Journal articles on the topic 'Low budget films – Production and direction'

The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.

Queen’s UniversityIn the early 1980s the Ramsay Brothers gave Bollywood a new genre of monster flicks with blockbusters like Purana Mandir, Hotel, and Veerana. Following the work of the Ramsay Brothers, low-budget horror films that were made exclusively for the small towns and rural market increased in the decades of 1980s and 1990s. These films are primarily known for their unintentional humor owing to poor production and acting, but they have never been acknowledged for their actual content. This article argues that Bollywood low-budget films fulfilled the basic function of horror movies—that is, they subverted mainstream moral order and sexual morality. These films opened up space for dialogues that the mainstream cinema had totally neglected; particularly, in the areas of incest, female lust, ‘othering’ of male sexuality, and transgendered identities. On a different register, the relationship between low-budget horror films and mainstream Bollywood can be compared to folklore and canonical literature, where folklore repeatedly resists the conformities endorsed by the mainstream prescriptive texts.

This article provides a case study of the ecology of British independent film, as illustrated through the continuing career of Shane Meadows. I focus on the intersection between the practices of economic independence and creative independence, ameliorated by low-budget, local films that exploit festival showcasing and critical buzz to achieve international exhibition in a range of markets. While Meadows’ earlier films exemplify the reliance on television funding that has characterised British and continental European cinema since the 1980s, and the emerging significance of regional and Lottery-based funding in the 1990s, they also correspond to the local/international model of much low-budget European realist art cinema, best identified with the Dogme 95 films or those of the Dardenne brothers. Yet since Once Upon a Time in the Midlands (2002), Meadows has deviated from the established trajectory of recognised British auteurs, Mike Leigh and Ken Loach, instead utilising co-production funding to reduce his budgets to ensure maintaining artistic control. Akin to post-Dogme rule-based production manifestoes such as ‘Industrial Film DK’, Meadows has developed and revisited his own rules: film what you know – focusing on a particular local community, localised identities, and restricted locations – in addition to improvisational approaches to acting. Consequently Meadows has achieved recognition as a local but global film-maker.

This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio programme The Whistler. It examines how this anthology series developed within Columbias on going strategy of low-budget production, while responding to specfiic industrial challenges facing 1940s B-films. Besides looking at broader synergies between radio and cinema during this period, the article also qualies the tendency to categorise the Whistler movies as films noir, suggesting it is more productive to view them as products of a broader pulp serialscape that is shaped by alternative cultural and industrial logics.

The article analyzes the activities of the budget airline Fly Arystan of the Republic of Kazakhstan at the market of passenger air transportation in the low-cost segment. The pricing policies of Fly Arystan airline and the largest European low-cost airline EasyJet (Great Britain) are considered. The data of government support for the development of the budget passenger air transportation market are provided. Based on the Fly Arystan development concept and plans to expand the aircraft fleet there are presented the possible options for expanding the domestic and international route network. The experience of the Russian low-cost airline Pobeda (Aeroflot Group) related to the expansion of the route network is presented. The key factors of the development efficiency of the segment of budgetary passenger air transportation in the Republic of Kazakhstan are measures of state support for updating and expanding the aircraft fleet (subsidizing leasing), modernizing the ground air transport infrastructure, energy self-sufficiency due to the regional production and refining petroleum products, and a favorable geographical position. With the successful of the development of the national system of passenger air transportation the Republic of Kazakhstan may become a leading regional market player. The development priority direction should be the concept of connecting flights through the main hubs (Nur-Sultan, Almaty) in the following areas: the Russian Federation (Southern Federal District, Volga Federal District, Ural Federal District, Siberian Federal District) – the Kyrgyz Republic, the Republic of Uzbekistan , The Republic of Tajikistan. Developing the geography of the budget passenger air transportation, the Republic of Kazakhstan creates favorable conditions for the competition. The development of a network of regional and international destinations supports the system of national and international tourism, the participants of which are enterprises of the small and medium-sized business segment, which contributes to an increase in tax payments to the regional and republican budgets.

The main aim of the article is to paint a picture of contemporary American horror film and mark the division between its mainstream and independent sides. The first part focuses on topics, subgenres and strategies connected with mainstream American horror films; the second part is dedicated to the renaissance of low-budget, but original and artistically fulfilled horror movies produced outside Hollywood and directors that achieved commercial success thanks to following their vision and thinking outside the box. In the article, Grzegorz Fortuna Jr. uses methods connected with production studies research to discover how the economy, changing tastes of audiences and artistic ideas influence contemporary independent American horror film.

The outsourcing of film shoots has long been adopted by US producers to cut costs and improve box-office performance. According to the academic literature, outsourcing is exploited mainly for low- and middle-budget films, but this article aims to demonstrate that blockbusters are also migrating towards other states and countries to take part in an even more competitive film location market. It investigates 165 blockbusters released between 2003 and 2013. The collected data show that blockbuster shoots are not an exclusive to California, but are re-drawing the map of film production in favour of an even more polycentric and polyglot audiovisual panorama.

AbstractSixteen high-resolution marine aerosol (Na+, SO42–) records from spatially distributed International Trans-Antarctic Scientific Expedition (ITASE) ice cores spanning the last ~200 years from the Pine Island–Thwaites and Ross drainage systems and the South Pole are used to examine sources (sea spray and frost flowers) and transport pathways of marine aerosols into West Antarctica. Factors contributing to the amount of marine aerosols transported inland include sea-ice extent, the presence of open-water features (polynyas, leads), wind strength and direction, and the strength and positioning of low-pressure systems. Analysis of SO42–/Na+ ratios indicates that frost flowers can contribute significantly (40%) to the Na+ budget of Antarctic ice cores. Higher Na+ concentrations in the Ross drainage system may result from greater production of marine aerosols related to frost flowers in the Ross Sea region in association with greater sea-ice extent and larger open-water areas. Significant positive correlations of sea-ice extent and the Na+ time series exist in some regions of West Antarctica. Higher wind speeds in winter and higher Na+ concentrations when sea-level pressure is lower indicate that intensified atmospheric circulation enhances transport and production of marine aerosols.

This paper reports the findings of a study that had explored digital disruption as an analytical lens developed based on the constructs of two theories: the digital disruption theory and the disruptive innovation theory. The study had employed unstructured in-depth interviews, direct observation and virtual ethnographic to consult media experts, pioneer filmmakers, Bongo Movie’ producers, movies library’s keepers, movie retailers, movie translators (deejays) and social network sites (SNS) to collect data. Based on the study findings, the paper argues that the shift in technological paradigm, specifically from the use of expensive and inaccessible technologies used in filmmaking engendered the development and sustainability of the Bongo Movie genre in Tanzania. This technological paradigm shifts were twofold. To begin with, there was a transition from the use of celluloid film and analogue video cameras to digital video cameras in film production. Second, there was a shift from the use of optical prints and Vertical Helican Scan (VHS) tapes to optical discs such as Digital Versatile Discs (DVD) in the distribution of films. These changes in the technologies used in production and distribution of films provided entrants into the local film industry with necessary tools to produce low-budget films and service the low-end market of the country, which augured well with the country’s resource-poor context. Moreover, these Bongo Movies “disrupted” the erstwhile traditional, established, and stringent patterns of consumption of both locally-produced and foreign-imported films in local film markets. Overall, the Bongo Movie genre evolution appears to be a model of how digitally-motivated disruptions can occur in a local film market in a developing nation’s video-film industries and become a staple particularly among the low-end clientele.

The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.

In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.

Abstract. Measurements of carbon dioxide fluxes were performed over a temperate intertidal mudflat in southwestern France using the micrometeorological Eddy Covariance (EC) technique. EC measurements were carried out in two contrasting sites of the Arcachon flat during four periods and in three different seasons (autumn 2007, summer 2008, autumn 2008 and spring 2009). In addition, satellite images of the tidal flat at low tide were used to link the net ecosystem CO2 exchange (NEE) with the occupation of the mudflat by primary producers, particularly by Zostera noltii meadows. CO2 fluxes during the four deployments showed important spatial and temporal variations, with the flat rapidly shifting from sink to source with the tide. Absolute CO2 fluxes showed generally small negative (influx) and positive (efflux) values, with larger values up to −13 μmol m−2 s−1 for influxes and 19 μmol m−2 s−1 for effluxes. Low tide during the day was mostly associated with a net uptake of atmospheric CO2. In contrast, during immersion and during low tide at night, CO2 fluxes where positive, negative or close to zero, depending on the season and the site. During the autumn of 2007, at the innermost station with a patchy Zostera noltii bed (cover of 22 ± 14% in the wind direction of measurements), CO2 influx was −1.7 ± 1.7 μmol m−2 s−1 at low tide during the day, and the efflux was 2.7 ± 3.7 μmol m−2 s−1 at low tide during the night. A gross primary production (GPP) of 4.4 ± 4.1 μmol m−2 s−1 during emersion could be attributed to microphytobenthic communities. During the summer and autumn of 2008, at the central station with a dense eelgrass bed (92 ± 10%), CO2 uptakes at low tide during the day were −1.5 ± 1.2 and −0.9 ± 1.7 μmol m−2 s−1, respectively. Night time effluxes of CO2 were 1.0 ± 0.9 and 0.2 ± 1.1 μmol m−2 s−1 in summer and autumn, respectively, resulting in a GPP during emersion of 2.5 ± 1.5 and 1.1 ± 2.0 μmol m−2 s−1, respectively, attributed primarily to the seagrass community. At the same station in April 2009, before Zostera noltii started to grow, the CO2 uptake at low tide during the day was the highest (−2.7 ± 2.0 μmol m−2 s−1). Influxes of CO2 were also observed during immersion at the central station in spring and early autumn and were apparently related to phytoplankton blooms occurring at the mouth of the flat, followed by the advection of CO2-depleted water with the flooding tide. Although winter data as well as water carbon measurements would be necessary to determine a precise CO2 budget for the flat, our results suggest that tidal flat ecosystems are a modest contributor to the CO2 budget of the coastal ocean.

In this review, several cost-effective thin-film coating methods, which include dip-coating, spin-coating, spray-coating, blade-coating, and roll-coating, are presented. Each method has its own set of advantages and disadvantages depending on the proposed application. Not all of them are appropriate for large-scale production due to their certain limitations. That is why the coating method should be selected based on the type and size of the substrate, including the thickness and surface roughness of the required thin films. The sol–gel method offers several benefits, such as simplicity in fabrication, excellent film uniformity, the capacity to cover surfaces of any size and over vast areas, and a low processing temperature. Nevertheless, these coating methods are somewhat economical and well managed in low-budget laboratories. Moreover, these methods offer thin films with good homogeneity and low-surface roughness. Furthermore, some other thin-film deposition methods, for instance, physical vapor deposition (PVD) and chemical vapor deposition (CVD), are also discussed. Since CVD is not restricted to line-of-sight deposition, a characteristic shared by sputtering, evaporation, and other PVD methods, many manufacturing methods favor it. However, these techniques require sophisticated equipment and cleanroom facilities. We aim to provide the pros and cons of thin-film coating methods and let the readers decide the suitable coating technique for their specific application.

