Bibliografías temáticas / Low-budget film

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Literatura académica sobre el tema "Low-budget film"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 19 de febrero de 2023

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Artículos de revistas sobre el tema "Low-budget film"

Ellermann, Marissa. "Book Review: ’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures". Reference & User Services Quarterly 57, n.º 4 (15 de junio de 2018): 300. http://dx.doi.org/10.5860/rusq.57.4.6711.

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’80s Action Movies on the Cheap: 284 Low Budget, High Impact Pictures is a work that sets out to examine the evolution of action movies from their cheesy low-budget origins and how they influenced the development of the action film genre. The author states that his interest in exploring the topic stems from his belief that the 1980s was the birth of the modern-day action film (1). There are 284 entries arranged chronologically that examine the films’ plots and their influencers. The entries have an informal tone, but they are well researched and use examples from other film genres to make connections. The book is intended for use by a variety of researchers, but its tone and content make it most suitable for use as an introduction to 1980s action and adventure films for action movie lovers or film students.

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Michael, Aron y Chee Yee Kwok. "Evaporated Thick Polysilicon Film With Low Stress and Low Thermal Budget". Journal of Microelectromechanical Systems 22, n.º 4 (agosto de 2013): 825–27. http://dx.doi.org/10.1109/jmems.2013.2248129.

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Valančiūnas, Deimantas. "Introduction. From Highbrow to Lowbrow: Studies of Indian B-grade cinema and beyond". Acta Orientalia Vilnensia 12, n.º 2 (1 de enero de 2011): 7–12. http://dx.doi.org/10.15388/aov.2011.1.3936.

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Vilnius University Cardboard skulls decorating the book of the dead’s pink cover―the Necronomicon; intoxicated young ladies having a ‘kitty party’ then gang raping their male servant; secret agents 077 and 707 serving the nation; a shape-shifting monster’s head rotates 180 degrees while tracing a doomed bride in red and the list of similar images is far from exhaustive. The above mentioned aesthetical and narrative cinematic devises just happen to come from a variety of Indian films―usually ascribed to the ‘lower’ cinematic cultures and labeled as exploitative, B-grade or even ‘trash’ cinema. Often despised and ridiculed by academicians, critics, and the big budget film industries while at the same time enjoying vast popularity in smaller urban centers and towns, these Indian low budget films co-exist with Bollywood and other major industries―yet work by their own sets of rules and agendas. These films remain a part of the national as well as global film consumption, even if slightly overshadowed by the blockbuster or Arthouse cinemas. Despite the changing trends in India’s film productions and aesthetics, the low budget cinema retains its cult status throughout the country―and this is most evident while taking a stroll down the Grant Road in Mumbai, lined up with numerous video stalls and offering enormous amounts of cheaply produced ‘3 films in 1’ type of DVDs: the genre selection ranging from action (fight) to horror; from mythological to soft-core sex films.

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Liu, Gang y S. J. Fonash. "Low Thermal Budget Poly-Si Thin Film Transistors on Glass". Japanese Journal of Applied Physics 30, Part 2, No. 2B (15 de febrero de 1991): L269—L271. http://dx.doi.org/10.1143/jjap.30.l269.

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Hsiao-Yi Lin, Chun-Yen Chang, Tan Fu Lei, Feng-Ming Liu, Wen-Luh Yang, Juing-Yi Cheng, Hua-Chou Tseng y Liang-Po Chen. "Low-temperature and low thermal budget fabrication of polycrystalline silicon thin-film transistors". IEEE Electron Device Letters 17, n.º 11 (noviembre de 1996): 503–5. http://dx.doi.org/10.1109/55.541762.

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Scott, Jason. "From Local Roots to Global Screens: Shane Meadows’ Positioning in the Ecology of Contemporary British Film". Journal of British Cinema and Television 10, n.º 4 (octubre de 2013): 829–45. http://dx.doi.org/10.3366/jbctv.2013.0182.

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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.

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Strugova, Ekaterina A. "REPRESENTATION OF THE MANIAC FIGURE THROUGH THE PRISM OF THE US CINEMA OF THE 1960-80s: FROM A HISTORICAL CHARACTER TO THE MYTH OF THE GENRE IN CONTEMPORARY CINEMA". Articult, n.º 2 (2022): 76–86. http://dx.doi.org/10.28995/2227-6165-2022-2-76-86.

