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

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  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'

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Published: 24 April 2022

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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 archetypes for both Arab and American women, but the main finding suggests a limited role for American women and the near absence of Arab women in Hollywood movies. Independent filmmakers and upcoming Arab-American movie makers may yet be able to fill this void.
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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 Communist authorities, revealing the politically subversive dimension of entertainment consumption in socialist economies.
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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 and roll's emergence. The transformation of rock 'n' roll from “race music” to the safe alternative for white bourgeois males in the face of new wave, punk, disco and hip hop, reflected in the establishment of oldies radio formats and revival tours, was aided and abetted by oldies soundtracks to Hollywood film.
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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 article focuses on genre and casting in a selection of British films from the 1960s/70s and then their Hollywood remakes in the new millennium as an example of such cross-pollination with remakes and their originals seen as hybrid works existing between two cultures and film traditions that can be accessed from both directions.
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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 in a remarkably consistent set of aesthetic, generic and narrative practices. The article uses Jean-Luc Nancy's concept of sonority to argue that the sonorous presence of the foreign other in the “host” space produces a new space; it produces the space of the host anew as one in which the foreign other is present despite the discursive denial of the possibility of that presence whilst at the same time producing a new self as distinct from the self before displacement. The article's aim is to highlight the ways in which Hollywood films produce and reproduce foreignness as an impossibility, a presence that cannot be. The use of the foreign star, I argue, is to perform the permeability of the boundary between outside and inside, while also policing it.
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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 cinema about Northern Ireland. Although some encouraging developments have come with this transition away from, at times, exploitative Hollywood-produced films, continued reliance on genre in this new dispensation—specifically the crime thriller—is still a development that is not without problems. The type of films about the conflict produced today also contrasts significantly with those produced during the “first wave” of Irish cinema in the 1980s.
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Staudt, Kathleen. "Bordering the Future? The ‘Male Gaze’ in the Blade Runner Films and Originating Novel." Borders in Globalization Review 1, no. 1 (2019): 22–28. http://dx.doi.org/10.18357/bigr11201919244.

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Philip K. Dick (1928-1982), author of numerous science fiction narratives from the 1950s-1980s, some of which Hollywood made into films, grappled with the nature of reality, the meaning of humanness, and border crossing between humans and androids (called ‘replicants’ in the films). The socially constructed female and male protagonists in these narratives have yet to be analyzed with a gender gaze that draws on border studies. This paper analyzes two Blade Runner films, compares them to the Philip K. Dick (PKD) narrative, and applies gender, feminist, and border concepts, particularly border crossings from human to sentient beings and androids. In this paper, I argue that the men who wrote and directed the films established and crossed multiple metaphoric borders, but wore gender blinders that thereby reinforced gendered borders as visualized and viewed in the U.S. and global film markets yet never addressed the profoundly radical border crossing notions from PKD.
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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.

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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.
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Chard, Holly. "Give People What They Expect: John Hughes Family Films and Seriality in 1990s Hollywood." Film Studies 17, no. 1 (2017): 111–27. http://dx.doi.org/10.7227/fs.17.0007.

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This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes‘ high concept family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. This article first considers why Hughes‘ production set-up enabled him to standardise his movies and respond quickly to audience demand. The analysis then explores how the Home Alone films (1990–97), Dennis the Menace (1993) and Baby‘s Day Out (1994) balanced demands for textual repetition and novelty.
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Stratton, J. "Not really white - again: performing Jewish difference in Hollywood films since the 1980s." Screen 42, no. 2 (2001): 142–66. http://dx.doi.org/10.1093/screen/42.2.142.