Electrocatalytic hydrogen production using inexpensive catalysts and solar energy has become a critical research direction due to its economic interest and environmental friendliness. Photoresponsive semiconductors play a key role in this field. In this work, we demonstrate visible light-responsive, mixed-valence, molybdenum oxide (MoO3−x, 0 ≤ x ≤ 1) thin films with oxygen vacancies that are electrochemically deposited in a period of seconds through an ammonium heptamolybdate electrolyte. XRD, XPS, SEM, TEM, EPR, Raman, and electrochemical techniques (Linear Sweep Voltammetry, Chronoamperometry, Electrochemical Impedance Spectroscopy, Tafel analysis) have been utilized to characterize the MoO3−x films. Diffuse reflectance spectroscopy (DRS) and the Mott-Schottky (MS) plot reveal that the as-deposited semiconductive MoO3−x film possesses an optical bandgap of ∼2.53 eV and a flat band potential of ∼0.40 eV, respectively. The MoO3−x films exhibit up to 152% electrocatalytic current improvement in the hydrogen evolution reaction (HER) upon illumination with visible light compared to in the dark. The superior electrocatalytic activity of the as-deposited MoO3−x films under illumination is attributed to the lower bandgap, lower overpotential, decreased electronic resistivity, and a smaller Tafel slope. Our experimental exploration suggests that MoO3−x can be potentially applied as an effective, low-cost electrode material for high-performance solar energy-assisted hydrogen fuel production.

Introduction. The competitiveness of agricultural enterprises largely depends on the pace of innovation in all areas of activity, i.e. the introduction of new, advanced high-performance machinery and equipment, advanced technologies and production methods. Limited resources constrain the possibility of innovation and places excessive demands on the definition of strategic objectives of innovative development in terms of the real market situation and the financial condition of the enterprise. The purpose. The purpose of the article is to analyze the current state of innovation in the agricultural sector of the economy and develop its ways to improve in the context of increasing the competitiveness of agricultural enterprises. Results. It is established that the problems of innovative modernization of the economy are multifaceted and have many levels. Along with large-scale issues of formation of the national innovation system there is no less important issue of activation and ensuring effective management of innovation at the enterprise level. It is proved that the technical and technological level of agricultural enterprises and their innovation potential, characterized by indicators of depreciation of fixed assets and the dynamics of their value, remain low. One of the directions of reorientation to the innovative model of subjects’ development of agricultural production is the restructuring of the industry, clustering and the transition to wholesale production. Among the priorities of innovation of the assortment direction in the agricultural sphere are: development and production of environmentally friendly products and production of functional goods taking into account modern medical and biological requirements to improve the nutrition structure of the population. It is proved that the weak level of management development is manifested in the limited ability to develop their own innovations and absorb external innovations. This is due to the fact that the structure of labor potential of agricultural enterprises is dominated by specialists of medium and low qualifications. Conclusions. The main areas of innovation are the development and implementation of production and technological innovation solutions, although the potential of commercial marketing and management solutions is significant, however, untapped in modern conditions. It is important to apply a set of measures to support the innovative component of resource potential – preferential taxation, lending, public-private partnership, budget support. With high and growing competition and limited resources for Ukrainian agricultural enterprises, the main means of improving efficiency and competitiveness is the implementation of innovations in the direction of renewal of fixed assets and their efficient use. Key words: innovations, competitiveness, latest technologies, innovative development model, agricultural enterprises.

At present, the construction industry in China has problems such as low production efficiency, low technical efficiency, low management efficiency of the construction project, delayed delivery, budget overruns, and unreasonable risk allocation. Value management can address these issues by enhancing the value of construction projects in China, reducing construction costs, and ensuring significant investment returns. This study uses literature analysis to identify the critical obstacles to adopting value management and uses questionnaires and surveys, structural equation modeling, and factor analysis to prioritize the critical obstacles to adopting value management. What is more, the main contribution of this research is to identify the critical obstacles to the adoption of value management, which provides a new perspective for related research and has specific positive significance for practice summary and reform direction. The research was limited to the region of Tianjin and its surrounding cities. The critical survey respondents for this study are architects, quantity surveyors, contractors, civil engineers, and service engineers with rich experience in construction management. The research results show that the key obstacles to implementing value management in the construction industry in China are mainly divided into four categories: Environmental Factors; Stakeholder and Management Factors; Technological Factors; Information Factors. In addition, the researchers found that the level of the adoption of value management in the construction industry in China is deficient. Value management was not used in most of the organizations surveyed, and project teams did not practice its concept.

Agricultural policy is a government effort in regulating, controlling aspects of development in the agricultural sector with the aim of maintaining and increasing food yields. The great results of the objectives of agricultural policies will be able to be realized if they can be translated into concrete steps and can be implemented consistently in the field. Agricultural policy directions try to see the concept of policies developed and practices to realize the goals of agricultural policies in Indonesia. This study focuses on institutions, regulations and issues of inadequate budget allocation, human resources that are less qualified in the management of land and agricultural products. The purpose of this study is to describe the direction of Indonesian agricultural policy in facing the Industrial Revolution Era 4.0. This research uses qualitative research with a literature review approach. The results showed that there was no synchronization of agricultural policies at various levels of government, low budgets for agricultural development, spatial production practices at the expense of agricultural land in boosting regional income and the low utilization of technology and diversification in the use of agricultural technology showed that agricultural conditions in Indonesia were at an alarming level. Therefore, it is necessary to immediately synchronize agricultural policies at various levels of government and the allocation policies for agricultural development funds.

Primer is a very low budget science-fiction film that deals with the subject of time travel; however, it looks and sounds quite distinctively different from other films associated with the genre. While Hollywood blockbuster sci-fi relies on “sound spectacle” as a key attraction, in contrast Primer sounds “lo-fi” and screen-centred, mixed to two channel stereo rather than the now industry-standard 5.1 surround sound. Although this is partly a consequence of the economics of its production, the aesthetic approach to the soundtrack is what makes Primer formally distinctive. Including a brief exploration of the role of sound design in science-fiction cinema more broadly, I analyse aspects of Primer’s soundtrack and sound-image relations to demonstrate how the soundplays around with time rather than space, substituting the spatial playfulness of big-budget Hollywood sci-fi blockbuster sound with temporal playfulness, in keeping with its time-travel theme. I argue that Primer’s aesthetic approach to the soundtrack is “anti-spectacle”, working with its mise-en-scène to emphasise the mundane and everyday instead of the fantastical, in an attempt to lend credibility and “realism” to its time-travel conceit. Finally, with reference to scholarship on American independent cinema, I will demonstrate how Primer’s stylistic approach to the soundtrack is configured as a marketable identifier of its “indie”-ness.

Abstract In recent years, plastic pollution has become one of the environmental issues of concern. This article explores the hazards of plastic straws and analyzes whether the decision to replace plastic straws with paper straws in the context of plastic restriction is entirely environmentally friendly. The results show that plastic films used in agricultural production remain in the soil after weathering and degradation, affecting soil structure, water and nutrient transfer processes, secondary salinization, and hindering plant growth. Microplastics in terrestrial and marine ecosystems are taken up by and accumulate in organisms and enter the human food web, affecting the human central nervous system and reproductive system. This article concludes that paper straws contain harmful additives, are challenging to recycle and degrade, are costly to build, are not environmentally friendly, and have a low promotional rate by studying their life cycle, content, recycling rate, degradation rate, usage problems, and applying. The paper also introduces the advantages of some new green straws, such as bamboo straws, wheat straws, PLA straws, and stainless-steel straws, which are environmentally friendly, durable, biodegradable, recyclable, and reusable. This essay aims to find better alternatives to address the potential environmental problems associated with plastic straws and mitigate the environmental hazards associated with the use of plastic products.

Summary We believe that osmosis has been overlooked as a possible mechanism for observed low-salinity enhanced-oil-recovery (EOR) effects. Osmosis can occur in an oil/water/rock system when injecting low-salinity water, because the system is full of an excellent semipermeable membrane—the oil itself. In the present work, water transport through oil films was visualized both in 2D micromodels and in sandstone cores imaged in a microcomputed tomography (CT). After treating these model systems with hexamethyldisilazane (HMDS) to render them more oil-wet, water became discontinuous, and it was possible to establish osmotic gradients. Either expansion or contraction of the connate water was observed, depending on the direction of the imposed salinity gradient. Because osmosis could be the underlying mechanism for low-salinity EOR, two changes in research strategy are proposed: Most importantly, the use of spontaneous-imbibition tests as evidence for wettability alteration in low-salinity water should be critically reinvestigated. This is because observed production could have stemmed from “osmotic expansion” of the connate water rather than wettability change. Second, much research focus should be shifted from sandstone reservoirs to fractured oil-wet carbonates. Osmosis potentially yields larger responses for the latter reservoir type, whereas from a mechanistic perspective the reason behind low-salinity EOR functioning in both sandstones and carbonates deserves further attention.

Abstract. Measurements of carbon dioxide fluxes were performed over a temperate intertidal mudflat in southwestern France using the micrometeorological Eddy Correlation (EC) technique. EC measurements were carried out in two contrasting sites of the Arcachon lagoon during four periods and in three different seasons (autumn 2007, summer 2008, autumn 2008 and spring 2009). In this paper, spatial and temporal variations in vertical CO2 exchanges at the diurnal, tidal and seasonal scales are presented and discussed. In addition, satellite images of the tidal flat at low tide were used to link the net ecosystem exchange (NEE) with the occupation of the mudflat by primary producers, particularly by Zostera noltii meadows. CO2 fluxes during the four deployments showed important spatial and temporal variations, with the lagoon rapidly shifting from a sink to a source of CO2. CO2 fluxes showed generally low negative (influx) and positive (efflux) values and ranged from −13 to 19 μmol m−2 s−1 at maximum. Low tide and daytime conditions were always characterised by an uptake of atmospheric CO2. In contrast, during immersion and during low tide at night, CO2 fluxes where positive, negative or close to zero, depending on the season and the site. During the autumn of 2007, at the innermost station with a patchy Zostera noltii bed (cover of 22 ± 14 % in the wind direction of measurements), CO2 influx was −1.7 ± 1.7 μmol m−2 s−1 at low tide during the day, and the efflux was 2.7 ± 3.7 μmol m−2 s−1 at low tide during the night. A gross primary production (GPP) of 4.4 μmol m−2 s−1 during emersion could be attributed mostly to microphytobenthic communities. During immersion, the water was a source of CO2 to the atmosphere, suggesting strong heterotrophy or resuspension of microphytobenthic cells. During the summer and autumn of 2008, at the central station with a dense eelgrass bed (92 ± 10 %), CO2 uptakes at low tide during the day were −1.5 ± 1.2 and −0.9 ± 1.7 μmol m−2 s−1, respectively. Nighttime effluxes of CO2 were 1.0 ± 0.9 and 0.2 ± 1.1 μmol m−2 s−1 in summer and autumn, respectively, resulting in a GPP during emersion of 2.5 and 1.1 μmol m−2 s−1, respectively, attributed primarily to the seagrass community. At the same station in April 2009, before Zostera noltii started to grow, the CO2 uptake at low tide during the day was the highest (−2.7 ± 2.0 μmol m−2 s−1) and could be attributed to microphytobenthos dominance on NEP in this case. NEE versus PAR relationships for data ranked by wind directions were generally negative where and when Zostera noltii was dominant and positive when this community was minor. The latter relationship suggests important processes of photo-acclimatisation by the microphytobenthos, such as migration through the sediment. Influxes of CO2 were also observed during immersion at the central station in spring and early autumn and were apparently related to phytoplankton blooms occurring at the mouth of the lagoon, followed by the advection of CO2-depleted water with the tide. Although winter data would be necessary to determine a precise CO2 budget for the lagoon, our results suggest that tidal flat ecosystems are a modest contributor to the CO2 budget of the coastal ocean.

