* Bug ( 2002 film ), a comedy-drama about a chain of events begun by a boy squashing a bug

The event seems to have influenced Chaplin's work, as he planned a film that turned the Tramp into the carer of a young boy.

Meeting Fleming lead to Hawk's first job in the film industry as a prop boy on the Douglas Fairbanks film In Again, Out Again for Famous Players-Lasky, which Fleming was employed on as the cinematographer.

He was next employed as a prop boy and general assistant on an unspecified film directed by Cecil B. DeMille ( Hawks never named the film in later interviews and DeMille made five films roughly in that time period ).

Frankenheimer returned to television during the late 1950s, moving to film permanently in 1961 with The Young Savages, in which he worked for the first time with Burt Lancaster in a story of a young boy murdered by a New York gang.

The film opens at a school where a boy is picking on another boy.

* The 1963 Ingmar Bergman film The Silence ( or Tystnaden ) features a boy, Johan, who plays with Punch and Judy dolls.

A quagga appears in a sequence in the Soviet Union's animated film The Cat Who Walked by Herself, in which a dog tracks the hoofprints of one, and a cat tells a boy of the Red Book of endangered species, and how Quagga had " her track severed " ( that is, made extinct ) due to Man's selfish actions.

The main character of the film is a Cajun boy.

The film tells the story of Cole Sear ( Haley Joel Osment ), a troubled, isolated boy who is able to see and talk to the dead, and an equally troubled child psychologist ( Bruce Willis ) who tries to help him.

* In Akira Kurosawa's film Dodesukaden a mentally ill boy pretends to be a tram conductor.

While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film based on a poem written by the filmmaker, and depicting a young boy who fantasizes that he is his ( and Burton's ) hero Vincent Price, with Price himself providing narration.

* In the film Empire of the Sun, a young boy ( played by Christian Bale ) is put to bed by his loving parents in a scene also inspired by a Rockwell painting — a reproduction of which is later kept by the young boy during his captivity in a prison camp (" Freedom from Fear ", 1943 ).

Weir's first American film was the successful thriller Witness ( 1985 ), the first of two films he made with Harrison Ford, about an Amish boy who sees the murder of an undercover police officer and has to be hidden away in his Amish community to protect him.

* In the Dutch film De Noorderlingen, a boy called Thomas is portrayed, who lives in a fantasy world where he is Lumumba.

The above theme is present in almost all of Bertolucci's works, starting with his second film, Prima della rivoluzione ( 1964 ), where this theme is very clear in the story of a young upper-middle agrarian class boy from Parma ( Francesco Barilli ), who, incapable of dealing with his best friend's suicide, throws himself into a relationship with a much older distant relative from Milan ( played by Adriana Asti ).

Idle was eventually caught watching the X-rated film BUtterfield 8 and stripped of his prefecture, even though by that time he was head boy.

As with Taymor's stage production, the film begins with a young boy playing with toy soldiers and being whisked away to Ancient Rome, where he assumes the character of young Lucius.

He also went to the Downtown Los Angeles neighborhood where he had sold newspapers as a boy and hired some of the street people who congregated there as extras who would add color to the film.

A number of characters and incidents from the novel were omitted-notably David's time at Salem House boarding school, although one character he met at Salem House ( Steerforth ) was retained for the film as a head boy at the school David attended after his aunt Betsey Trotwood gained custody of him.

For instance, in the film David never attends Salem House boarding school, and so the characters he met there do not appear, with the exception of Steerforth, who instead made his appearance as head boy of David's school he attended after going to live with Betsey Trotwood.

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.