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Based on experimental and numerical studies the present work proposes an effective injection configuration for film cooling applications on sinusoidal corrugated surfaces. The experimental study is performed for different double-row injection locations (per wavelength) viz. (L0-L25), (L0-L50), (L0-L75), (L25-L50), (L25-L75) and (L50-L75) on the sinusoidal corrugated surface at blowing ratio (1), fixed injection angle (45°), and density ratio (1.095). The numerical study is conducted for a wide range of operating parameters such as blowing ratios on (0.5–2), and density ratios (1.095, 1.5, and 2.5). To access the effect of corrugation geometry three different amplitude to wavelength viz. 0.05, 0.075, and 1 are considered in the present numerical study. The outcome of the present double-row slot injection investigations on the sinusoidal corrugated surface indicates that the flow pattern and film cooling strongly depend on secondary injection locations. The (L50-L75) injection case shows the best performance among all selected cases. It shows a 15–19% improvement in film cooling effectiveness (average over one wavelength). The increase of amplitude to wavelength ratio is reported to be a detrimental effect and decreases the film cooling effectiveness. The increase of corrugation amplitude to wavelength ratio increases the depth of the corrugation valley, further restricts the coolant spread, and promotes coolant mixing with hot mainstream. The coolant injection in mainstream flow was also found to be a distinct impact on flow and the nondimensional velocity profile. Apart from that a significant impact of the blowing ratio and density ratio is reported. [ABSTRACT FROM AUTHOR]

To improve the dielectric performance of the anodic alumina film used in aluminum electrolytic capacitors, this study comparatively investigated the microstructure and dielectric properties of anodic aluminum oxide obtained through micro-arc oxidation (MAO) and conventional anodic oxidation (CAO). It is found that from the perspective of microstructure, the internal structure of the MAO treated oxide film has more and larger pores than that of CAO. This was attributed to the generation and overflow of numerous oxygen bubbles from within the oxide film at the locations where plasma sparks occurred during the process, thus forming larger pores. Regarding dielectric properties, the leakage current of the oxide film after MAO treatment was significantly reduced compared to CAO, with reductions of 58%, 56%, 64%, and 74% for the tested electrolytes Y1–Y4, respectively. [ABSTRACT FROM AUTHOR]

Film holes are crucial for the design of advanced aeroengine turbine blades. Understanding the complex changes in dislocations (linear defects), γ/γ′ interfaces (planar defects), and cracks (three-dimensional defects) surrounding film holes poses significant challenges due to their spatiotemporal multiscale characteristics. In the present work, the phase microstructures, dislocations, and cracks of single-crystal Ni-based superalloy specimens with and without film holes are compared. Notably, the results reveal the dislocation mechanisms surrounding film holes, which have rarely been investigated, using finite element analysis and 3D discrete dislocation dynamics coupled with multiscale simulations. The results show that film holes introduce strong heterogeneity into the stress distribution, resulting in dislocation densities at some locations being one order of magnitude greater than those at other locations near the film holes. This pronounced heterogeneity leads to the significant degradation of the phase microstructure and can enhance crack nucleation. [ABSTRACT FROM AUTHOR]

The pastoral station is an under-examined location space in Australia’s screen history. Using the case study of Belmont Station in far west NSW and focusing specifically on the production of television advertisements in the 1980s−1990s, this article proposes the pastoral station as a popular filming location for Australian ‘outback’ imaginaries. Furthermore, I argue that the station has embedded environmental and spatial histories that have enabled it to develop as a film-friendly screen infrastructure. Firstly, the article proposes a new approach to screen studies in Australia that draws from media infrastructures and environmental history to address previously unknown screen production histories. The article then introduces the pastoral station in line with the reoccurring aesthetics of the ‘outback’ imaginary. Finally, it examines how the environmental affordances of the station such as geography, property holdings, and in-house labour ensured a film-friendly location space. Reflecting on environmental histories, it reveals how land degradation caused by settler-colonial industries has shaped the geophysical environment, and how this has in turn shaped the ‘outback’ imaginary. Overall, the article purports that by examining how screen production is co-produced by humans and non-humans, new screen histories are illuminated. [ABSTRACT FROM AUTHOR]