Producer reliance on drought subsidies instead of proactive planning and timely destocking in low rainfall years has prompted Queensland government investment in promoting business and drought resilience. GrazingFutures (AU$6 million budget, 2016–2022) is an extension project focussed on enhancing business management skills of extensive livestock producers in western Queensland, Australia. The region’s rangelands are in productivity decline, span 1 million km2 and are managed by graziers operating more than 2400 livestock businesses (beef, sheep and goats). The Queensland Department of Agriculture and Fisheries delivers GrazingFutures as a component of the Drought and Climate Adaptation Program, in partnership with regional natural resource management groups and other public and private organisations. Project delivery emphasised upskilling multi-agency staff and livestock producers to promote practice change within three whole of business themes: (1) grazing land management; (2) animal production; and (3) people-business. Three independent surveys (2018, 2019, 2020) indicated positive practice change was occurring in grazing businesses as a consequence of the project. Graziers instigated management changes even under major environmental challenges including extended drought (2013–2020), an extreme flood event in 2019 and the COVID-19 pandemic in 2020. This paper details the rationale, progress against the objectives, challenges and future direction of the GrazingFutures extension project.

Turbulent flow over a backward-facing step is studied by direct numerical solution of the Navier–Stokes equations. The simulation was conducted at a Reynolds number of 5100 based on the step height h and inlet free-stream velocity, and an expansion ratio of 1.20. Temporal behaviour of spanwise-averaged pressure fluctuation contours and reattachment length show evidence of an approximate periodic behaviour of the free shear layer with a Strouhal number of 0.06. The instantaneous velocity fields indicate that the reattachment location varies in the spanwise direction, and oscillates about a mean value of 6.28h. Statistical results show excellent agreement with experimental data by Jovic & Driver (1994). Of interest are two observations not previously reported for the backward-facing step flow: (a) at the relatively low Reynolds number considered, large negative skin friction is seen in the recirculation region; the peak |Cf| is about 2.5 times the value measured in experiments at high Reynolds numbers; (b) the velocity profiles in the recovery region fall below the universal log-law. The deviation of the velocity profile from the log-law indicates that the turbulent boundary layer is not fully recovered at 20 step heights behind the separation.The budgets of all Reynolds stress components have been computed. The turbulent kinetic energy budget in the recirculation region is similar to that of a turbulent mixing layer. The turbulent transport term makes a significant contribution to the budget and the peak dissipation is about 60% of the peak production. The velocity–pressure gradient correlation and viscous diffusion are negligible in the shear layer, but both are significant in the near-wall region. This trend is seen throughout the recirculation and reattachment region. In the recovery region, the budgets show that effects of the free shear layer are still present.

The article deals with creation of Pirjo Honkasalo (b. 1947), one of the most talented and interesting filmmakers in contemporary Finnish cinema. Her films have gained certain recognition in Europe but are hardly known among Russian viewers - despite the fact that the subjects of a number of her documentaries are directly related to Russia. Pirjo Honkasalo is internationally known as the author of poetic documentaries marked with profound philosophical and religious issues. It was Honkasalos documentary Three rooms melancholia (Melancholian 3 huonetta, 2004), that lent eclat to her. The director debuted as an independent filmmaker with the low-budget picture Mysterion (Mysterion, 1991), and further on brightly developed her personal manner of cinematography and cutting. To better understand the method of her direction some passages from her recent interview with the Russian journalist M. Kuvshinova are included, where Honkasalo tells of her opinion on difference between documentary and feature helmer work. Special attention is paid to the feature films by Honkasalo focusing on the problems of a dysfunctional family (single mother with two children negligent). It is important to note that though Fire-eater (Tulennielija, 1998) and Concrete Night (Betoniyo, 2013) were filmed with an interval of 15 years, the similarity between them is traced both in a storyline, as well as in an aesthetic approach. Having considered creation of Pirjo Honkasalo, the author assumes, that the director, staying within genre of drama, richly varies her manner, presenting multifaceted experience in different directions, marked with a dialogue with the audience held in the language of ideas and symbols.

Based on the recent analysis of various databases, cold spray (CS), the newest method among thermal spraying technologies, has received the unabated attention of hundreds of researchers continuously since its invention in the 1980s. The significance of CS lies in the low process temperature, which usually ensures compressive residual stresses and allows for the formation of coatings on a thermally sensitive substrate. This paper concerns the low-pressure cold spray (LPCS) variant employed for forming metal matrix composites (MMCs) with high ceramic contents and all-ceramic coatings. At the very beginning, the influence of LPCS process parameters on deposition efficiency (DE) is analysed. In the next part, the most useful feedstock powder preparation techniques for LCPS are presented. Due to the combination of bottom-up powder production methods (e.g., sol-gel (SG)) with LCPS, the metal matrix that works as a binder for ceramic particles in MMC coatings can be removed, resulting in all-ceramic coatings. Furthermore, with optimization of spraying parameters, it is possible to predict and control phase transformation in the feedstock material. Further in the paper, differences in the bonding mechanism of metal–ceramic mixtures and ceramic particles are presented. The properties and applications of various MMC and ceramic coatings are also discussed. Finally, the exemplary direction of CS development is suggested.

The 3D reconstruction of real-world heritage objects using either a laser scanner or 3D modelling software is typically expensive and requires a high level of expertise. Image-based 3D modelling software, on the other hand, offers a cheaper alternative, which can handle this task with relative ease. There also exists free and open source (FOSS) software, with the potential to deliver quality data for heritage documentation purposes. However, contemporary academic discourse seldom presents survey-based feature lists or a critical inspection of potential production pipelines, nor typically provides direction and guidance for non-experts who are interested in learning, developing and sharing 3D content on a restricted budget. To address the above issues, a set of FOSS were studied based on their offered features, workflow, 3D processing time and accuracy. Two datasets have been used to compare and evaluate the FOSS applications based on the point clouds they produced. The average deviation to ground truth data produced by a commercial software application (Metashape, formerly called PhotoScan) was used and measured with CloudCompare software. 3D reconstructions generated from FOSS produce promising results, with significant accuracy, and are easy to use. We believe this investigation will help non-expert users to understand the photogrammetry and select the most suitable software for producing image-based 3D models at low cost for visualisation and presentation purposes.

Poland has a large potential for biogas production from agricultural sources and food waste. This potential is still poorly used. There are many reasons for this state of affairs. We can indicate both the policy of the state towards renewable energy sources (RES) with a small amount of energy from biogas contracted at auctions, investment risk, and especially low return on investment in the absence of investment support. An important reason is also the limited state budget. The purpose of this work was to determine the endogenous factors that determine ROE, the direction of the impact of these factors, as well as the strategy of biogas plants in shaping the ROE level. The DuPont model was used in the analysis of ROE changes. We used the deviation method to determine the impact of the various factors on ROE. Against the background of the energy sector in Poland, the value of ROE in the examined biogas plants should be considered satisfactory, and in 2020 it was, on average, 13.9%. The decrease from 17.2% in 2019 occurred despite the increase in energy prices and the increase in the net profit margin (NPM). It resulted from the reduction of ROE’s financial leverage through external capital. A high level of debt characterized the examined biogas plants, and the pursuit of risk reduction and debt reduction negatively impacts on ROE. This may indicate the need for state investment support at the plant construction stage or low-interest investment loans to develop biogas plants. In addition, using only price guarantees under the feed-in tariffs, with dynamic changes in costs, may bring the industry a relatively high investment risk compared to other RES, where the operational costs during the lifetime are low, as it is in PV or wind systems.

Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema.

As a result of the pharmacoepidemiological study, factors have been established that make it possible to increase the effectiveness of hypoglycemic therapy and the compliance of patients with diabetes mellitus in Kyrgyzstan. The structure of the prescribed oral hypoglycemic agents was investigated; the assessment, according to the results of the questionnaire of patients, was given of the effectiveness of the hypoglycemic therapy they received, as well as the level of its compliance with modern medical guidelines for the diagnosis and treatment of diabetes. At the time of filling out the questionnaire, only 44% of respondents had a target fasting glucose level (≤7 mmol/l). According to the data obtained, it can be concluded that in real clinical practice, the effectiveness of diabetes treatment remains low. We have obtained data that 47.8% of patients with diabetes are not adherent to treatment, which may also contribute to a rather low percentage of patients among the respondents who have reached the target blood glucose level. As for the use of drugs, the analysis of the data showed that the majority of patients (62.81%) receive monotherapy with oral hypoglycemic agents. According to the analysis, metformin is the most commonly used drug among the oral hypoglycemic agents. It is accepted by 60.1% of the respondents. Most diabetic patients spend 1000 som or more per month on oral hypoglycemic agents. Taking into account the cost of living in the country, it can be concluded that the acquisition of oral hypoglycemic agents significantly affects the budget of citizens and that there are problems with the economic availability of oral hypoglycemic agents. The results of our research indicate the insufficient effectiveness of the treatment and prophylactic measures for type 2 diabetes in our country, requiring more active work in this direction. The work was carried out in the design of a simple one-step prospective descriptive epidemiological study within the framework of a pharmacoepidemiological study.

In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.

Important new applications are possible today in the fields of energy conversion and storage by the application of thin and nanostructured solid films on surfaces. These special films, or multiple films, will be integral parts of the energy systems in the near future for the production of useful thermal and electrical energy and for energy saving applications, especially in buildings. We review the research in this direction. As we are facing the threats of insufficient energy supply and the greenhouse gas emissions from the intense use of fossil sources, we realize that the impacts as well as the future of the solar energy systems have been greatly underestimated. We review the work on solar thermal systems and energy saving applications. The efficient use of solar thermal technologies is very important for the introduction of a sizeable share of environmentally friendly renewable energy sources. New and nano structured materials along with the design and the geometry of advanced systems, capable of achieving high temperatures, as well as on integrated collection and storage systems have been proposed. Recent progress in high-vacuum technology and new materials had a remarkable effect in thin-film quality and cost. As a result new thermal absorbers have appeared along with new evaluation methods. We also present work on low-e coatings and electrochromic thin films that are very important for thermal energy savings in buildings and increase the efficiency of devices. For the photovoltaic solar energy conversion we present results on thin film solar cells and the efforts on dye sensitized nanostructured and organic solar cells.

