically, they allowed directors to exert new control over film music, which they did often by jettisoning new composed orchestral scores in favor of compilations of preexisting, recorded music. Film music scholars have long acknowledged this shift, but few have re
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Tzioumakis, Yannis. "“Here Comes the Hot-Stepper”: Hollywood Renaissance, Indie Film and Robert Altman’s Comeback in the 1990s." In ReFocus: The Later Films and Legacy of Robert Altman. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474478854.003.0008.

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During the 1980s, American independent film achieved some visibility thanks to the emergence of an industrial and institutional infrastructure that supported this type of production. However, commercial success remained limited. In the 1990s independent cinema became increasingly commercialized due to the adoption of stars, genres, niche marketing, and branded authorship. Independent cinema turned “indie.” In this environment, Robert Altman—in his late 60s—re-emerged as a rather unlikely key indie film figure. His “comeback” film, The Player (1992), embodied all the above commercial elements,
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Palmer, Landon. "Who’s That Girl?" In Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0006.

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Chapter 5 examines Madonna’s film career from the mid-1980s to the mid-1990s. Inspired by the star images of Marlene Dietrich, Marilyn Monroe, and Mae West, Madonna performed an interpretation of “Classical Hollywood” female glamour, attitude, and sexuality throughout the rise and peak of her music career. She sought to extend this image into distinct commercial film cycles of the 1980s and 1990s, including the downtown indie, the synergistic blockbuster, the sex thriller, and the prestige Oscar film. Madonna offers an illustrative case for the history of cinematic rock stardom at the end of t
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Conference papers on the topic "The Hollywood films of the 1980s"

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Zhao, Yunxuan. "The Construction of Chinese Wisdom in Hollywood Animated Films." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.536.

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Johnson, Beth A. "HOLLYWOOD PERCEPTIONS OF WOMEN IN GEOLOGY: WOMEN GEOSCIENTISTS IN FILMS (1986-2016)." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-279528.

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Iasiello, Carmen. "Underrepresentation of minorities in hollywood films: An agent based modeling approach to explanations." In 2017 Winter Simulation Conference (WSC). IEEE, 2017. http://dx.doi.org/10.1109/wsc.2017.8248215.

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"Using Agent Based Modeling to Interpret Underlying Factors of Underrepresentation of Minorities in Hollywood Films." In 2020 Spring Simulation Conference. Society for Modeling and Simulation International (SCS), 2020. http://dx.doi.org/10.22360/springsim.2020.hsaa.008.

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Sylvan, Lesley. "Bringing Hollywood to Graduate School: Using Films to Promote Engagement for Speech-Language Pathology Graduate Students." In 2022 AERA Annual Meeting. AERA, 2022. http://dx.doi.org/10.3102/1880498.

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Prayaga, Chandra S., Carl E. Mungan, and Lee Chow. "Transient Photoconductivity in Thin Films of Ferrocene Carboxylic Acid." In Organic Thin Films for Photonic Applications. Optica Publishing Group, 1997. http://dx.doi.org/10.1364/otfa.1997.the.25.

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Organic thin films have been actively studied since the early 1980s for photonic applications, due to their large, ultrafast nonlinear optical and electro-optic coefficients, as well as their stability and their ability to be molecularly engineered. Many of the most interesting applications depend on charge transport of the delocalized π electrons in the medium, and hence are influenced by the electronic mobility and the presence of optically active traps [1]. The incorporation of metal ions into the organic compounds enhances their optical nonlinearities. Photoconductivity is also directly re
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Петрухина, О. В. "THE USE OF COMPUTER GRAPHICS IN EDUCATIONAL FILMS ON ARCHITECTURAL DESIGN AND ANIMATION IN THE 1980S." In Месмахеровские чтения — 2025. Crossref, 2025. https://doi.org/10.54874/9785605245896.2025.11.13.

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Работа посвящена исследованию роли и особенностей применения компьютерной графики в учебных фильмах 1980-х гг. в СССР. В материале анализируются технические возможности видео технологий и компьютерной графики того времени, художественные приемы, присущие образовательному и научному видеоконтенту, а также влияние таких фильмов на обучение студентов-архитекторов. Исследование основано на изучении архивных материалов и анализе сохранившихся фильмов. The work is dedicated to the study of the role and features of the use of computer graphics in educational films from the 1980s in the USSR. The arti
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Ravi, B. G., S. Sampath, R. Gambino, P. S. Devi, and J. B. Parise. "Plasma Spray Synthesis from Precursors: Progress, Issues and Considerations." In ITSC2006, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, R. S. Lima, and J. Voyer. ASM International, 2006. http://dx.doi.org/10.31399/asm.cp.itsc2006p0871.

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Abstract Precursor plasma spray synthesis is an innovative and rapid method to make functional oxide ceramic coatings by starting from solution precursors and directly producing inorganic films. This emerging method, utilizes molecularly mixed precursor liquids, which essentially avoids the handling and selection of powders, opening up new avenues for developing compositionally complex functional oxide coatings. Precursor plasma spray also offers excellent opportunities in exploring the non-equilibrium phase evolution during plasma spraying of multi-component oxides from inorganic precursors.
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Yılmaz, Selin, and Deniz Yengin. "Analysis of Emotional Approach of Digital Surveillance in Film Studies." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.020.

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Human is a social being, and needs communication to convey feelings, thoughts, beliefs, and ideologies to survive. Despite being man-made, machines do not have any feelings. However, the development of artificial intelligence poses a suggestion that machines can also think, and feel. The development of new communication technologies reveals the importance of the relationship between machines and humans. People can control the machine/robot with voice commands or hand-face-eye scans. The data processed in the machine memory can be interpreted with other algorithms and instantly give the needed
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McDonald, Colin F. "Active Magnetic Bearings for Gas Turbomachinery in Closed-Cycle Power Plant Systems." In ASME 1988 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1988. http://dx.doi.org/10.1115/88-gt-156.

Full text
Abstract:
Bearing lubrication systems in closed-loop plants using gas (air or helium) as the working fluid (e.g., gas turbine, gas-cooled nuclear reactor, gas compressor, etc.) are very demanding since liquid lubricant ingress could contaminate the circuit, unlike open-cycle systems where the products would be expelled in the exhaust. Oil-lubricated bearings, the tribology mainstay in the power plant field, are reliable, but in the event of a failure in the seal or buffer system, the impact of oil ingress (e.g., saturation of insulation, coking on high-temperature surfaces, or in the extreme case, confl
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