Copyright of Art Time is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers how to read the location outtakes of Claude Lanzmann's film Shoah (1985). These film reels — now digitized and available on the United States Holocaust Memorial Museum's website — often seem to offer little content, and demand different ways of viewing to make any sense of them. I link them to two other types of viewing experience: watching landscapes filmed by Danièle Huillet and Jean-Marie Straub and using online maps such as Google Street View to identify and navigate particular locations. Engaging with the outtakes in this way involves a consideration of the events of the Holocaust indexed by the locations and the images that Lanzmann made of them. It also makes it possible to glean something of the working methods of Lanzmann and his team. Finally, it offers a particular spatial experience in its own right, which, I argue, can serve as a form of Holocaust memorialization. [ABSTRACT FROM AUTHOR]

One main technique for protecting the turbine blades is film cooling. Film cooling isolates the heat flow from the high-temperature flow. It is used against high-temperature flow. The main problem that hinders the flow isolation process is the counter-rotating vortex pair. It is generated because of the primary flow's interaction with the coolant. This leads to the upward spread of the jet film and poor film cooling effectiveness. One method used to improve the effectiveness of film cooling is vortex generation. In this study, two types of vortex generators were used at the upper location of film hole. They were used to suppress the counter-rotating vortex generator. Protrusion V-shaped and rectangular winglet pairs of vortex generators were used. They had a blowing ratio ranging from 0.5 to 2 at a 35-degree angle. The numerical results show that both types of vortex generators work to form additional anti-counter-rotating vortex generators. This lessens the effects of CRVP. Using vortex generators is more effective than not using them. This is because they reduce the negative effects of counter-rotating vortex pairs by reducing the vorticity of the downwash. Downwash vortices and counter-rotating vortex pairs are in competition with one another. Therefore, the positive effects of vortex generators will diminish as the blowing ratio rises. The results show higher film cooling performance for the flat plate when the blowing ratio is 1. This was observed for both types of vortex generators. Winglet vortex generator, in particular, showed this performance. [ABSTRACT FROM AUTHOR]

Miranda Findlay, the managing editor of Feminist Formations, reflects on her journey to receiving a PhD in Women, Gender, and Sexuality Studies. She discusses her childhood obsession with the Twilight series and how it influenced her interest in the Pacific Northwest. Findlay also explores the concept of luck and imposter syndrome, acknowledging the systemic oppression and exclusion that marginalized individuals face. She emphasizes the importance of recognizing one's own achievements and supporting others in their academic and professional endeavors. Findlay concludes by stating that her success was not a result of luck, but rather her own hard work and dedication. She will be joining Ripon College's Women's, Gender, and Sexuality Studies program as a Visiting Assistant Professor. [Extracted from the article]

From 1851, the British government became responsible for the management of Hampton Court Palace in an arrangement of the Crown Lands Act, leading to the government maintaining the site on behalf of the reigning monarch 'in right of Crown'. From 1911, the government considered whether to allow filmmakers access to Hampton Court for their productions. This article will trace the history of the film policy relating to this site until 1989, when Historic Royal Palaces was formed as an Executive Agency of Government to maintain the site, later acquiring charitable status in its own right in 1998. It will draw upon material held in the National Archives, which demonstrates how the film policy relating to Hampton Court adapted and changed over time. This article will analyse key film projects, both realised and unrealised, including Royal England: The Story of the Empire's Throne (1911), Hampton Court Palace (1926) and The Private Life of Henry VIII (1933) to explore how the government approached allowing filmmakers access to the site, and the reasons behind their rigid stance toward film production on location within the broader context of the government's support toward the British film industry more generally. [ABSTRACT FROM AUTHOR]

The fantasy series Game of Thrones (GoT) has become a phenomenon that reaches far beyond the television screens. Through extensive on-location filming, the series has linked its diegetic world of Westeros to countless heritage sites across several countries, most prominently Northern Ireland. Through narrative and special effects, GoT has overcoded these landscapes with their on-screen identities leading not only to a surge in tourists who want to travel to fictional locations such as 'Winterfell' and 'King's Landing', but also affecting previously established global perceptions and local identities. Previously associated with the heritage of the Northern Ireland conflict, the so-called Troubles, GoT enabled a reimagining of this landscape through popular culture. A multi-sited visual ethnography on the impact of the series on the heritage landscapes of its filming locations reveals that popular culture can create a new heritage – even entirely fictional and one of blood and death itself – that can significantly contribute to overcoming national trauma and memory conflict. This sentiment was especially emphasized by people growing up and living in Northern Ireland, who saw their home's reputation significantly improved and their new role as 'Game of Thrones Territory' as a unifying narrative in an inherently dissonant heritage context. [ABSTRACT FROM AUTHOR]

