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.

By and large, Robert McEnroe's adaptation of Maurice Walsh's film, `` The Quiet Man '', provides the entertainment it set out to, and we have a lively musical show if not a superlative one.

In collaboration with Frederick Loewe, he created some of the world's most popular and enduring works of musical theatre for both the stage and on film.

Lerner and Loewe's run of success continued with their next project, a film adaptation of stories from Colette, the Academy Award winning film musical Gigi, starring Leslie Caron, Louis Jourdan and Maurice Chevalier.

In 1965 Lerner collaborated again with Burton Lane on the musical On a Clear Day You Can See Forever, which was adapted for film in 1970.

The following year they collaborated on a musical film version of The Little Prince, based on the classic children's tale by Antoine de Saint-Exupéry.

He also had been working with Gerard Kenny and Kristi Kane ( libretto ) in London on a musical version of the classic film My Man Godfrey.

A Funny Thing has enjoyed several Broadway and West End revivals and was made into a successful film starring the original lead of the musical, Zero Mostel.

A Funny Thing Happened on the Way to the Forum was made into a musical film in 1966, directed by Richard Lester, with Zero Mostel and Jack Gilford re-creating their Broadway stage roles, Leon Greene reprising his West End stage role and Phil Silvers starred in an expanded role as " Marcus Lycus ".

" And the song " New York, New York " ( by Betty Comden and Adolph Green from the 1940s musical comedy and film, " On the Town ") explains that " The Bronx is up and the Battery's down.

), and was executive producer for the film version of the musical Mamma Mia !.

The resulting fight between the townsfolk and Lamarr's army of thugs breaks the fourth wall, quite literally ; the fight spills out from the Warner Bros. film lot into a neighboring musical set being directed by Buddy Bizarre ( Dom DeLuise ), then into the studio commissary, where a pie fight ensues.

Among his various musical credits, Mumy has recorded and written songs with America, toured with Shaun Cassidy, and played in Rick Springfield's band in the film, Hard to Hold.

One advantage Chaplin found in sound technology was the ability to record a musical score for the film ; he also took the opportunity to mock the talkies, opening City Lights with a squeaky, unintelligible speech that " burlesqued the metallic tones of early talky voices ".

Chaplin considered the musical accompaniment of a film to be important, and from A Woman of Paris onwards, he took an increasing interest in this area.

According to film historian Jeffrey Vance, " although he relied upon associates to arrange varied and complex instrumentation, the musical imperative is his, and not a note in a Chaplin musical score was placed there without his assent.

Caitlin Clarke ( May 3, 1952 – September 9, 2004 ) was an American theater and film actress best known for her role as Valerian in the 1981 fantasy film Dragonslayer and for her role as Charlotte Cardoza in the 1998 – 1999 Broadway musical Titanic.

In 1991 he performed on Broadway in the short-lived musical Nick and Nora ( based on the Thin Man film ) with Joanna Gleason, the daughter of Monty Hall.

These excavations, led by archaeologist Leslie Alcock from 1966 – 70, were titled " Cadbury-Camelot ," and won much media attention, even being mentioned in the film of the musical Camelot.

The musical was adapted into a 1967 film of the same name, which starred Richard Harris as Arthur, and which featured the Castle of Coca, Segovia as a fittingly opulent Camelot.

After the disappointment of a dramatic film career, Day returned to her musical / comedic roots in 1957's The Pajama Game with John Raitt.

was a 2008 musical based on the 1990 anime film of the same name.

Hopkins later directed a film version of the stage play, to which he also wrote the musical score.