Socialization of the economy is a process that, on the one hand, involves the subordination of economic processes to the interests of man himself, redistribution of production results, improving working and living conditions in the direction of social goals, and, on the other hand, aimed at assimilating and using social norms, values, patterns of behavior and interaction with society in order to ensure normal functioning. Th e authors of the article are convinced that the socialization of economic entities is an objective process of development of a market-type economic system and a way to solve its problems. Th e market transformation of Ukraine’s economy has led to a number of negative consequences in the so cioeconomic life of the country, which necessitates finding mechanisms for optimal participation of economic entities in the implementation of social goals of society. Th e purpose of the article is to identify the main manifestations of socialization of the state and business in the modern economy in order to determine the level of their socialization in Ukraine in the direction of realization of social goals of society. Th e novelty of the article is the further development of the separation of manifestations of socialization of economic entities, which allowed to assess the level of socialization of the state and business in Ukraine as insuffi cient to realize their potential in achieving social goals of society. Research methods: scientifi c abstraction, analysis, scientifi c generalization, dialectical logic, deductive method. According to the authors, the main manifestations of socialization of the state are the development of its social responsibility and socialization of the budget, while the socialization of business is confi rmed by such aspects of economic life as its social responsibility and the emergence of social entrepreneurship. Th e analysis of the mentioned manifestations of socialization of economic entities in Ukraine allowed to state that the level of socialization of the state and business is insignifi cant. Th e latter is due to the fact that: the level of public welfare is low and is confi rmed by Ukraine’s place in international rankings; social expenditures of the state bud get are insuffi cient, the coeffi cient of their socialization is characterized by a declining trend with low living standards; there are no specifi c mechanisms for spreading social responsibility of business, which has almost no interest, no incentives, no experience of successful implementation of winning projects; incentives on the part of the state for the development of social entrepreneurship are insuffi cient and public awareness of its importance in solving socio-economic problems is low.

The article presents basic development directions of youth tourism in Russia. It notes that youth tourism should take into account the potential of the target audience, and it actualizes the development of low-budget accommodation facilities. The article considers the development of hostels in Russia. Since recently this sphere of hospitality has been standardized and therefore can successfully grow in Russia. The current economic situation has increased inflation, led to a reduction production and growth of unemployment in the country. The development of tourism, focused on single-industry towns, will allow the usage of possibility of cognitive and patriotic tourism. Young people can get acquainted with history of towns, study the modern way of life and interests of the residents. At the same time the development of tourism will allow to create additional work places and expand the hotel business. Youth tours should include a variety of elements - the study of history, national culture, cuisine and many other things. Young travelers aspire to active recreation, which is full of events and adventures. This is determines the need for a special event-related and educational tours. Development of territories and formation of their brands also play important role. The authors note that abroad development of territorial brands has long been the natural direction of tourism development, while in Russia this factor still does not have a significant impact on the development of the tourism industry. A large number of single-industry towns make it possible to realize their individual potential in the field of youth tourism.

Ukraine, choosing its strategic course of integration into the European Union, took the time to accelerate the reform of various spheres of socio-political and economic life of the country, in particular, the sphere of tourism services, transforming it into the standards of the European Union. The world-wide experience of progressive management gives tourism the first place among other sectors of the economy in terms of exports of goods and services. In conditions of development of the Ukrainian state, tourism becomes an effective means of forming a market mechanism of management, the receipt of significant funds to the state budget, one of the forms of rational use of free time, conducting meaningful leisure, studying the history of the native land, attracting the general population to the knowledge of the historical and cultural heritage. Current experience and scientific research show that accelerated development of rural green tourism can play the role of a catalyst for structural adjustment of the economy, provide demographic stability and solve urgent socio-economic problems in rural areas. It is important for Ukraine to overcome the gap in this area and realize the existing rich tourism potential through an elaborate policy of state regulation, including at the regional level. One of the reasons for the rapid development of rural green tourism in Europe is the crisis in the agricultural sector. Today, the process of productivity and automation of agriculture leads to jobs reduction. In fact, in many rural regions of Europe, agriculture has ceased to be the most important form of land use and the most important activity of the rural community. The rural green tourism is closely linked with other types of tourism, primarily with recreational, cultural, specialized tourism types – relief, gastronomy, ethno-tourism, etc. All this allows rural tourism to be included in combined tours, increasing the demand for a traditional tourist product. The rural green tourism in Ukraine is a holiday of the inhabitants of the city in the countryside in guest rooms created by a village family on the basis of its own residential house and private plot. As entrepreneurial activity, rural green tourism develops rather heterogeneously in different regions of Ukraine. Systematization of motivational interests of the rural green tourism activation in the regions of Ukraine showed that the dominant motives for diversification of activities in agricultural sector in the current conditions of rural areas development are: increase of incomes of rural population and increase of employment level, the possibility of diversification of income sources of peasants, significant investments and additional training, opportunities for self-realization of rural inhabitants. Priority directions of development of green tourism in these regions in the near future should be: reception and accommodation of tourists; rental of tourist equipment; production and sale of tourist goods of folk crafts; provision of tourist services (bicycle, gastronomy, agrotourism, cultural and historical tourism, organization of recreational recreation, mountain and ecological tourism); organization of tasting and culinary excursions; active development of the hotel business, camping (construction of agricultural cottages, fishing houses, farmhouses, horse farms); organization of historical and ethnographic events; distribution of religious tours; providing a complex of widely distributed services (fishing, hunting, picking berries and mushrooms, medicinal plants, etc.); development and popularization of water sports (kiting, windsurfing). The research of the current conditions for the development of green tourism in the regions of Ukraine allowed to outline the area of the key problems that hinder the active expansion of this type of activity: - disorderly legislation on key aspects of tourism business regulation in rural areas; lack of a law regulating this type of activity; - low level of development of the infrastructure of the market of green tourism services and social infrastructure of the village; - outdated stereotypes of rural residents, which hinder the active development of the newest types of tourism industry, the pronounced unsystematic and irregular nature of services; - absence of state programs supporting development of green tourism and limited amount of their financial, consulting and information-marketing support; - low level of informatization and popularization of green tourism in the regions of Ukraine among the population of European countries; - lack of political stability and social tension in society, deterioration of the world image of Ukraine. Thus, Ukraine has a rather powerful potential for the development of green tourism as an alternative type of agribusiness in the regions of Ukraine. In the context of modern economic conditions, solving key problems of development of green tourism forms the fundamental framework for addressing the most important socio-economic issues of rural areas: overcoming unemployment, promoting employment, raising incomes and quality of life for rural inhabitants.

Abstract The raw materials of geopolymer come from industrial wastes, which have the advantages of lower carbon emissions and less energy consumption compared with traditional cement products. However, it still has the disadvantages of low strength, easy cracking, and low production efficiency, which limit its engineering application and development. At present, with the application and development of nanotechnology in the field of materials, it is found that nanomaterials have a good filling effect on composites, which greatly improves the integrity of the composites. It has become a very popular research direction to optimize and improve the engineering application performance of geopolymer concrete (GPC) by nanomaterials. The modification of nanomaterials can further improve the properties of GPC and expand its application fields in engineering and life. Based on people’s strong interest in nanomaterial-modified GPC and providing the latest and complete research status for further related work, this paper summarized the key technical problems in the field of nanomaterials-modified GPC in the past decade. Those include the modification mechanism, dispersion mode, and mechanical properties of nanomaterials. At the same time, the application bottlenecks and key problems of nanomaterials-modified GPC are comprehensively analyzed. Finally, the prospects and challenges of future work in this field are discussed.

The results of decentralization of power and finance, which began in Ukraine in 2014, are characterized. Quantitative and qualitative indicators of the functioning of the consolidated territorial communities (CTCs) provide an opportunity to carry out research, identify positive and negative aspects and draw conclusions. At the end of 2018, 865 CTCs were created in Ukraine, covering only 37% of the total territory. According to the assessment of the financial solvency of the created CTCs, about 10% of the communities are untenable in terms of the level of budget subsidies and the share of expenses for maintaining the management apparatus from their own resources and have low own incomes and capital expenditures per 1 resident. The actuality of the analysis of the components of the socio-economic capacity of the CTCs is shown and the reserves of financial sustainability of communities that can ensure the sustainable development of settlements in the future are revealed. It is proved that the legal and geographic rearrangement of villages, settlements and cities into new CTCs to ensure their financial capacity may not always be effective, since the consolidated community is a single complex of the natural and resource wealth of the territory, production, economic and infrastructure potentials, social infrastructure and indicators of the quality of life of residents. It is revealed that to find ways to improve the management of community, it is expedient to use the method of constructing the conceptual and structural models of these components of the CTC capacity, which can be formed using proper inventory and valuation of assets and resources regardless of their legal status, economic direction, etc., and with the use of spatial planning and urban planning documentation, and financial and economic indicators of the manufacturing sector. It is determined that such a way of the formation of programs and forecasts of socio-economic development for short and long-term periods ensures the objectivity of indicators, the reality of overcoming the financial imbalances, the feasibility of the vectors of the community development, investment opportunities and competitiveness of the CTCs.

Electrochemical synthesis of materials has contributed to significant breakthroughs in materials processing by replacing high temperature, cost and energy intensive pyrometallurgical processes. Noteworthy examples include aluminum extraction by Hall–Heroult process, electrowinning of copper, titanium extraction through the Kroll process, electrolytic production of steel, and electrochemical synthesis of cement. Increasing the energy and power density of alkali ion intercalated transition metal oxide cathodes which power electric cars and portable electronics, has been a growing topic of global techno-economic interest. Our work demonstrates a direct electrodeposition of thick ternary ceramic oxide films as an alternate scalable manufacturing technique for fabrication of binder-and-additive free cathode materials for secondary battery. Employing an intermediate temperature (200-400°C) molten hydroxide-based electrodeposition method, a general electrochemical growth strategy for multiple Li and Na ion cathode chemistries is demonstrated for the first time including NaCoO2, NaMnO2, LiCoO2, Li2MnO3, LiMnO2, LiMn2O4, (A. Patra, P.V. Braun et. al, PNAS, 2021) in a thick (> 50 µm) thick film form factor. In-plane and through-plane texture can be electrochemically architectured in LiCoO2 and NaCoO2 films across multiple textures: <003>||ND (Li/Na ion blocking sites parallel to the normal direction), <101>||ND, <104>||ND, <110>||ND (fast lithium ion conducting sites parallel to the normal direction). An accurate control of crystallization dynamics leads to highly anisotropic, grain boundary engineered structure with low tortuosity and fastest electron and Li ion conducting pathways (<110>||ND) oriented normal to the current collector. The highly textured (<110>||ND), dense (>95%) electroplated cathodes can perform even at ultrahigh thickness of ~ 200 µm (areal capacity of ~13.6 mAh/cm2) in comparison to 40-60 µm for conventional slurry cast cathodes (areal capacity of ~3-4 mAh/cm2 with a porosity of ~10-20%), a fivefold increase in areal capacity and volumetric energy density (A. Patra, P.V. Braun et. al, to be submitted). In order to enable a high voltage (> 4.5 V vs. Li) cathode design, a functionally graded architecture is also demonstrated with a core capable of providing high-capacity and rate capability (LCO <110>||ND); and multiple capping layers (LCO <003>||ND and Li2MnO3) to suppress harmful side reactions occurring at voltages beyond the normal operation range (beyond 4.2 V vs. Li). Our work paves the way towards an electrosynthesis platform for functional oxides with the ability to generate micron scale ordering with controllable in-and-through-plane orientation in thick ceramic oxide films important for electrochemical energy storage.

Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts.

Background and context: The Nigerian film industry also known as Nollywood is the biggest in Africa and the second largest in the world in terms of annual production. Nollywood produces hundreds of films every year, most of them low budget straight to DVD tapes. As at 2014 Nollywood had an estimated gross worth of about 5 billion U.S. dollars. It also employs about a million people in the country. Nollywood has since inception been able to blend historical facts with good imagination to create and sustain our society. It has done this across most genres, but a few. Health issues such as cancer is not well represented in Nollywood and about 80,000 Nigerians die of cancer annually. Aim: To encourage cancer themes in Nollywood movies. To help form an alliance between health professionals and Nollywood. Strategy/Tactics: Forming a platform where health professionals and Nollywood practitioners can converge to seek out cancer information for budding stories and get authentic, scientific information concerning cancer and help dispel some local myth on cancer especially in rural Africa. Program/Policy process: A working opportunity whereby more cancer themes can be introduced into Nollywood movies either as a main story, or a secondary one. Outcomes: A work in progress. What was learned: Though Nollywood lags behind in putting health themes in her movies, it is not too late to start off. The journey of a thousand miles starts with a step. Changing people´s perspective can be daunting, but impossible is nothing. Nollywood has to its advantage millions of followers and an established industry. What it requires is a collaboration with health professionals to make movies with cancer themes and highly factual in the science.

AbstractFor the first time, the necessity to thermally pre-treat ubiquitously used PET substrates for printed electronics, to improve dimensional stability during manufacturing, is clearly defined. The experimental results have proven this phenomenon for both roll-to-roll (R2R) and sheet-to-sheet (S2S) processing of printed electronics. The next generation of electronics manufacturing has pushed the boundaries for low-cost, flexible, printed, and mass produced electronic components and systems. A driving force, and enabling production method, are the R2R printing presses. However, to produce electronics with increasing complexity and high yield in volume production, one must have a highly accurate process. In this article, R2R processing accuracy of printed electronics is evaluated from the point of dimensional accuracy of the flexible polyester substrate (DuPont Teijin Films’ PET Melinex ST504 with and without indium tin oxide, Melinex ST506, and Melinex PCS), precision of printing, and accuracy of layer-to-layer registration with stages that involve tension and elevated temperatures. This study has confirmed that dimensional changes during R2R processing will occur only in the first processing stage and that if a thermal pre-treatment run for the substrate is made—at identical temperature and tension of the processing stage—there is improved stability originating from a new-level strain in the crystalline PET film structure and freezing it in at the tensions and temperatures it is exposed to (i.e. 1400 μm machine direction stretching reduced to 8 μm). Furthermore, it is explained how the dimensional accuracy can be improved and reproducibly maintained in multilayer printing of electronics devices such as organic photovoltaics (OPV). These devices provide a valuable baseline of how the layer-to-layer alignment accuracy plays a crucial role in fully printed electronics devices, which lessons can be applied in all aspects of this field including hybrid systems and system fabrication involving multiple processing methods.

With the introduction of novel stacked CMOS transistor integration schemes such as sequential 3D and CFETs [1,2], there is an increasing need for highly active source/drain layers with a low overall thermal budget. For some integration schemes, processing temperatures below ~ 525°C are desired [3] and in most cases, the contacts need to be formed on the {110} surfaces of exposed Si nanosheets. In this paper, we report on selectively grown Si:P layers below 500°C targeting application in stacked nanosheet-based devices. In contrast to conventional approaches where selectivity is obtained at low temperatures using Cyclic-Deposition and Etch (CDE) with HCl/GeH4 as an etchant [4,5], we rely for this work on Cl2-based etching in combination with Si3H8 as a high-order Si precursor [6]. The Si:P layers were grown in a 300 mm ASM Intrepid® ES reduced pressure chemical vapor deposition reactor on Si (001) substrates. Figure 1 shows some typical characteristics for the Si:P layers without etching (“Dep-only”) and CDE Si:P layers below 500°C. As the temperature is lowered, the growth rate and P incorporation for a given PH3 flow decreases substantially, while the active concentration increases. For both the “Dep-only” and CDE layers, a minimum develops in the resistivity which corresponds to a maximum in active concentration as derived from micro-Hall measurements. Due to the etching during CDE, a P-enrichment takes place and the P concentration in the layers is enhanced compared to the “Dep-only” case. A minimum resistivity of 0.28 mOhm.cm (Pact ~ 6e20/cm3) is obtained for CDE at 480°C which is slightly larger than the minimum resistivity of 0.24 mOhm.cm (Pact ~ 1e21/cm3) for the “Dep-only” case at the corresponding temperature. Figure 2 shows the application of the CDE process on wafers with fins. By lowering the deposition time at a constant etching time per cycle, a (wafer-scale) selective regime can be reached. For the “Dep-only” case, quite some defects and nuclei are present on the sidewalls of the Si-fins and the oxide dielectric, respectively, which are finally removed by sufficient Cl2 etching. Figure 3 compares the corresponding X-TEMs of the above fins after “Dep-only” and selective CDE conditions. For the “Dep-only” case we can only observe a mono-crystalline growth in the <100> direction. For other growth directions like <110>, epitaxial breakdown-down occurs resulting in a substantially reduced crystalline thickness. With the use of Cl2 based CDE, a selective growth can be reached as well as a clear structural improvement in the <110> growth direction, which is very important for the application in nanosheet devices. Finally, once a (111) facet is formed, twin defects occur as expected for low temperature Si:P and Si:C:P [7]. The growth behavior of the CDE processes in relevant nanosheet geometries is currently under investigation. References [1] W. Rachmady et al. in Proc. IEDM 2019. [2] C.-Y. Huang et al. in Proc. IEDM 2020. [3] A. Vandooren et al. in Proc. VLSI 2018. [4] N. Loubet et al., Thin Solid Films 520, pp.3149-3154 (2012). [5] J.M. Hartmann et al., Semicond. Sci. Technol. 28, p.025018 (2013). [6] M. Bauer, ECS Trans. 50(9), pp. 499–506 (2012). [7] J. Tolle et al., ECS Trans. 50(9), pp. 491-497 (2012). [8] E. Rosseel et al., ECS Trans. 75(8), pp.347-359 (2016). Figure 1

Introduction. The role of the agricultural industry and its grain products subcomplex as the basic functioning direction is strategically important for strengthening Ukrainian competitive positions both from the viewpoint of trade and economic relations and the determinants of political and legal nature. Indeed, grain products subcomplex of the agricultural industry is formalized as a tool to defend and meet national interests in conditions of aggravated problem of quality and safe food deficit. Moreover, favorable preconditions for grain production in Ukraine is the basis of forming of the foreign economic capacity of the agricultural industry’s grain products, which can provide consistent currency revenues to the state budget. The paper aims to research the condition and preconditions of the implementation of the foreign economic capacity of the domestic grain products subcomplex of the agricultural industry. Results. The paper outlines the obstacles that substantially restrict the parameters of implementation of the foreign economic capacity of the agricultural industry’s grain products subcomplex in Ukraine. The lack of favorable preconditions for an investor in the agricultural industry’s grain products subcomplex is emphasized. The condition of implementation of the foreign economic capacity of the domestic grain products subcomplex is analyzed. Moreover, in order to understand the scales and the strategically important role of the agricultural industry’s grain products subcomplex in Ukraine are presented in meeting the global need for grain, the balances of the global wheat market across main countries-exporters. Conclusions. The functioning of the grain products subcomplex of the agricultural industry of Ukraine forms the favorable preconditions to implement its foreign economic capacity. Ratification of the EU-Ukraine Association Agreement has secured the strategic reorientation of the export capacitates of the grain products subcomplex of the agricultural industry from the Russian Federation and the CIS countries towards the markets of the EU Member States. Egypt, China, and Spain hold the leading positions among the importers of domestic grain. The following factors of restriction of the parameters of foreign economic capacity implementation in the agricultural industry’s grain products subcomplex should be emphasized: flawed institutional environment, low level of industry innovative-technological modernization, excessive raw materials orientation of export, poor diversification of foreign sales markets, underdeveloped chain of logistics infrastructure facilities, non-correspondence of domestic and international standards of product quality and safety certification. Keywords: grain products complex, foreign economic capacity, agricultural industry.

Topicality. Ukrainian export strategy for 2017-2021 determines food industry as one of the key elements of the country's foreign economic potential. Despite the secondary importance of wine in meeting the basic human needs, wine industry plays an important role in filling the budget of the country, ensuring the socio-economic development of regions. The wine sector is a perspective direction for the development of Ukrainian economy, an integral part of its foreign economic potential because of favourable natural and climatic conditions and existence of labour and other resources of high quality.Aim and tasks. The purpose of the article is to determine the foreign economic potential of Ukrainian wine industry in the world market. To achieve the goal, following tasks have been set and solved: definition of production potential of Ukrainian wine industry; assessment of consumer potential of Ukrainian wine market; study of trends of export-import activity of market operators (volumes of export, import, foreign trade turnover, balance of export and import operations, geographic structure of export and import).Research results. According to the research results of Ukrainian wine industry in 2014-2018, it is established that the production potential of Ukrainian wine market is decreasing. This can be explained by the decrease in the area of grape plantations in the fructiferous age, the declining dynamics of the index of industrial products, the growth of depreciation, the decrease in the average number of staff members, as well as the decline in consumer market potential (due to a decrease in the number of target consumer segment, in the share of spending on alcoholic beverages and tobacco products, the growth of average consumer prices, the prohibition of the promotion of wine etc.).According to the export-import activity in monetary terms Ukraine is a net importer of grape wines. However, in terms of volume, the volumes of wine exports are dominated by imports. Such contradictions in data in both physical and monetary terms can be explained by the low cost of Ukrainian exports. The average price of 1 litre of exported Ukrainian wine in 2018 is 3.5 times lower than the cost of 1 litre of imported one. The geographic structure of demand for Ukrainian wines varies: the share of CIS countries and Europe is decreasing and the share of Asian countries is increasing. The largest buyers of Ukrainian wine are: Russian Federation, Georgia, Azerbaijan, Kazakhstan, and China. The geography of the import of grape wines has the opposite structure: a significant proportion is being taken by the European countries, the smallest – by the “new wine regions”: America, Africa and Australia and Oceania.Conclusion. The analysis of the indicators of functioning of Ukrainian wine industry shows that at present, it can not claim the position of an influential player in the market. There is a significant natural and climatic potential, but there is a number of problems that hinder the development of foreign economic potential. These problems are: problems related to the political and legal environment; problems of production potential; problems of consumer potential; foreign trade problems; retail problems.