This article analyzes the movie "The Swimmers" using ideological and frameby- frame film analysis methods. The themes, characters, and locations in the film are evaluated in the context of the critique of orientalism and self-orientalism, analyzing how ideological themes are processed and reinforced. The film associates concepts of faith and hope with Christianity, presenting Christian characters as saviors. While telling the story of Syrian refugees, the film chooses Christian and European-looking heroes, portraying Muslims negatively. Emphasizing the superiority of Western culture, the film depicts the Eastern world as backward and helpless. Countries such as Türkiye are coded as dark and uncanny, while European countries are idealized. The positive portrayal of Greece praises European efforts towards refugees but creates a negative image of the Turkish Coast Guard. The orientalist and self-orientalist elements of the film are attempts to present an attractive narrative for Western audiences. The Muslim screenwriter's distortion of Eastern historical realities under Western producers' influence represents self-orientalism. This approach reflects an endeavor to present Eastern culture in line with Western perspectives to gain Western approval, reinforcing prejudices rather than fostering understanding of cultural and political differences. [ABSTRACT FROM AUTHOR]

"The A-Team: Why Heist-Comedies Are Unprofitable" is a 2010 action-adventure film directed by Joe Carnahan. The plot follows four American soldiers who are tasked with recovering stolen $100 bill-printing plates. After the plates are re-stolen and their commander is assassinated, the soldiers are put on trial and accused of collaborating with the thieves. They are later commissioned by a CIA agent to retrieve the plates and seek revenge. The film features A-list actors and includes explosive action scenes. The article also discusses the history of plate theft and counterfeiting, highlighting the unrealistic nature of the film's plot. Despite its absurdity, "The A-Team" stands out as a successful and funny heist film in a genre that often struggles to be profitable. [Extracted from the article]

Due to the inevitable deviation of the casting process, the dimensional error of the turbine blade is introduced. As a result, the location datum of the film cooling holes is changed, which has an impact on the machining accuracy. The majority of pertinent studies concentrate on the rigid location approach for the entire blade, which results in a modest relative position error of the blade surface but still fails to give the exact position and axial direction of the film cooling holes of the deformed blade. In this paper, the entire deformation of the blade cross-section curve is divided into a number of deformation combinations of the mean line curve based on the construction method of the blade design intent. The exact location of the film cooling holes in the turbine blade with deviation is therefore efficiently solved by a flexible deformation of the blade that optimises the position and axial direction of the holes. The verification demonstrates that the novel method can significantly reduce both the contour deviation of the blade surface and the location issue of the film cooling holes. After machining experiments, the maximum position deviation of the holes is reduced by approximately 80% compared to the rigid location method of the entire blade, and the average value and standard deviation are also decreased by about 70%. [ABSTRACT FROM AUTHOR]

The flow and morphological characteristics of liquid water on the icing and anti-icing surfaces of aircraft are closely related to the icing characteristics and anti-icing surface temperature distribution. To predict the flow and breakup characteristics of a water film, a 3D model of continuous water film flow and a model of water film breakup into rivulets on an anti-icing surface were constructed based on the icing model, and the corresponding methods for solving the models were developed. Using the NACA0012 airfoil as a simulation object, the changing characteristics of height and velocity for a continuous water film with time and the morphological characteristics of rivulets formed from the breakup of a continuous water film were simulated numerically. The results indicate that, with an increase in inflow velocity, the time required for the water film to completely cover the surface and reach stability decreases. Downstream in the water droplet impact zone, the calculated values of continuous water film height align well with experiments, as well as the stream height at the continuous water film rupture location with the experimental values. With the reasonable contact angle, the calculation error of the stream width is within 10%. [ABSTRACT FROM AUTHOR]

This research extensively discusses the connection between destination image and films influencing tourism. Despite the worldwide fame of the James Bond saga and extensive publications on the subject, research into the role of tourism promotion in the image of destinations is still scarce, and there is no specific focus on analysing promotional aspects in relation to film-induced tourism. This study focuses on the influence of cinematographic images on the destination image perception and promotion, specifically exploring the case of the James Bond saga as a practical case. With 25 films released since 1962, the James Bond saga provides a basis for evaluating cinematic presence in tourism promotion strategies. This research proposes the content analysis of the official tourist websites of 23 destinations where the James Bond saga was shot, which offer some tourist products linked to the saga. The key findings provide valuable insights into the promotion of James Bond saga tourism destinations, the role of films in promoting destinations, and the tourism products developed from the saga films. The results provide visual outputs about the target image of the film shooting locations, and the text analysis provides keywords linked to the theme. The study's methodology contributes to the discourse on film tourism and destination image topics and brings practical and theoretical contributions to both academia and destination managers. [ABSTRACT FROM AUTHOR]