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This article considers the figure of a maniac as a key aspect of the reception of the US cinema of the 1960s-1980s, which influenced the aesthetic and narrative features of contemporary cinema. The first thematic block of the article substantiates that the historical context of the American film industry of the second half of the XX century served as the basis for the legitimization of socially disapproved characters who previously appeared in low-budget cinema predominantly. To clarify the reasons why the serial killer as an object of film theory became associated with horrors and exploitation films of the 1970s, it is refuted that his screen image completely follows the logic of genres that developed in this decade. There is expanding of the issues of films about maniacs by an analysis of the theme of ‘criminally insane’ characters in the US cinema of the 1970s on the example of the film of the same name by Nick Millard in the second part of the article. It is concluded that the audiovisual and genre patterns of low-budget cinema of the last century motivate contemporary directors to turn a serial killer into a historical character.

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Hambly, Glenda. "Climbing Everest: the ‘national’ and ‘international’ in low budget feature film". Studies in Australasian Cinema 15, n.º 3 (2 de septiembre de 2021): 87–102. http://dx.doi.org/10.1080/17503175.2021.1993647.

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Hick, Jochen. "The influence of TV and film funding on current European (low budget) art house film". Studies in European Cinema 7, n.º 1 (septiembre de 2010): 31–36. http://dx.doi.org/10.1386/seci.7.1.31_1.

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Ayguavives, F., B. Agius, B. EaKim y I. Vickridge. "Oxygen transport during annealing of Pb(Zr,Ti)O3 thin films in O2 gas and its effect on their conductivity". Journal of Materials Research 16, n.º 10 (octubre de 2001): 3005–8. http://dx.doi.org/10.1557/jmr.2001.0412.

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Lead zirconate titanate (PZT) thin films were deposited in a reactive argon/oxygen gas mixture by radio-frequency-magnetron sputtering. The use of a metallic target allows us to control the oxygen incorporation in the PZT thin film and also, using oxygen 18 as a tracer, to study the oxygen diffusion in the thin films. Electrical properties and crystallization were optimized with a 90-nm PZT thin film grown on RuO2 electrodes. These PZT films, annealed with a very modest thermal budget (550 °C) show very low leakage current densities (J = 2 × 10−8 A/cm2 at 1 V). In this article we show that a strong correlation exists between the oxygen composition in the PZT film and the leakage current density.

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Tesis sobre el tema "Low-budget film"

Ivanisevic, Paunovic Jelena. "From Low Budget to Big Business : Releasing Strategies for Indeoendent Films and Industry Division". Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181523.

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The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film. This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US. Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market. The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.

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Fair, James. "A different understanding of low and micro-budget film production in the UK". Thesis, Staffordshire University, 2017. http://eprints.staffs.ac.uk/4936/.

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This thesis examines whether there is a different perspective to low and microbudget filmmaking than has previously been understood, challenging the Low and Micro-Budget Film Production in the UK report, commissioned by the UK Film Council (UKFC) in 2008 to inform their policies. The introduction of this thesis illustrates how the UKFC report used inappropriate methodologies and poses the research question: would a different methodology present a perspective of low and micro-budget film production that differs from the ‘comprehensive picture’ that the UKFC claimed to portray? Participatory Action Research (PAR) is presented as a suitable methodology, as it has not previously been used to explore film production and it enables a plurality of perspectives to be presented from across the crew. However, the participatory action of filmmaking is resource intensive and required various stakeholders to collaborate in order to address the research question. A feature-length film, The Ballad of Des and Mo, was shot, edited and screened as part of the Melbourne International Film Festival in 2010, and artefacts created as part of the film’s production (including a further feature length documentary following the process) are presented as evidence within this thesis. However, serious limitations were encountered within the PAR process, including incomplete data collection, contested representation of the process within the artefacts and struggles over ownership. The discussion contends that PAR within film production is unreliable, but argues that the artefacts created were still examples of low and micro-budget filmmaking, and subsequent analysis is conducted using grounded theory to establish themes within the artefacts. The outcomes correlate with wider literature and establish that the UKFC’s report was incomplete and did not present a ‘comprehensive picture’ of low and micro-budget filmmaking. Two findings are established: the limitations of PAR in a filmmaking context and the discovery that low and micro-budget filmmaking places unique pressures on social relationships.

