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 1971, SLON made Le Train en marche, a new prologue to Soviet filmmaker Aleksandr Medvedkin's 1935 film Schastye, which had recently been re-released in France.

The film's graveyard prologue is a recreation of the opening scene from Ed Wood's then-unreleased 1958 film Night of the Ghouls.

Its accompanying Lawrence of Arabia-inspired music video was played in theaters across the world as a prologue to the film Clueless.

The film begins with a prologue, the only commentary in the film.

The film contains adaptations of " The Veldt ", " The Long Rain ", " The Last Night of the World " and expands the prologue and epilogue with intermittent scenes and flashbacks of how the illustrations came to be.

Sir Arthur Conan Doyle, who appeared in the prologue to the film based on his novel of the same name, reportedly showed a reel of O ' Brien's animation from the film to his friends, claiming it was real footage of living dinosaurs, to try to convince them that his story was based on fact.

Sturges wanted the film to begin with the prologue: " This is the story of a man who wanted to wash an elephant.

The film opened with a lengthy prologue.

McCay accepted, and extended the film to include a live-action prologue and intertitles to replace his stage patter.

The film employs a prologue and epilogue to frame the narrative story.

The film featured a prologue " apprising the audience that the hoodlums and terrorists of the underworld must be exposed and the glamour ripped from them " and an epilogue " pointing the moral that civilization is on her knees and inquiring loudly as to what is to be done.

The film was also re-released in 1954, with a written prologue added before the opening credits, advising that gangsters such as Tom Powers and Caesar " Rico " Bandello, the title character in Little Caesar ( played by Edward G. Robinson ), are a menace that the public must confront.

The Associated Press noted: " DeForest's gnomish face was the first to greet viewers when Letterman's NBC show debuted on February 1, 1982, offering a parody of the prologue to the Boris Karloff film Frankenstein.

Bledsoe was actually seen singing " Ol ' Man River " in the sound prologue shown preceding the film.

A prologue and epilogue contributed to the film by Montgomery characterize the film's content — which largely portrays Graham as innocent of the murder — as factual.

Eddie and Ida Cantor were seen in a brief prologue and epilogue set in a projection room, where they are watching Brasselle in action ; at the end of the film Eddie tells Ida, " I never looked better in my life "... and gives the audience a knowing, incredulous look.

The film can be viewed as both prologue and epilogue to the television series Twin Peaks ( 1990 – 91 ), created by Lynch and Mark Frost.

More appeared in a 35 minute prologue to The Collector ( 1965 ) at the special request of director William Wyler however it ended up being removed entirely from the final film.

The film was released with a special prologue and epilogue in South African cinemas after Reeves ' death, praising him as a true friend of the country.

In 1962, they used it to make the prologue to Orson Welles ' film adaptation of Franz Kafka's novel The Trial.

In order to give a moral justification for the violence of the film for American broadcast television audiences, a four and a half minute prologue was added to the film for its ABC television debut.

In the film's brief prologue, an unseen narrator asks a series of rhetorical questions that prime the audience to view the film through a metaphysical lens touching on traditional philosophical questions involving determinism vs. philosophic libertarianism, as well as epistemology.