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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 female liberation through consumption. The source of difference between the cycles of teen romantic comedy is attributed to the media's attempt to position Generation Y teenagers as ideal consumers.
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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 Reagan. ABSTRACT: This present study aims to examine different representations of American youth in Hollywood film, particularly in the 1980s. This dissertation begins with an examination of some representations of American youth after World War II in an attempt to investigate the trends which affected its representations and how they have evolved from then until the end of the 1980s. Finally, it offers some detailed reflections on depictions of adolescence in Hollywood film during the Reagan years.
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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 Afghanistan as so many 'new enclosures'-efforts to bring ever greater zones of human activity within the ambit of capitalist production. Yet what remains unexamined in this still-growing literature is how the new enclosures have been represented in the sphere of culture. Have cultural forms been able to register these new expropriations? If so, how have they depicted a process that is pervasive, but whose forms of appearance are so diverse? This thesis endeavours to answer such questions through the analysis of five major Hollywood science-fiction films of the 1980s: Ridley Scott's Alien (1979) and Blade Runner (1982), David Cronenberg's Videodrome (1983), and Paul Verhoeven's RoboCop (1987) and Total Recall (1990). It argues that, taken together, these films develop an 'aesthetic of enclosure': a series of representational strategies that make enclosure visible. Typically understood by scholars as a critical and historicising genre, the science-fiction film is well positioned to detect, examine, and challenge capitalism's renewed efforts to privatise and dispossess.
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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 seu apagamento, como a censura e o macarthismo.<br>The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.
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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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Mystery movie series of 1930s Hollywood. McFarland & Company, Inc., Publishers, 2012.

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Mystery movie series of 1940s Hollywood. McFarland & Company, Inc., Publishers, 2010.

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

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Miramax and the transformation of Hollywood in the 1990s. University of Texas Press, 2012.

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Plant, Power, and York University (Toronto, Ont.). Art Gallery., eds. Double-cross: The Hollywood films of Douglas Gordon. Power Plant, 2003.

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

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Gaslight melodrama: From Victorian London to 1940s Hollywood. Continuum, 2001.

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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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The depiction of terrorists in blockbuster Hollywood films, 1980-2001: An analytical study. McFarland & Company, Inc., Publishers, 2011.

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

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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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Locke, Brian. "The Orientalist Buddy Film in the 1980s and 1990s: Flash Gordon (1980), Lethal Weapon (1987–1998), Rising Sun (1993)." In Racial Stigma on the Hollywood Screen from World War II to the Present. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101678_5.

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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 1930s had largely defanged the novels’ treatment of the industry, studio films around this time developed their own bite, especially amid the gradual collapse of the studio system.
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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 comes to distinguish its film industry from Hollywood, building on its own unique history and cultural traditions.
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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 and the indie world began to blur, creating what some have called Indiewood. Once again, Hollywood successfully absorbed its competition.
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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 recognized the degree to which the new soundtrack practices that emerged in the New Hollywood period were also the result of radical shifts in popular music and contemporary listening practices. By looking at two films from the early 1970s, Zabriskie Point (1971) and The Strawberry Statement (1970, this article considers the degree to which progressive rock, FM radio, and countercultural listening practices changed not only the content of film soundtracks but also the placement of music in film, unseating long-standing sound hierarchies and privileging music in new ways.
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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 the twentieth century. She pursued a screen career within arguably the final period in which stardom served as a central driving force in Hollywood’s economic logic, and this pursuit was manifested via her cinephilic interpretation of Hollywood’s legacy of platinum blonde sex symbols. At the same time, Madonna aspired to a cinematic star image during the apex of the music video’s economic and cultural power, seeking to translate her anti-censorship and pro-sex efforts established within the media realm into Hollywood filmmaking in the midst of the 1980s–1990s culture wars. Madonna’s film career epitomizes the issues driving this book, as it speaks to the discordance between older (studio-era Hollywood) and newer (the era of MTV and beyond) models of stardom.
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Conde, Maite. "Toward New Cinematic Foundations." In Foundational Films. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0012.