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Gallina, Dino. "RED TIDE: A FEATURE LENGTH MOTION PICTURE". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2198.

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The following document provides insight into the uncharted process of producing a micro-budget feature length film. This paper aims to document my growth as an artist in terms of storytelling and filmmaking as well as the development and production process. Red Tide: A Feature Length Motion Picture includes elements from each phase of the production process, from story and script development to marketing and distribution. This document reflects on the obstacles we faced and the solutions we implemented during the process of creating a feature length motion picture on an undersized budget.
M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA

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Local, Patrick. "How to Produce a Movie in the Middle of Nowhere with No Money". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1544178023546224.

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Fasolo, Damian. "The making of Broken: A manifesto for a democratised cinema". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2340.

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The enemy of art is the absence of limitations. (Orson Welles cited in Hurbis-Cherrier, 2011, p. 16) While much has been written on low budget independent film movements, there is little research on the correlations that exist between them, and in particular, the filmmaking approaches and techniques which significantly affect their final form. The key argument of this project is that, central to the critical success of any low budget film, is a filmmaker’s ability to transform the limitations imposed on them, and the constraints that they choose, into creative gain. Though it would appear to operate contrary to ordinary reasoning and intuition, constraint in an artistic context, is one of the filmmaker’s most powerful tools. The ensuing research and practice reveal how the implementation of this approach can, for example, bring about selfreflexivity and expressionism, political subversion, active viewing, and ambiguity. Furthermore, constraints are often used as a marketing tool to leverage a film’s status by creating a point of differentiation. This exegesis examines the development of 20th century low budget movements which operated within a ‘manifesto of constraints’. Specifically, it seeks to identify filmmaking approaches of limitation, whether that be through strategies of constraint in budget, crewing, narrative form, and stylistic approach, and how these contributed to the critical success of the resulting work. In addition, there is an analysis on current trends in filmmaking practice, primarily resulting from a democratisation in technologies as well as new methods of funding, marketing and distribution. By identifying shared commonalities of limitation among the movements and their manifestos, and by taking into account recent advancements in filmmaking practices, an informed, synthesised manifesto is subsequently devised. The creative film component of this research project, a no budget, semi-autobiographical feature film entitled Broken (Fasolo, 2017), is then produced, testing the rules set out in the synthesised manifesto. Finally, both the process of production and creative work are critically examined in light of the research; and as a result of the gaps identified through practice, a new manifesto is developed and presented for the 21st century democratised, no budget filmmaker.

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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16558/1/Matt_McMillan_Thesis.pdf.

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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.

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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.

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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.

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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.
ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design

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Conner, William. "Less Lost: No Touchdown Dance". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.

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Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema

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Catling, Aaron. "The Ending Needs Work AKA the Good, the Bad and the Ugly of being an independent filmmaker in Australia". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16091/1/Aaron_Catling_Thesis.pdf.

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Over the period of candidature, write and direct a feature film to completion. Furthermore, undertake a thorough reflective phase which involves the analysis of each aspect relating to those key components, writing and directing. Through this form of creative practice and utilising state of the art digital filmmaking techniques it is hoped that an addition to knowledge will be achieved.

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Libros sobre el tema "Low-budget film"

Harmon, Renee. Film producing: Low budget films that sell. Hollywood: Samuel French, 1988.

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Brown, Robert Latham. Planning the Low-Budget Film. Chicago: Chalk Hill Books, 2009.

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Harmon, Renee. Complete guide to low budget film production. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1985.

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Chandler, Chris. The low budget funding guide: Funding for low budget film and video production. [London]: BFT, Regional Development Unit, 1997.

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Chandler, Chris. The low budget funding guide: Funding for low budget film and video production. London: BFI, 1996.

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Sullivan, Monica. VideoHound's independent film guide. Detroit: Visible Ink Press, 1998.