Abstract. Despite decades of effort, the drivers of global long-term trends in tropospheric ozone are not well understood, impacting estimates of ozone radiative forcing and the global ozone budget. We analyze tropospheric ozone trends since 1980 using ozonesondes and remote surface measurements around the globe and investigate the ability of two atmospheric chemical transport models, GEOS-Chem and MERRA2-GMI, to reproduce these trends. Global tropospheric ozone trends measured at 25 ozonesonde sites from 1990–2017 (nine sites since 1980s) show increasing trends averaging 1.8 ± 1.3 ppb per decade across sites in the free troposphere (800–400 hPa). Relative trends in sondes are more pronounced closer to the surface (3.5 % per decade above 700 hPa, 4.3 % per decade below 700 hPa on average), suggesting the importance of surface emissions (anthropogenic, soil NOx, impacts on biogenic volatile organic compounds (VOCs) from land use changes, etc.) in observed changes. While most surface sites (148 of 238) in the United States and Europe exhibit decreases in high daytime ozone values due to regulatory efforts, 73 % of global sites outside these regions (24 of 33 sites) show increases from 1990–2014 that average 1.4 ± 0.9 ppb per decade. In all regions, increasing ozone trends both at the surface and aloft are at least partially attributable to increases in 5th percentile ozone, which average 1.8 ± 1.3 ppb per decade and reflect the global increase of baseline ozone in rural areas. Observed ozone percentile distributions at the surface have shifted notably across the globe: all regions show increases in low tails (i.e., below 25th percentile), North America and Europe show decreases in high tails (above 75th percentile), and the Southern Hemisphere and Japan show increases across the entire distribution. Three model simulations comprising different emissions inventories, chemical schemes, and resolutions, sampled at the same locations and times of observations, are not able to replicate long-term ozone trends either at the surface or free troposphere, often underestimating trends. We find that ∼75 % of the average ozone trend from 800–400 hPa across the 25 ozonesonde sites is captured by MERRA2-GMI, and <20 % is captured by GEOS-Chem. MERRA2-GMI performs better than GEOS-Chem in the northern midlatitude free troposphere, reproducing nearly half of increasing trends since 1990 and capturing stratosphere–troposphere exchange (STE) determined via a stratospheric ozone tracer. While all models tend to capture the direction of shifts in the ozone distribution and typically capture changes in high and low tails, they tend to underestimate the magnitude of the shift in medians. However, each model shows an 8 %–12 % (or 23–32 Tg) increase in total tropospheric ozone burden from 1980 to 2017. Sensitivity simulations using GEOS-Chem and the stratospheric ozone tracer in MERRA2-GMI suggest that in the northern midlatitudes and high latitudes, dynamics such as STE are most important for reproducing ozone trends in models in the middle and upper troposphere, while emissions are more important closer to the surface. Our model evaluation for the last 4 decades reveals that the recent version of the GEOS-Chem model underpredicts free tropospheric ozone across this long time period, particularly in winter and spring over midlatitudes to high latitudes. Such widespread model underestimation of tropospheric ozone highlights the need for better understanding of the processes that transport ozone and promote its production.

Driven largely by the growing need for more data, increased functionality, and faster speeds, consumer electronic devices have sparked a revolution in IC design. As it becomes increasingly more expensive and technically challenging to scale down semiconductor devices, Moore's law is yielding to the concept of “More than Moore”, which is driving integrated functionality in smaller and thinner packages. Packaging for 2.5D and 3D has become critical to new products requiring higher performance and increased functionality in a smaller package. The use of a Through Silicon Via (TSV) has been discussed as a method for stacking die to achieve a vertical interconnect. The high costs associated with this technology have limited TSV use to a few applications such as high-bandwidth memory and logic, slowing its adoption within the industry. Lower-cost advanced packaging concepts have been developed and are now in high-volume production. Recently, alternative methods for exploiting the z-direction have turned to variations of Fan-Out Wafer Level Packaging (FOWLP), which do not include TSVs. In many of these concepts there is a need to thin the wafer to remove all of the silicon while being selective and not etching a variety of other films that include oxides, nitrides, and metals. In addition, there can be temporary bonding adhesives and mold compounds encapsulating the chips; these must remain undamaged. Another critical element of a successful process is the ability to control the profile of the silicon etch to provide uniform removal. The single wafer wet etching techniques and advanced process control developed for TSV Reveal are applicable to these structures and provide a low-cost alternative to CMP and Plasma processes. To successfully execute the process, several characteristics must be met: the silicon overburden depth and profile need to be determined, the overburden thinning etch needs a fast sculpting etchant, and the finishing etchant needs to be selective to materials that will be exposed at the completion of the etch. In addition, the tool used to perform this sequence needs to have the correct metrology capability, along with properly chosen etchants. Similarly, it is not sufficient to know the required etch profile, the software must be able to execute a unique etch profile for each wafer. In this fashion, the finishing etch time can be kept to a minimum. This is important, as many of the selective etchants have a slow etch rate, and adhesives used do not always hold up to exposure to the chemistries involved for long periods. This paper discusses the use of wet etch wafer thinning processes for new FOWLP applications.

Relevance of research topic. The number of Ukrainian holding-type organizations and their land bankcontinues to grow, "displacing" small and medium-sized producers from the agricultural economy.Since 2019, state policy has been refocusing on forced support for small and small-scale farms, and after the Ukrainian decentralization reform the leadership of the united territorial communities of the new tools they received depends on the development of small and medium-sized businesses. Formulation of the problem. Today, the actualization of local economic development requires significant financial resources from the united territorial communities. And the formation of their budget depends on the effectiveagricultural sector operation. After the Ukrainian reform of local self-government and decentralization, the economic development of the territories and of Ukraine as a whole, depends on the using of new tools and resources by the community leadership. The solution of theagrarian sphere problems of the united territorial communities is in the plane ofsmall agrarian entrepreneurship state support, strengthening of the state control over the activity of large agro-traders, as well as their social and financial responsibility to the united territorial communities. Analysis of recent research and publications. Theoretical questions on the study of small agrarian entrepreneurship in the development of united territorial communities were engaged in such scientists of the Institute of Economics of NASU, Institute of Agrarian Economics of NAAS of Ukraine, as Shemyakin D., Finagina O. V., Lysetsky A. S., Onishchenko O. M., and other national and foreign scientists. Selection of unexplored parts of the general problem. The issue of the impact of decentralization on theagricultural sector development of the united territorial communities needs to be detailed and further researched. Setting the task, the purpose of the study. The article aim is to investigate the theoretical aspect of organizational and legal foundations of the formation of united territorial communities in Ukraine, assess thesmall agricultural business current state and trace its relationship with the activities of united territorial communities for economic development. Method or methodology for conducting research. The set of general scientific methods of cognition and special methods of economic research are used in the work. Among them: analysis and synthesis, generalization and comparison, system-structural and comparative analysis, systematic method of cognition of economic processes and phenomena, index method and method of statistical groupings for analysis of united territorial communities activity development of the agro-industrial complex of Ukraine. Presentation of the main material (results of work). The article considers the theoretical aspect of organizational and legal foundations of the united territorial communities formation in Ukraine, assesses the current state of small agricultural business and reveals it’s main relationships with the united territorial communities activities for region economic development. Territorial communities are voluntary associations of residents of city, village and settlement councils, which directly receive funding from the state budget for the development of education, medicine, sports, culture, and social protection. Financial support from the state gives more opportunities to local communities to implement their own projects. The more active the territorial community, the more projects will be implemented and theterritorial communityprofitability level will be higher, which it will spend on the development of territories. This is the main incentive to attract additional investment to improve people's living standards. In 2020, theUkrainian Cabinet of Ministers adopted 24 orders on the definition of administrative centers and approval ofregional community’s territories. There are 1469 territorial communities in our country. After the launch of the decentralization process in Ukraine – the transfer of powers and resources to places from which the community itself determines the direction of funding, small communities require forresource lack for rural development. The solution has beena decision to consolidate several councils by merging, which allowed communities to use common resources for territorial development. Ukraine owns 60.3 million hectares, which is about 6% of Europe's territory.There are 32.7 millionarable land hectares of land in the structure ofUkrainian agricultural territory, of which almost 9 million are used as pastures, hayfields and other agricultural lands. The quarter of agricultural land was never distributed, remaining on the balance of the state. Thus, state and the communal property include 10.5 million hectares of agricultural land, which is 26% of the total area, of which 3.2 million hectares – in the permanent use of state enterprises, 2.5 million hectares – in stock, and the rest – for rent. Almost 40% of the total number of Ukrainian enterprises in the agricultural sector and 38% of the area of agricultural land cultivated by agricultural enterprises are absorbed by agricultural holdings and large agricultural traders. On June 1, 2019, there were more than 160 large agricultural holdings in the country, they cultivate more than 3.6 million hectares of agricultural land. Thus, today in Ukraine the number of holding-type organizations and their land bank continues to grow, "displacing" small and medium-sized producers from the agricultural economy. Thecommunity agrarian branch is a complex multi-sectoral system, the individual subsystems of which are unevenly represented in different territorial formations, but are in close interaction with each other. The role of small agrarian businesses in the development of united territorial community’sagriculture is constantly growing. In recent years, the share of farms has increased by 30%. With the development of farming in the agricultural regions of Ukraine, the opportunities to solve the problem of employment in rural areas and the revival of territories in general are increasing. Therefore, state support for agricultural producers is an important step in order to obtain funds for small business development in the agro-industrial sector. If earlier the preference of vectors of state support was in large agro-traders, then from 2019 the policy of the state was reoriented to the strengthened support of small and small-scale farms. Such support is confirmed by financial preferences for small agribusiness through regional branches of the Ukrainian State Farm Support Fund. Agricultural cooperatives will receive state support through cooperation with the Ministry of Agriculture of Ukraine with the assistance of the Department. Thus, today the promissory note form of payment has been abolished, and 70% of the cost of their equipment has been reimbursed for cooperatives. As a result of the crisis of 2014-2016, many Ukrainians started doing business and many successful cases of micro and small agricultural enterprises operating in the regions appeared in the country. However, barriers to rural development are a lack of financial resources and a lack of economic knowledge. Therefore, in order to maximally support farms and agro-industrial entrepreneurship in rural areas by the state, high-quality interaction and communication on the ground is needed. Thus, in addition to financial support, the state program also includes advising agricultural producers. Experienced specialists will help to structure the business, calculate the financial and create a business plan. In 2020, the budget of financial support for the agro-industrial sector of Ukraine is set at 4 billion UAH, which is only 43% of the limit – does not meet 1% of GDP. the real need for financial state support of a key sector of Ukraine's economy. The implementation of the program of financing micro and small agribusiness has great potential not only in the country, but also within each united territorial community. Each of them, which participates in the program of state support of small agrarian business, annually receives about 75 thousand UAH of taxes to its budget. On a national scale, this is an additional UAH 75 million ($ 3.06 million) in taxes to local budgets over 5 years. The possibility of organizational and legal forms of micro and small agribusiness, according to the current legislation of Ukraine, to hire labor – partially solves the problem of unemployment in rural areas. A significant contribution is also made by micro and small agribusiness in increasing the volume of gross domestic product in Ukraine. Small and medium business in Ukraine brings 55% of gross domestic product to the country's economy, and micro and small business 16%, while in Europe the figure is twice as high, and their efficiency is 10 times higher than in our country. It is the subjects of small and medium-sized businesses in the field of agriculture that are powerful catalysts and stimulators of business activity, determine the unification of all participants in economic relations in the country. Therefore, state support and effective development of united territorial community’sagribusiness create the basis for the emergence and functioning of the institutional environment. Thus, giving 12% of Ukraine's GDP and providing jobs for members of the local community, small agribusiness entities need the development of agricultural equipment suppliers, agricultural processors, research institutions that conduct breeding work and develop modern technologies, logistics infrastructure, market structures, as well as institutions of agricultural education. The agro-industrial sphere of the community is the main means of ensuring the socio-economic development of territorial united territorial communitiesand the effective functioning of rural areas. However, the distribution of agricultural land and land ownership remains an urgent problem for united territorial communities, as in addition to the territorial base, the land is a means of agricultural production. The population of the united territorial community is the main consumer of agricultural products produced by small agricultural enterprises. So, it provides a reproduction of labor for the industry. The vector of development of united territorial community’sagricultural production depends on the availability of natural, productive and labor resources of the community. The most energy-intensive are the production of vegetable crops, sugar beets, potatoes, industrial crops, as well as certain livestock industries, which are more often engaged in by farms and small agricultural enterprises. The study found that in Ukraine, government measures are the main obstacle to the development of agro-industrial entrepreneurship in united territorial communities, because it creates an extremely unfavorable climate for the development of small and medium enterprises or prohibits it altogether. For many years in a row, the sources of budget formation, which are generally local taxes, remain a significant problem in the development of agriculturally oriented united territorial communities. The limitation of incomes of agricultural enterprises and the population is the low efficiency of agricultural enterprises, the main reason for which is the low wages of peasants. The reason for this problem in the agricultural sector is low productivity, which forms the added value of agricultural products. Examining the structure of Ukrainian small agrarian business, its players in general education were classified into two large groups: 1. Farmers and agricultural producers living and working in rural areas. They live in a society within the lands of which they rent shares, pay all the necessary taxes, provide residents of general education with jobs, finished agricultural products at affordable prices. 2. Farmers who are registered in Ukrainian cities, however, use the land of the community, paying only the rent of agricultural land, depleting them due to non-compliance with crop rotations. Such agro-traders enjoy state support, soft loans and other preferences, receive super-profits and in no way contribute to the development of agricultural areas and society. These are the activities of large agro-industrial holdings, the form of interaction with rural general education and the mechanisms of social responsibility which need to be worked out with the help of the following measures by the government and agricultural producers: 1) development and restoration of the infrastructure of the united territorial communities and its elements used by agricultural holdings; 2) use of modern ecologically safe agrotechnologies. 3) training of qualified specialists in the field of agro-industrial complex, their employment in modern agro-industrial companies; 4) state support, restoration and preservation of recreational and health facilities of the united territorial communities, including agricultural lands, which are leased by large agricultural holdings; 5) involvement in the economic activity of the agricultural holding of farms on a partnership basis. Thus, partnerships and cooperation between large agricultural holdings and small agricultural producers of united territorial communities can contribute not only to the development of small agricultural businesses in Ukraine, but also to the socio-economic development of society and rural areas in general. The field of application of results. Thescientific research results on the problems of small agricultural entrepreneurship in the development of united territorial communities can be used in the field of state regulation of agribusiness and united territorial communities to support local agricultural producers. Conclusions according to the article. The agro-industrial sphere of the communities is the main means of ensuring the socio-economic development of territorial communities and the effective functioning of rural areas, because the development of farming opportunities increases the problem of rural employment and the revival of territories in general. That is why state support for agricultural producers is an important step to obtain funds for small business development in the agro-industrial sector.

