Wetting of grain boundaries in ultrafine-grained copper by liquid bismuth

In the present work, we studied the effect of liquid Bi on the microstructure evolution of ultrafinegrained Cu at elevated temperatures

WORK OF THE PRODUCER OF THE ANIMATED FILM ON THE PREPARATPRY PERIOD

The article discusses the activities of a producer of the animated film stage on the preparatory period. Considered such aspects as the idea, develop the concept, its visualization, search buyers, work on script, develop a production plan, budgeting, ensuring protection of materials against piracy. The article explores the relationship of the producer with other representatives of the audiovisual business, in particular with customer entertainment products, as the establishment of these linkages is very important on the preparatory period. Provides documentation compiled by the producer at the time

EXPORT-IMPORT RELATIONS OF SOVIET CINEMA DURING THE YEARS OF «STAGNATION»

The article discusses issues related to international hire of domestic cinema in the period of Stagnation, as well as procurement policy in the field of cinema. These issues were dealt with such organization as «Sovexportfilm». This period is characterized by a number of difficulties in the field of export-import relationship, caused by the reasons of objective nature (for example the «Сold war» between the USSR and the USA), and the subjective relevance to the problems within the Soviet film industry (the decline of the artistic and technical level will domestic movie)

SOVIET CINEMAS DURING THE YEARS OF "STAGNATION"

In the article the questions of distribution and right of Soviet cinema in the 1970's - early 1980-ies. The author examines the repertoire policy, the issues associated with the construction of cinemas, the state cinema, the issues of kinesiology and kinodocument. As discussed in the article the period is not accidentally entered into the history as the period of "stagnation", the author focuses on the theme of "stagnation" in Soviet cinema and tries to find its causes. In this regard, the main emphasis to work done on problems in the field of cinema, which led to the fall of kinodocument

SOVIET CINEMAS DURING THE YEARS OF "STAGNATION"

In the article the questions of distribution and right of Soviet cinema in the 1970's - early 1980-ies. The author examines the repertoire policy, the issues associated with the construction of cinemas, the state cinema, the issues of kinesiology and kinodocument. As discussed in the article the period is not accidentally entered into the history as the period of "stagnation", the author focuses on the theme of "stagnation" in Soviet cinema and tries to find its causes. In this regard, the main emphasis to work done on problems in the field of cinema, which led to the fall of kinodocument

СТВОРЕННЯ У ВИЩОМУ НАВЧАЛЬНОМУ ЗАКЛАДІ ЕСТЕТИЧНОГО ОСВІТНЬОГО СЕРЕДОВИЩА

In the article it has been determined the essence of the notion “aesthetic learning environment” and peculiarities of its creation in higher educational establishment. Special attention is given to the fact that aesthetic learning environment connects students with surrounding reality and art, let us understand distinctness of peculiar conditions of aesthetic life.Aesthetic education forms students understanding of beauty, aesthetic taste and high aesthetic ideals develops the need to keep beautiful and confirms the desire to make a beautiful life, to form it, as Karl Marx pointed out, "also according to the laws of beauty”. Aesthetic education allows students form the ability to see the highest ideal of beauty in Motherland service, in consolidation for peace and security of nations.В статье определенно сущность понятия "эстетическая образовательная среда" и особенности ее создания в высшем учебном заведении. Обращается внимание на то, что эстетическая учебная среда связывает студента с окружающей действительностью и искусством, позволяет понять определенность своеобразных условий эстетичной жизни студента ВУЗа. Подчёркивается, что будущий специалист должен видеть красивое, героическое, прекрасное в жизни и в обучении, уметь сохранять и приумножать его. Указано, что данный процесс предусматривает приобретение студентами эстетических знаний и формирование соответствующих убеждений, потребностей, интересов, привычек, умений в соответствии с требованиями современного информационного общества.У статті визначено сутність поняття "естетичне освітнє середовище" та особливості його створення у вищому навчальному закладі. Звертається увага на те, що естетичне освітнє середовище пов’язує студента з навколишньою дійсністю і мистецтвом, дає можливість зрозуміти визначеність своєрідних умов естетичного життя студентів ВНЗ. Підкреслено, що майбутній фахівець має бачити красиве, підвищене, героїчне, прекрасне у житті і навчанні, вміти зберігати і творити його. Зазначено, що даний процес передбачає набуття студентами естетичних знань і формування відповідних переконань, потреб, інтересів, звичок, навичок і вмінь згідно з вимогами сучасного інформаційного суспільства

Annealing-induced recovery of indents in thin Au(Fe) bilayer films

We employed depth-sensing nanoindentation to produce ordered arrays of indents on the surface of 50 nm-thick Au(Fe) films deposited on sapphire substrates. The maximum depth of the indents was approximately one-half of the film thickness. The indented films were annealed at a temperature of 700 °C in a forming gas atmosphere. While the onset of solid-state dewetting was observed in the unperturbed regions of the film, no holes to the substrate were observed in the indented regions. Instead, the film annealing resulted in the formation of hillocks at the indent locations, followed by their dissipation and the formation of shallow depressions nearby after subsequent annealing treatments. This annealing-induced evolution of nanoindents was interpreted in terms of annihilation of dislocation loops generated during indentation, accompanied by the formation of nanopores at the grain boundaries and their subsequent dissolution. The application of the processes uncovered in this work show great potential for the patterning of thin films

REPERTOIRE OF CINEMAS AND AUDIENCE PREFERENCES IN THE ERA OF "STAGNATION"

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition

REVITALIZATION OF TV AND VIDEO IN THE PERIOD OF «STAGNATION» AS ONE OF THE FACTORS REDUCING KINODOCUMENT

The article discusses the process of expanding the scope of television production and, later, video, and, as a consequence of this process, the fall of kinodocument in the era of Stagnation. While the quality of television films in the 1970s, has grown, the quality of films has steadily declined. In this regard, the audience gradually refocused his attention from the big screen to television. In the 1970s movie sociology had been intensified. Sociologists tried unsuccessfully to solve the problem of the fall of kinodocument. Soon the cinema have got another competitor - video. This further exacerbated the problems of the movie. Income from box office had been steadily declining, reaching a critical minimum, on the eve of restructuring

REPERTOIRE OF CINEMAS AND AUDIENCE PREFERENCES IN THE ERA OF "STAGNATION"

The article deals with the repertoire policy of Soviet cinema in the 1970's - early 1980-ies. By studying such aspects as genre and thematic range, the plots, the characters, etc., the author tries to reveal the relationship between changes taking place in society at the time, and cinema as a repeater these changes. In particular, the strengthening of censorship in the era of stagnation leads to the fact that the vast majority of directors "breaks" under the weight of the system and continues to work by inertia - in the space of canonical Communist ideas and the Soviet conception of life. These worldviews continue to run in the conveyor of the Soviet film industry, which automatically gives the most part of its products smack of falsehood, which cannot fail to perceive the viewer. Largely for this reason, in the 1980-ies our movie will be in poor condition