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Sullivan, Monica. VideoHound's independent film guide. 2^a ed. Detroit, MI: Visible Ink Press, 1999.

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Schmidt, Rick. Feature filmmaking at used-car prices: How to write, produce, direct, film, edit, and promote a feature-length film for less than $10,000. New York: Penguin Books, 1995.

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Indie film producing: The craft of low budget filmmaking. Amsterdam: Elsevier/Focal Press, 2012.

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1972-, Newman Jonathan y Williams Cara, eds. The guerilla film makers movie blueprint. London: Continuum, 2003.

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Capítulos de libros sobre el tema "Low-budget film"

Clevé, Bastian. "Special Tips for Low-Budget Productions". En Film Production Management, 43–54. Fourth edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315223186-4.

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Weaving, Simon. "Creating the Low-Budget Feature Film Script: Development as Emergence". En The Palgrave Handbook of Script Development, 59–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-82234-7_5.

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Kirsten, Karina. "Diskursive Veränderungen in Psycho zwischen Horrorsensation und Autorenkino". En Genresignaturen, 75–143. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-36161-7_3.

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ZusammenfassungAlfred Hitchcocks Film Psycho gilt als einer der meistanalysiertesten Filme der Filmgeschichte. Von einem zu Entstehungszeiten als umstritten aufgenommenen Film hat sich Psycho über die Jahre zu einem Klassiker der Filmkunst und des Genrekinos entwickelt, wo er unter zahlreichen Bestenlisten reiht: 2007 landete Psycho in der vom American Film Institute organisierten Umfrage auf Platz 14 der 100 besten Filme der Filmgeschichte (AFI, „10th Anniversary“), bei der vom britischen Magazin Sight & Sound 2012 initiierten Wahl dagegen ‚nur‘ auf Platz 35, aber wie die Redaktion betont: „Hitchcock’s low budget ‚shocker‘ paved the way for the modern horror film.“

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Rial, Carmen. "The Circulation of Low-Budget Videos in the Football System". En Ethnographies of ‘On Demand’ Films, 145–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78911-4_7.

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Gupta, Indrani. "Financing for a Resilient Health System in India: Lessons from the COVID Pandemic". En Health Dimensions of COVID-19 in India and Beyond, 245–59. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-7385-6_13.

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AbstractCOVID-19 has again brought into focus the need for building a resilient health system which can cater efficiently and equitably to the population during normal times as well as during unforeseen events like an epidemic, pandemic, or other unanticipated occurrences that impact human health. To be prepared well in advance means to avoid unnecessary morbidity and mortality on the one hand, and minimize socio-economic impact on individuals and households, on the other. The author argues that each component that goes into building a resilient health system requires financing, making health financing the key policy knob for the government. India has had to struggle in real time to fill the various gaps in the health system during the pandemic, by undertaking emergency investment on a variety of essential goods and services for the health sector. The analysis of trends in health financing indicates that government investment has remained very low which has prevented strengthening key areas of the health system like infrastructure, personnel, and medical supplies. It has also resulted in high out-of-pocket expenditures for health care by households, exacerbating inequalities in access. Finally, the latest budget outlays for health are examined to analyze whether India has been able to use the pandemic as a wake-up call for prioritizing the health sector and build a stronger health system.

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Honthaner, Eve Light. "Practical Low-Budget Filmmaking". En The Complete Film Production Handbook, 415–33. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81150-5.00026-x.

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Clevé, Bastian. "Special Tips for Low-Budget Productions". En Film Production Management, 55–66. Elsevier, 2006. http://dx.doi.org/10.1016/b978-0-240-80695-2.50007-2.

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"Special Tips for Low-Budget Productions". En Film Production Management, 62–73. Routledge, 2012. http://dx.doi.org/10.4324/9780080477732-8.

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Gustafsson, Tommy. "Slasher in the Snow: The Rise of the Low-Budget Nordic Horror Film". En Nordic Genre Film, 189–202. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0014.

