* In the 2005 video game From Russia with Love, Moneypenny appears with Lois Maxwell's likeness in the same film, and a voice by Karly Rothenberg ( who also voices Rosa Klebb in the game ).

In English-language film she is remembered for her Academy Award-nominated role in The Roman Spring of Mrs. Stone ( 1961 ) and as the sadistic and vengeful Rosa Klebb in the James Bond movie From Russia with Love ( 1963 ).

Although twice referred to, SMERSH never appears in the official film series ; first, in From Russia with Love ( 1963 ), Bond initially thinks he is fighting SMERSH, only to learn that the villains are from SPECTRE, including villainess Rosa Klebb, the former head of SMERSH who has secretly defected to SPECTRE.

In the film, Klebb ( Lotte Lenya ), defected from SMERSH to SPECTRE.

In the film From Russia with Love, working under Rosa Klebb makes him a SPECTRE agent.

Colonel Rosa Klebb is a fictional character and the main antagonist from the James Bond film and novel From Russia with Love.

The film also featured Ana María Noé as Lotte Krayendorf, who strongly resembled Lotte Lenya's portrayal of Rosa Klebb in From Russia With Love.

A relative newcomer in outdoor signs is Mylar polyester film, now used as a printed overlay for trans-illuminated signs ( see below ).

The copy itself, including any text or illustrations, is reproduced in full color directly on a thin Mylar polyester film by a photo screen process.

For example, when the film is only four minutes old, Neitzbohr refers to a small, Victorian piano stool as `` Wilhelmina '', and we are thereupon subjected to a flashback that informs us that this very piano stool was once used by an epileptic governess whose name, of course, was Doris ( the English equivalent, when passed through middle-Gaelic derivations, of Wilhelmina ).

The effect, needless to say, is almost terrifying, and though at times a bit obscure, the film is certainly a much-needed catharsis for the `` repressed '' movie-goer.

Since the removal force is a function of coating thickness, a differential transformer pickup has been incorporated into the instrument to accurately measure film thickness.

If the force required to remove the coatings is plotted against film thickness, a graph as illustrated schematically in Fig. 5 may characteristically result.

Here, H is the coatings removal force measured parallel to the surface of the substrate and T is the film thickness.

If the cutting force, Af, is plotted against film thickness, a straight line should result passing through the origin and having slope Af.

This signifies that **yc, the rake angle, is no longer a constant to zero film thickness.

The resultant friction force, Af is thus directly proportional to Af and consequently also to film thickness.

The first two forces are directly interrelated and depend upon film thickness, whereas Af is independent of these two and is a constant for a given knife/coating combination.

Of the two, Porter is justly the better known, for he went far beyond the vital finding of fiction for films to take the first step toward fashioning a language of film, toward making the motion picture the intricate, efficient time machine that it has remained since, even in the most inept hands.

In a series of fairy tales and fantasies, Melies demonstrated that the film is superbly equipped to tell a straightforward story, with beginning, middle and end, complications, resolutions, climaxes, and conclusions.

In narrative, time is essential, as it is in film.

Almost everything about the movies that is peculiarly of the movies derives from a tension created and maintained between narrative time and film time.

The Great Train Robbery is a one-reel film.

The material of the Porter film is simplicity itself ; ;

The plane of the action in the scene is not parallel with the plane of the film in the camera or on the screen.

The physical film is cut with a knife at the end of one complete sequence, and the cut edge is joined physically, by cement, to the cut edge of the beginning of the next sequence.

The `` chase '' as a standard film device probably dates from The Great Train Robbery, and there is a reason for the continued popularity of the device.

* In the 2004 epic war film Troy, Agamemnon is depicted as a ruthless power-mad king played by Brian Cox.

In the film, the monster is called a Kraken, although it is depicted as a lizard-like creature rather than a squid ; and combining two elements of the myth, Perseus defeats the sea monster by showing it Medusa's face, turning the monster into stone.

Visual effects supervisor William Mesa showed Raimi storyboards he had from Victor Fleming's film Joan of Arc that depicted huge battle scenes and he picked out 25 shots to use in Army of Darkness.

Modern Times ( 1936 ), which depicted factory workers in dismal conditions, was the first of his films that was seen by critics to contain an anti-capitalist message, although Chaplin denied the film being in any way political.

Claudius has been portrayed in film on several other occasions, including in the 1979 motion picture Caligula, the role being performed by Giancarlo Badessi in which the character was depicted as an idiot, in contrast to Robert Graves ' portrait of Claudius as a cunning and deeply intelligent man who is perceived by others to be an idiot.

* In the 1988 film Heathers, Winona Ryder and her friends are depicted as playing croquet.

Cleveland's struggles over the 30-year span were highlighted in the 1989 film Major League, which comically depicted a hapless Cleveland ball club going from worst to first by the end of the film.

The novel fleshes out the world that these characters exist in, at times presenting a future even bleaker than the one depicted in the film.

Works such as Marjorie Rosen ’ s Popcorn Venus: Women, Movies, and the American Dream ( 1973 ) and Molly Haskell ’ s From Reverence to Rape: The Treatment of Women in Movies ( 1974 ) analyze how the women portrayed in film related to the broader historical context, the stereotypes depicted, the extent to which the women were shown as active or passive, and the amount of screen time given to women.

Style Wars depicted not only famous graffiti artists such as Skeme, Dondi, MinOne and Zephyr, but also reinforced graffiti's role within New York's emerging hip hop culture by incorporating famous early break dancing groups such as Rock Steady Crew into the film and featuring rap in the soundtrack.

Aleandro is depicted by Jonathan Firth in the 2003 film Luther as the main antagonist.

This film offers an alternative origin for the Immortals, who are depicted as aliens exiled to Earth from Zeist.

A darker image of the hillbilly is found in the film Deliverance ( 1972 ), based on a novel by James Dickey, which depicted the hillbilly as genetically deficient and murderous.

It was never distributed because Emperor Hirohito had been depicted and labeled as a war criminal ; and as the film was due for release there had been an American government policy shift to keep the Emperor after the war as a means of maintaining order in post-war Japan.

However, reviewers criticized the age disparity between Spacey and Darin, noting that Spacey was too old to convincingly portray Darin, particularly during the early stages of the singer's life depicted in the film.

* The 2000 film Bread and Roses by British director Ken Loach depicted the struggle of cleaners in Los Angeles to fight for better pay, and working conditions, and the right to join a union.

The film depicted a large labyrinth at The Overlook Hotel, in the form of a hedge maze.

By the 1970s some Native American film roles began to show more complexity, such as those in Little Big Man ( 1970 ), Billy Jack ( 1971 ), and The Outlaw Josey Wales ( 1976 ), which depicted Native Americans in minor supporting roles.

In the 2011 film Seeing Heaven, Narcissus is depicted in a painting-the character of the film also replicates the myth of Narcissus gazing at his own reflection.

The figure depicted in the Patterson-Gimlin film generally matches the descriptions of Bigfoot offered by others who claim to have seen the creatures.

Bob Heironimus claims to have been the figure depicted in the Patterson film, and his allegations are detailed in Long's book.

* The Nazi occupation of Poland and the Allied bombing of Peenemünde are depicted in the British feature film Battle of the V-1 ( 1958 ) ( called Missiles From Hell in the United States and some other countries ), which starred the actor Michael Rennie.

One admirer of Heinlein has said that the society depicted in the film showed only a superficial resemblance to the society that Heinlein describes in his book.