In this work, a self-made dip-coater equipment was developed for the fabrication of thin films. The assembly of the apparatus was carried out using simple mechanical and electronic pieces, recycle parts, and spending an inexpensive budget suitably. The production, software design, and features of the device were focused on the sol-gel dip-coating method, which involves gravitational draining and drying processes, as well as continued condensation reactions. The dip-coater was based on the Arduino microcontroller and a step motor. The immersion speed in the solution, the waiting time, and the withdrawal process were typed by a digital control panel, where the optimal range found for speed was 0.1 – 6.0 mm s-1 without vibration interferences. The total fabrication cost of the fabricated dip coater was less than 100 USD and the assembly process was not complicated. Finally, the performance of the dip-coater was evaluated through the deposit of copper oxide and iron oxide films on fluorine-doped tin oxide glass substrates layer by layer. The field emission scanning electron microscopy cross-section images confirm the formation of thin films with thickness in the nanoscale range, with good stability and sameness achieved through the control thickness during the dip-coating method under ambient conditions.

AbstractLaser crystallization of silicon is discussed for forming polycrystalline silicon thin films used to fabricate polycrystalline silicon thin film transistors (poly-Si TFTs). Laser-induced rapid heating is important for crystalline film formation with a low thermal budget. Structural and electrical properties of poly-Si films are discussed. Reduction of electrical active defects located at grain boundaries is essential for achieving poly-Si TFTs with high performances. The internal film stress is attractive to increase the carrier mobility. Recent development in laser crystallization methods with pulsed and continuous wave (CW) lasers is then reviewed. Control of the heat flow results in crystalline grain growth in the lateral direction, which is essential for fabrication of large crystalline grains. We also report an annealing method using a high power infrared semiconductor laser. High power lasers will be attractive for rapid crystallization of silicon films over a large area and activation of doped regions.

Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you simply had to “Do It!”—and Noyce did. He dived head-on into these times and with a voracious appetite for its many aspects—film, theatre, rallies, music, art and politics in general. In fact he often was the driving force behind such activities. Noyce described his personal epiphany occurring in 1968: A few months before I was due to graduate from high school, […] I saw a poster on a telegraph pole advertising American 'underground' movies. There was a mesmerising, beautiful blue-coloured drawing on the poster that I later discovered had been designed by an Australian filmmaker called David Perry. The word 'underground' conjured up all sorts of delights to an eighteen-year-old in the late Sixties: in an era of censorship it promised erotica, perhaps; in an era of drug-taking it promised some clandestine place where marijuana, or even something stronger, might be consumed; in an era of confrontation between conservative parents and their affluent post-war baby-boomer children, it promised a place where one could get together with other like-minded youth and plan to undermine the establishment, which at that time seemed to be the aim of just about everyone aged under 30. (Petzke 8) What the poster referred to was a new, highly different type of film. In the US these films were usually called “underground”. This term originates from film critic Manny Farber who used it in his 1957 essay Underground Films. Farber used the label for films whose directors today would be associated with independent and art house feature films. More directly, film historian Lewis Jacobs referred to experimental films when he used the words “film which for most of its life has led an underground existence” (8). The term is used interchangeably with New American Cinema. It was based on a New York group—the Film-Makers’ Co-operative—that started in 1960 with mostly low-budget filmmakers under the guidance of Jonas Mekas. When in 1962 the group was formally organised as a means for new, improved ways of distributing their works, experimental filmmakers were the dominant faction. They were filmmakers working in a more artistic vein, slightly influenced by the European Avant-garde of the 1920s and by attempts in the late 1940s and early 1950s. In film history, this era is also known as the Third Avant-garde. In their First Statement of the New American Cinema Group, the group drew connections to both the British Free Cinema and the French Nouvelle Vague. They also claimed that contemporary cinema was “morally corrupt, aesthetically obsolete, thematically superficial, temperamentally boring” (80). An all-encompassing definition of Underground Film never was available. Sheldon Renan lists some of the problems: There are underground films in which there is no movement and films in which there is nothing but movement. There are films about people and films about light. There are short, short underground films and long, long underground films. There are some that have been banned, and there is one that was nominated for an Academy Award. There are sexy films and sexless films, political films and poetical films, film epigrams and film epics … underground film is nothing less than an explosion of cinematic styles, forms and directions. (Renan 17) No wonder that propelled by frequent serious articles in the press—notably Jonas Mekas in the Village Voice—and regular screenings at other venues like the Film-makers’ Cinemathèque and the Gallery of Modern Art in New York, these films proved increasingly popular in the United States and almost immediately spread like bush fires around the world. So in early September 1968 Noyce joined a sold-out crowd at the Union Theatre in Sydney, watching 17 shorts assembled by Ubu Films, the premier experimental and underground film collective in 1960s Australia (Milesago). And on that night his whole attitude to art, his whole attitude to movies—in fact, his whole life—changed. He remembered: I left the cinema that night thinking, "I’m gonna make movies like that. I can do it." Here was a style of cinema that seemed to speak to me. It was immediate, it was direct, it was personal, and it wasn’t industrial. It was executed for personal expression, not for profit; it was individual as opposed to corporate, it was stylistically free; it seemed to require very little expenditure, innovation being the key note. It was a completely un-Hollywood-like aesthetic; it was operating on a visceral level that was often non-linear and was akin to the psychedelic images that were in vogue at the time—whether it was in music, in art or just in the patterns on your multi-coloured shirt. These movies spoke to me. (Petzke 9) Generally speaking, therefore, these films were the equivalent of counterculture in the area of film. Theodore Roszak railed against “technocracy” and underground films were just the opposite, often almost do-it-yourself in production and distribution. They were objecting to middle-class culture and values. And like counterculture they aimed at doing away with repression and to depict a utopian lifestyle feeling at ease with each imaginable form of liberality (Doggett 469). Underground films transgressed any Hollywood rule and convention in content, form and technique. Mobile hand-held cameras, narrow-gauge or outright home movies, shaky and wobbly, rapid cutting, out of focus, non-narrative, disparate continuity—you name it. This type of experimental film was used to express the individual consciousness of the “maker”—no longer calling themselves directors—a cinematic equivalent of the first person in literature. Just as in modern visual art, both the material and the process of making became part of these artworks. Music often was a dominant factor, particularly Eastern influences or the new Beat Music that was virtually non-existent in feature films. Drug experiences were reflected in imagery and structure. Some of the first comings-out of gay men can be found as well as films that were shown at the appropriately named “Wet Dreams Festival” in Amsterdam. Noyce commented: I worked out that the leading lights in this Ubu Films seemed to be three guys — Aggy Read, Albie Thoms and David Perry […They] all had beards and […] seemed to come from the basement of a terrace house in Redfern. Watching those movies that night, picking up all this information, I was immediately seized by three great ambitions. First of all, I wanted to grow a beard; secondly, I wanted to live in a terrace house in the inner city; and thirdly, I wanted to be a filmmaker. (Ubu Films) Noyce soon discovered there were a lot of people like him who wanted to make short films for personal expression, but also as a form of nationalism. They wanted to make Australian movies. Noyce remembered: “Aggy, Albie and David encouraged everyone to go and make a film for themselves” (Petzke 11). This was easy enough to do as these films—not only in Australia—were often made for next to nothing and did not require any prior education or training. And the target audience group existed in a subculture of people willing to pay money even for extreme entertainment as long as it was advertised in an appealing way—which meant: in the way of the rampaging Zeitgeist. Noyce—smitten by the virus—would from then on regularly attend the weekly meetings organised by the young filmmakers. And in line with Jerry Rubin’s contemporary adage “Do it!” he would immediately embark on a string of films with enthusiasm and determination—qualities soon to become his trademark. All his films were experimental in nature, shot on 16mm and were so well received that Albie Thoms was convinced that Noyce had a great career ahead of him as an experimental filmmaker. Truly alternative was Noyce’s way to finally finance Better to Reign in Hell, his first film, made at age 18 and with a total budget of $600. Noyce said on reflection: I had approached some friends and told them that if they invested in my film, they could have an acting role. Unfortunately, the guy whose dad had the most money — he was a doctor’s son — was also maybe the worst actor that was ever put in front of a camera. But he had invested four hundred dollars, so I had to give him the lead. (Petzke 13) The title was taken from Milton’s poem Paradise Lost (“better to reign in hell than serve in heaven”). It was a film very much inspired by the images, montage and narrative techniques of the underground movies watched at Ubu. Essentially the film is about a young man’s obsession with a woman he sees repeatedly in advertising and the hallucinogenic dreams he has about her. Despite its later reputation, the film was relatively mundane. Being shot in black and white, it lacks the typical psychedelic ingredients of the time and is more reminiscent of the surrealistic precursors to underground film. Some contempt for the prevailing consumer society is thrown in for good measure. In the film, “A youth is persecuted by the haunting reappearance of a girl’s image in various commercial outlets. He finds escape from this commercial brainwashing only in his own confused sexual hallucinations” (Sydney Filmmakers Co-operative). But despite this advertising, so convincingly capturing the “hint! hint!” mood of the time, Noyce’s first film isn’t really outstanding even in terms of experimental film. Noyce continued to make short experimental films. There was not even the pretence of a story in any of them. He was just experimenting with his gear and finding his own way to use the techniques of the underground cinema. Megan was made at Sydney University Law School to be projected as part of the law students’ revue. It was a three-minute silent film that featured a woman called Megan, who he had a crush on. Intersection was 2 minutes 44 seconds in length and shot in the middle of a five-way or four-way intersection in North Sydney. The camera was walked into the intersection and spun around in a continuous circle from the beginning of the roll of film to the end. It was an experiment with disorientation and possibly a comment about urban development. Memories was a seven-minute short in colour about childhood and the bush, accompanied by a smell-track created in the cinema by burning eucalyptus leaves. Sun lasted 90 seconds in colour and examined the pulsating winter sun by way of 100 single frame shots. And finally, Home was a one-and-a-half-minute single frame camera exploration of the filmmaker’s home, inside and out, including its inhabitants and pets. As a true experimental filmmaker, Noyce had a deep interest in technical aspects. It was recommended that Sun “be projected through a special five image lens”, Memories and Intersection with “an anamorphic lens” (Sydney Filmmakers Co-operative). The double projection for Better to Reign in Hell and the two screens required for Good Afternoon, as well as the addition of the smell of burning leaves in Memories, were inroads into the subgenre of so-called Expanded Cinema. As filmmaking in those days was not an isolated enterprise but an integral part of the all-encompassing Counterculture, Noyce followed suit and became more and more involved and politiced. He started becoming a driving force of the movement. Besides selling Ubu News, he organised film screenings. He also wrote film articles for both Honi Soit and National U, the Sydney University and Canberra University newspapers—articles more opinionated than sophisticated. He was also involved in Ubu’s Underground Festival held in August and in other activities of the time, particularly anti-war protests. When Ubu Films went out of business after the lack of audience interest in Thoms’s long Marinetti film in 1969, Aggy Read suggested that Ubu be reinvented as a co-operative for tax reasons and because they might benefit from their stock of 250 Australian and foreign films. On 28 May 1970 the reinvention began at the first general meeting of the Sydney Filmmakers Cooperative where Noyce volunteered and was elected their part-time manager. He transferred the 250 prints to his parents’ home in Wahroonga where he was still living he said he “used to sit there day after day just screening those movies for myself” (Petzke 18). The Sydney University Film Society screened feature films to students at lunchtime. Noyce soon discovered they had money nobody was spending and equipment no one was using, which seemed to be made especially for him. In the university cinema he would often screen his own and other shorts from the Co-op’s library. The entry fee was 50 cents. He remembered: “If I handed out the leaflets in the morning, particularly concentrating on the fact that these films were uncensored and a little risqué, then usually there would be 600 people in the cinema […] One or two screenings per semester would usually give me all the pocket money I needed to live” (Petzke 19). Libertine and risqué films were obviously popular as they were hard to come by. Noyce said: We suffered the worst censorship of almost any Western country in the world, even worse than South Africa. Books would be seized by customs officers at the airports and when ships docked. Customs would be looking for Lady Chatterley’s Lover. We were very censored in literature and films and plays, and my film [Better to Reign in Hell] was banned from export. I tried to send it to a film festival in Holland and it was denied an export permit, but because it had been shot in Australia, until someone in the audience complained it could still be screened locally. (Castaway's Choice) No wonder clashes with the law happened frequently and were worn like medals of honour in those days of fighting the system, proving that one was fighting in the front line against the conservative values of law and order. Noyce encountered three brushes with the law. The first occurred when selling Ubu Films’ alternative culture newspaper Ubu News, Australia’s first underground newspaper (Milesago). One of the issues contained an advertisement—a small drawing—for Levi’s jeans, showing a guy trying to put his Levis on his head, so that his penis was showing. That was judged by the police to be obscene. Noyce was found guilty and given a suspended sentence for publishing an indecent publication. There had been another incident including Phil’s Pill, his own publication of six or eight issues. After one day reprinting some erotic poems from The Penguin Collection of Erotic Poetry he was found guilty and released on a good behaviour bond without a conviction being recorded. For the sake of historical truth it should be remembered, though, that provocation was a genuine part of the game. How else could one seriously advertise Better to Reign in Hell as “a sex-fantasy film which includes a daring rape scene”—and be surprised when the police came in after screening this “pornographic film” (Stratton 202) at the Newcastle Law Students Ball? The Newcastle incident also throws light on the fact that Noyce organised screenings wherever possible, constantly driving prints and projectors around in his Mini Minor. Likewise, he is remembered as having been extremely helpful in trying to encourage other people with their own ideas—anyone could make films and could make them about anything they liked. He helped Jan Chapman, a fellow student who became his (first) wife in December 1971, to shoot and edit Just a Little Note, a documentary about a moratorium march and a guerrilla theatre group run by their friend George Shevtsov. Noyce also helped on I Happened to Be a Girl, a documentary about four women, friends of Chapman. There is no denying that being a filmmaker was a hobby, a full-time job and an obsessive religion for Noyce. He was on the organising committee of the First Australian Filmmakers’ Festival in August 1971. He performed in the agit-prop acting troupe run by George Shevtsov (later depicted in Renegades) that featured prominently at one of Sydney’s rock festival that year. In the latter part of 1971 and early 1972 he worked on Good Afternoon, a documentary about the Combined Universities’ Aquarius Arts Festival in Canberra, which arguably was the first major manifestation of counterculture in Australia. For this the Aquarius Foundation—the cultural arm of the Australian Union of Students—had contracted him. This became a two-screen movie à la Woodstock. Together with Thoms, Read and Ian Stocks, in 1972 he participated in cataloguing the complete set of films in distribution by the Co-op (see Sydney Filmmakers Cooperative). As can be seen, Noyce was at home in many manifestations of the Sydney counterculture. His own films had slowly become more politicised and bent towards documentary. He even started a newsreel that he used to screen at the Filmmakers’ Cooperative Cinema with a live commentary. One in 1971, Springboks Protest, was about the demonstrations at the Sydney Cricket Ground against the South African rugby tour. There were more but Noyce doesn’t remember them and no prints seem to have survived. Renegades was a diary film; a combination of poetic images and reportage on the street demonstrations. Noyce’s experimental films had been met with interest in the—limited—audience and among publications. His more political films and particularly Good Afternoon, however, reached out to a much wider audience, now including even the undogmatic left and hard-core documentarists of the times. In exchange, and for the first time, there were opposing reactions—but as always a great discussion at the Filmmakers’ Cinema, the main venue for independent productions. This cinema began with those initial screenings at Sydney University in the union room next to the Union Theatre. But once the Experimental Film Fund started operating in 1970, more and more films were submitted for the screenings and consequently a new venue was needed. Albie Thoms started a forum in the Yellow House in Kings Cross in May 1970. Next came—at least briefly—a restaurant in Glebe before the Co-op took over a space on the top floor of the socialist Third World Bookshop in Goulburn Street that was a firetrap. Bob Gould, the owner, was convinced that by first passing through his bookshop the audience would buy his books on the way upstairs. Sundays for him were otherwise dead from a commercial point of view. Noyce recollected that: The audience at this Filmmakers’ Cinema were mightily enthusiastic about seeing themselves up on the screen. And there was always a great discussion. So, generally the screenings were a huge success, with many full houses. The screenings grew from once a week, to three times on Sunday, to all weekend, and then seven days a week at several locations. One program could play in three different illegal cinemas around the city. (Petzke 26) A filmmakers’ cinema also started in Melbourne and the groups of filmmakers would visit each other and screen their respective films. But especially after the election of the Whitlam Labor government in December 1972 there was a shift in interest from risqué underground films to the concept of Australian Cinema. The audience started coming now for a dose of Australian culture. Funding of all kind was soon freely available and with such a fund the film co-op was able to set up a really good licensed cinema in St. Peters Lane in Darlinghurst, running seven days a week. But, Noyce said, “the move to St. Peters Lane was sort of the end of an era, because initially the cinema was self-funded, but once it became government sponsored everything changed” (Petzke 29). With money now readily available, egotism set in and the prevailing “we”-feeling rather quickly dissipated. But by the time of this move and the resulting developments, everything for Noyce had already changed again. He had been accepted into the first intake of the Interim Australian Film & TV School, another one of the nation-awareness-building projects of the Whitlam government. He was on his “long march through the institutions”—as this was frequently called throughout Europe—that would bring him to documentaries, TV and eventually even Hollywood (and return). Noyce didn’t linger once the alternative scene started fading away. Everything those few, wild years in the counterculture had taught him also put him right on track to become one of the major players in Hollywood. He never looked back—but he remembers fondly…References Castaway’s Choice. Radio broadcast by KCRW. 1990. Doggett, Peter. There’s a Riot Going On: Revolutionaries, Rock Stars and the Rise and Fall of ’60s Counter-Culture. Edinburgh: Canongate, 2007. Farber, Manny. “Underground Films.” Negative Space: Manny Farber on the Movies. Ed. Manny Farber. New York: Da Capo, 1998. 12–24. Jacobs, Lewis. “Morning for the Experimental Film”. Film Culture 19 (1959): 6–9. Milesago. “Ubu Films”. n.d. 26 Nov. 2014 ‹http://www.milesago.com/visual/ubu.htm›. New American Cinema Group. “First Statement of the New American Cinema Group.” Film Culture Reader. Ed. P. Adams Sitney. New York: Praeger, 1970. 73–75. Petzke, Ingo. Phillip Noyce: Backroads to Hollywood. Sydney: Pan McMillan, 2004. Renan, Sheldon. The Underground Film: An Introduction to Its Development in America. London: Studio Vista, 1968. Roszak, Theodore. The Making of Counter Culture. New York: Anchor, 1969. Stratton, David. The Last New Wave: The Australian Film Revival. Sydney: Angus and Robertson, 1980. Sydney Filmmakers Co-operative. Film Catalogue. Sydney: Sydney Filmmakers Co-operative, 1972. Ubu Films. Unreleased five-minute video for the promotion of Mudie, Peter. Ubu Films: Sydney Underground Movies 1965-1970. Sydney: UNSW Press, 1997.