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Arguably, the horror film is the most frowned upon film genre, perhaps only surpassed by the porn film. Historically, the horror film has often been seen by Nordic film critics and film censors since the 1930s as something foreign or as yet another sign of unlawful Americanisation. Although the production of genre films has been prominent among all Nordic film industries ever since the silent film period, these genre films have mostly consisted of comedies and, especially in recent years, crime and detective films. The Nordic horror film in all its shapes and forms has been an anomaly in the Nordic countries, and this argument does not include the somewhat anachronistic genre labelling of films such as The Phantom Chariot (Körkarlen, Victor Sjostrom, 1921) and The Vampire (Vampyr, Carl Theodore Dreyer, 1932).

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"From Game Mod to Low-Budget Film". En The Machinima Reader. The MIT Press, 2011. http://dx.doi.org/10.7551/mitpress/8298.003.0004.

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Actas de conferencias sobre el tema "Low-budget film"

LlU, G. y S. J. FONASH. "Low Thermal Budget Poly-Si Thin Film Transistors on Glass". En 1990 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 1990. http://dx.doi.org/10.7567/ssdm.1990.s-e-7.

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Takahashi, Kouta, Hiroshi Ikenoue, Mitsuo Sakashita, Osamu Nakatsuka, Shigeaki Zaima y Masashi Kurosawa. "Low thermal budget fabrication of poly-Ge1-xSnx thin film thermoelectric generator". En 2018 IEEE 2nd Electron Devices Technology and Manufacturing Conference (EDTM). IEEE, 2018. http://dx.doi.org/10.1109/edtm.2018.8421488.

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Kuo, Yue, Chen-Han Lin y Minghao Zhu. "A novel low thermal budget thin-film polysilicon fabrication process for large-area, high-throughput solar cell production". En 2010 35th IEEE Photovoltaic Specialists Conference (PVSC). IEEE, 2010. http://dx.doi.org/10.1109/pvsc.2010.5617121.

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Zhuang, Yong-Xiang, Jay Shieh, Miin-Jang Chen y Hsin-Chih Lin. "Modulation of Zirconia Ferroelectricity via Crystal Orientation of Pt Electrode". En ASME 2021 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/smasis2021-67936.

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Abstract The origin of ferroelectricity and antiferroelectricity in zirconia (ZrO2) ultrathin films has become a topic of great interest in recent years. The normal ferroelectricity in ZrO2 is widely considered to originate from the high-pressure noncentrosymmetric Pca21 orthorhombic (o) phase. While the antiferroelectric-like behavior is regarded as the result of a phase transition from the centrosymmetric and paraelectric P42/nmc tetragonal (t) phase to the ferroelectric o-phase under electrical loading. This study reports an effective technique to selectively produce a ferroelectric or antiferroelectric ZrO2 ultrathin film (∼15 nm) without compositional manipulation. The technique is based on tailoring the crystal orientation of the Pt bottom electrode on which the ZrO2 ultrathin film is deposited. By correlating the results of the XRD, HRTEM, and electric field-polarization (P-E) analyses, it is found that a cubic phase (111)-oriented Pt electrode promotes the textured growth of the ferroelectric o-phase (111) planes in the ZrO2 ultrathin film; while a random-oriented Pt electrode leads to a t-phase dominated system, resulting in an antiferroelectric-like pinched P-E hysteresis. The modulation of ZrO2 ferroelectricity via the crystal orientation of the Pt bottom electrode can be achieved with a low thermal budget (< 400 °C), making it highly favorable for process integration and device scaling in a variety of nanoelectronics and nanoelectromechanical applications.

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Michael, A., C. Y. Kwok, O. Kazuo y S. Varlamov. "Low thermal budget low stress thick polysilicon films for MEMS using ultra-high vacuum e-beam evaporation". En 2013 Transducers & Eurosensors XXVII: The 17th International Conference on Solid-State Sensors, Actuators and Microsystems (TRANSDUCERS & EUROSENSORS XXVII). IEEE, 2013. http://dx.doi.org/10.1109/transducers.2013.6627173.

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Sivarama Iyer, Dileep y Nikhil Chandran Pillai. "Advanced Models for Fatigue Life Estimation of Combustor Components for Gas Turbine Application". En ASME 2019 Gas Turbine India Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gtindia2019-2380.