Increased attention to film tourism processes has driven the need for research on its relevance to destination marketing. Film tourism involves different actors with various interests, often making collaboration challenging. This study aims to understand how film tourism can succeed within complex processes involving multiple actors by using in-depth semistructured interviews. Using actor-network theory and emphasizing the relational network in the case study of film location bus tours, it shows that human and nonhuman actors, the tourism and film industries, film commissions, advertising agencies, residents, tourists, ports, and buses interact to create film tourism. This study shows that film tourism networks that were formed successfully are disbanded because of the changing relations between human and nonhuman actors in film tourism. The analysis reveals that power lies in the network created by collaboration among all actors, and the future of film tourism development relies on how heterogeneity is processed. It critically examines the binary of host and guest in tourism and attempts to transcend it constructively. Theoretically, it extends the context of how different actors' interests are effectively processed. This study contributes toward enhancing sustainable tourism by reflecting the nature unique to the region, integrating with films shot in a destination to revitalize the regional economy. [ABSTRACT FROM AUTHOR]

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: Observation of the animal world is an important component of nature surveys. It provides a number of different information concerning aspects such as population sizes, migration directions, feeding sites and many other data. The paper below presents the results from the flights of an unmanned aerial vehicle (UAV) aimed at detecting animals in their natural environment. Design/methodology/approach: The drone used in the research was equipped with RGB and thermal infrared (TIR) cameras. Both cameras, which were mounted on the UAV, were used to take pictures showing the concentration of animals (deer). The overview flights were carried out in the villages of Podlaskie Voivodeship: Szerokie Laki, Bialousy and Sloja. Research flights were made in Bialousy and Sloja. A concentration of deer was photographed during research flights in Sloja. A Durango unmanned platform, equipped with a thermal imaging camera and a Canon RGB camera, was used for research flights. The pictures taken during the flights were used to create orthomaps. A multicopter, equipped with a GoPro camera, was used for overview flights to film the flight locations. A flight control station was also used, consisting of a laptop with MissionPlanner software. Findings: Analysis of the collected images has indicated that environmental, organisational and technical factors influence the quality of the information. Sophisticated observation precision is ensured by the use of high-resolution RGB and TIR cameras. A proper platform for the cameras is an UAV provided with advanced positioning systems, which makes it possible to create high-quality orthomaps of the area. When observing animals, the time of day (temperature contrast), year season (leaf ascent) or flight parameters is important. Originality/value: The paper introduces the conclusions of the research flights, pointing out useful information for animal observation using UAVs. [ABSTRACT FROM AUTHOR]

This article aims to widen the discussion on destination images and imaginaries circulated via fictional movies and TV series. In particular, it analyzes how people living in film locations interpret media portrayals of their place of residence, which is an uncommon approach in the research conducted to date. To this end, an exploratory qualitative study was carried out in the city of Seville, Spain, which has appeared in multiple movies and TV series. Interviews were conducted with a heterogenous group of 23 residents and the data were assessed using a thematic analysis. The results illustrate the pivotal role of personal experiences of a place, or an absence thereof, in the decoding processes undertaken, as exemplified by the ways in which the interviewees interpreted the portrayal of local social issues and marginal areas of the city. The findings also uncover a desire to see a more diverse and accurate depiction of Seville on screen. [ABSTRACT FROM AUTHOR]