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Adalberto Kemeny and Rodolfo Lustig’s dependency on São Paulo’s industrial and political elite to produce São Paulo, Symphony of a Metropolis was not exceptional. By the late 1920s American films occupied 80 percent of the Brazilian market, leaving little space for local production. Without full access to the domestic market, producers could not achieve adequate returns on their investments, and consequently the process of capital accumulation within the industry was stifled, as was production. Even the temporary disruption of the coming of sound did not end Hollywood’s ubiquity in Brazil. In fact, the arrival of the talkies further entrenched US cinema’s presence. The high costs of acquiring synchronized equipment meant that local investment lagged behind Hollywood and allowed the North American industry to maintain its hegemony. By the early 1930s, North American dubbing and subtitling techniques had proved popular among Brazilian audiences, and Hollywood increased its presence in the country. In the face of North America’s dominance, domestic production was unstable and unprofitable, and local producers were mostly unable to attain a sufficient return on their investments to allow them to develop on a larger scale. ...
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Stenport, Anna Westerståhl. "The Threat of the Thaw: The Cold War on the Screen." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0012.

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This chapter examines how the Arctic was figured as a porous sheet of ice separating the East and West Blocs during the Cold War and held a privileged position in Hollywood and Soviet filmmaking from the 1950s to the 1980s. Stenport’s case studies range from early alien invasion films such as The Thing From Another World (1951), USSR national icebreaker epics such as The Red Tent (1969), political thrillers such as Ice Station Zebra, 1968), Oscar winning ‘Real Life Adventures’ Disney documentaries such as Men Against the Arctic (1955) to television series such as The Big Picture (1951-1964). Stenport examines a wide swath of cinematic forms from the U.S., the USSR, Sweden, and Norway not previously analysed in tension with one another, showing how these are put to environmental and ideological uses.
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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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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.

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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, conflagration of equipment) can be costly and result in extended plant downtime. The emergence in the early 1980s of a new tribology technology, namely a system in which the turbomachine rotor is levitated by a magnetic field, and positively sensed and controlled in real-time by an electronic system, now offers the designer an additional option. While an active magnetic system has many advantages, its foremost are (1) potential for very high reliability, (2) obviates the possibility of closed circuit contamination by lubricant ingress, (3) system simplicity, (4) ease of operation, and (5) ease of critical speed problems. It is projected that utilization of “electronic chips instead of liquid films” will have a significant impact on the design of high-speed rotating machinery across the full spectrum of applications. This paper outlines the emergence of active magnetic bearings in rotating machinery for closed-cycle gas turbines, and in helium circulators for future high-temperature gas-cooled nuclear power plants. The paper highlights the existing industrial technology base that will make possible the deployment of active magnetic bearings in rotating machinery for the next generation of power plants that utilize closed-loop circuits.
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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 information. The machine that processes the reaction of the individual sometimes may be protective for itself and the individual, and sometimes, a shadow. By recognizing the individual, the machine can turn into a dangerous and useful tool. Makine işlediği verileri saklayıp, depolamakta ve kayıt altına almaktadır. The data is protected by a machine-built firewall. However, if these data are captured, internal and external surveillance is inevitable. Nowadays, in terms of the ecology of communication, new media tools ensure the continuity of communication and facilitate the individual's socialization. In addition, the machines add speed to the life of the individual over time and space. In this study, the character structures of the machine are examined and its importance in terms of digital surveillance is revealed. The aim is to evaluate the machine in terms of digital surveillance by revealing that the machine can be protective, shadow, friend, or dangerous for the individual with the concept of artificial intelligence. In this study, the emotional intelligence of the machine and the concept of digital surveillance will be analyzed using the content analysis method and semiotics technique. In the research, randomly picked 5 Hollywood films (Ex Machina, I Robot, Bicentennial Man, Transcendence, Eagle Eye) will be analysed according to the character analysis of Jung, and the different aspects of the human and machine will be determined by making use of the emotional side of the machine and the fundamental oppositions of Barthes. In these films, the forms of the machine are different, and it is noteworthy that they have protective and shadow characters. The machine becomes dangerous by acting with its emotions. As a result, it has been revealed that the machine/robot reacts according to the data and has an important aspect in terms of digital surveillance since the machine is constantly evolving with the power of artificial intelligence, and this development makes it easier to access other tools and facilitate digital surveillance. In the eagle eye film, the machine can make digital surveillance using all the camera systems in the city.
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