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Abstract Modern day combustors operate at very high temperatures which are close to combustor material softening temperatures. At the same time, to meet stringent emission legislations there is a strong drive to improve upon the rich burn combustor technology or shift to advanced lean burn combustor technologies. One of the key driver to improve emission is to save the cooling air budget and use the saved air for primary combustion but this approach would require more advanced and efficient cooling techniques. Fan shaped effusion cooling technology is a very promising technique as it offers high film cooling effectiveness. However, complex cooling features associated with this technology can lead to higher stress concertation and localized triaxial stress state. This stressstrain field in combination with a typical gas turbine engine operating cycle makes such effusion holes highly vulnerable to the thermo-mechanical fatigue failure. Hence to ensure the safety and reliability of combustor liners with such innovative features, it is essential to have thorough understanding of the stress-strain field in the vicinity and accurate prediction of life to first crack. The biggest challenge the designers and engineers face while predicting the initiation life of a structure is selecting the appropriate fatigue damage model for an application. This is due to following reasons: (a) The scatter in fatigue life predicted using different models and experimental values are very huge (b) There is no general universal method which can predict the multiaxial fatigue life accurately for all the materials and loading conditions (c) No general consensus exits among the researchers on which model have to be used for a particular application, material, loading and geometry (d) Application level studies are seldom available on this subject, most of the studies are restricted to laboratory level specimens with very limited implications to industry. Ideally, the fatigue damage model which has to be used for a particular application has to be validated through experiments. To meet this objective, several test specimens featuring novel fan shaped hole geometries were mass-produced using state of the art laser drilling technology. All these specimens were subjected to strain controlled isothermal low cycle fatigue test and the cycles to crack initiation was monitored using potential drop method. Six different multiaxial fatigue damage models (which can be used in low cycle fatigue regime) viz. Walker model, Smith Watson and Topper model (SWT), Fatemi Socie model (FS), Wang and Brown model (WB), Shang model (SW) and Xu model were selected and the life estimated by these models were compared with the experimental values. From the study it is observed that Xu model in which the damage parameter is built using the concept of shear strain energy looks most promising for this application.

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Reyes, J. Molina, T. Hoshii, S. I. Ohmi, H. Funakubo, A. Hori, I. Fujiwara, H. Wakabayashi, K. Tsutsui y K. Kakushima. "Endurance Improvement in Ferroelectric Y-doped HfO₂ Thin Films on NiSi₂ with Low-Thermal Budget Processing". En 2019 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 2019. http://dx.doi.org/10.7567/ssdm.2019.h-2-01.

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Ho, Tu Dac y Kay Fjørtoft. "Communications Challenges in the Arctic: Oil and Gas Operations Perspective". En ASME 2017 36th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/omae2017-61211.

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Challenges when operating offshore systems in the Arctic were addressed and analyzed from general data communications systems to distress communications systems. Two methodologies were developed with tools for estimating: a) Rainfall rate in the worst case as well as the degradation due to the highest rainfall rate to link budget of typical satellite links; b) Performance of any service at a given geographical area or location. The evaluations were for diversified inputs such as geographical locations were ranging from further south to high North; the most typical satellite communications systems in the region; and an abundant list of services dedicated to offshore Oil and Gas industry, the paper has provided a wide range list of results and recommendations when analyzing services performances from low to high latitudes and west to east longitudes. An important conclusion was that voice-relevant services were not working fine for both Inmarsat and VSAT from the latitude of 73.5 degree North regardless of the bandwidth of the satellite when assuming the deadline for these voice packets was one second. These services can be partially of fully satisfied by Inmarsat or VSAT depends on the bandwidth provided if working below that latitude. For file transfer services, it is possible to guarantee a certain satisfactory ratio at high latitude provided a compensation for bandwidth. The paper1 also provides other numerical results in regarding of link compensation that can be used for new satellite link purpose.

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Informes sobre el tema "Low-budget film"

Yue Kuo. A NOVEL LOW THERMAL BUDGET THIN-FILM POLYSILICON FABRICATION PROCESS FOR LARGE-AREA, HIGH-THROUGHPUT SOLAR CELL PRODUCTION. Office of Scientific and Technical Information (OSTI), agosto de 2010. http://dx.doi.org/10.2172/992272.

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