We examine theoretically the spread of a jet impacting on a circular disk and the hydraulic jump of a viscoplastic fluid of the Herschel–Bulkley type. The depth-averaging approach is employed in the supercritical region, and the subcritical flow is assumed to be inertialess of the lubrication type. The jump is treated as a shock, where the balance of mass and momentum is established in the radial direction, including the effect of surface tension across the jump. We show that, in contrast to the Newtonian jet, which requires separate formulations in the developing-boundary layer and fully viscous layers, the supercritical formulation for the fully yielded and pseudo-plug layers is uniformly valid between the impingement zone and the jump. Consequently, a viscoplastic jet does not experience the discontinuity in the film height, pseudo-plug layer velocity gradient, and shear stress, exhibited by a Newtonian film at the transition location. The jump is found to occur closer to impingement, with growing height, as the yield stress increases; the subcritical region becomes invaded by the pseudo-plug layer. The viscosity does not influence sensibly the jump location and height except for small yield stress; only the yielded-layer is found to remain sensitive to the power-law rheology for any yield stress. In particular, shear thickening can cause the fully yielded layer to drop in height despite the jump in the film surface. We also find that the jump would not occur if the disk was smaller than a critical size, but the yield stress tends to enhance the formation of the jump compared to a Newtonian jet. We show that an almost constant local downstream Froude number also exists for a viscoplastic fluid. Finally, our results reduce to the limiting cases of Bingham, power-law, and Newtonian fluids. [ABSTRACT FROM AUTHOR]

Copyright of Turismo: Visão e Ação is the property of Turismo-Visao E Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cinema and architecture are both art forms in which space is a significant component, and both express their temporality through space. In cinema, space can serve as the main character. This research aims to study the phenomenological meaning of "house" from a cinematic perspective. The unforgettable houses in cinematic experience are imaginative buildings that can transfer the con-sensory experience to the audience. This study takes a qualitative approach and uses the descriptive-analytical and phenomenological methods. The research data collection tools are; documentary studies and personal interview with the film's director. What makes the main pillar of this article is the concept and the manner of residing in the house as the first spatial experience. Cinematic space can be viewed as a space through which the existential nature of the house can be reliably perceived by human senses of sight, hearing, and touch. While analyzing the meaning and concept of the house in the cinematic architecture of the Chess of the Wind (Mohammadreza Aslani, 1976), which was based on the theories of Christian Norberg Schultz and Juhani Pallasmaa, the dramatic meaning of physical and non-physical elements of space is investigated. The location of this film possesses an exclusive position and shows the manner and the moods of characters of the film. Due to previous knowledge of the director and production designer, the house has gained an element of identity and individuality in the film. This movie is written based on place. Analyzing the architecture and spatiality from a phenomenological perspective allows the audience to come to a robust conclusion; namely if the filmmaker personally conceived the nature of residential phenomena, his films are the products of his experiences and the audience could conceive, decode and experience these points in his own turn. The experiences of the director possess a determinant role in affecting the meaning of the place. When the director has written the script based on familiar locations, he can define and coordinate the characters in his preferred spaces. In this movie, the house for the sake of its residents has lost its real meaning and has turned to a precious consignment for attaining a position of power. The characters are introduced according to the territories they occupy and the share of natural light they receive. Thereby, each character understands space in a different way. None of the characters is regarded as the main character, and the central character, the house, becomes the residents' plaything. This is the house that quarrels with the characters and evicts them because of their lack of harmonious relationship. The house becomes an active place during the narrative, an outstanding Qajar house whose perspective at the end of the film is designed in order to make a viewer want to live in it. The house's residents have ceased living in the house and have also ceased living in order to own it. [ABSTRACT FROM AUTHOR]

The article focuses on the booming film and television industry in Calgary and Alberta, Canada. Topics include the experiences of actors working on productions such as "The Last of Us" television series; the growing reputation of Alberta, Canada, as a film-friendly location; the financial incentives offered to attract productions; the positive impact on the local economy and job market; and also mentions the promising future of the industry in the region.

In 2019, Jacques Audiard's eighth feature film, Les Frères Sisters, was nominated for nine César awards and headlined both the UniFrance and Alliance Française French Film Festivals. However Les Frères Sisters/The Sisters Brothers (2018) features no French dialogue, actors, settings or filming locations. Indeed, a growing number of recent films are being labelled as French by national cinema bodies ranging from the CNC to UniFrance and the Césars Academy, despite few clearly 'French' characteristics. This article analyses a selection of transnational, transcultural and translingual case studies which have been distributed as French, concentrating on Les Frères Sisters, through the lens of cinéma-monde. Transnational in scope while maintaining connections to the Francosphere, cinéma-monde bends the conventions of national cinemas to foreground 'a flexible corpus of films that are linked to the francophone world by some combination of linguistic or cultural affinities, geographic contacts, production connections, or reception networks'. The article uses cinéma-monde to consider how films such as Les Frères Sisters continue to be produced, distributed, consumed and judged within the frameworks of national cinemas, but also to conclude that such frames are insufficient to fully understand these films and how they operate in the world. [ABSTRACT FROM AUTHOR]