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.

This French film, set in Italy, is a summertime splurge in shock and terror all shot in lovely sunny scenery -- so breath-taking that at times you almost forget the horrors the movie is dealing with.

The film is memorable for its almost incessant use of the phrase, " Leave the Bronx!

It is precisely from this crudity that the film itself gains a credibility of “ realism .” In an interview with Michael Bliss, De Palma notes “ Black, Baby was rehearsed for almost three weeks ...

At a cost of almost $ 1, 000, 000, Chaplin felt it was the best film he had made to that point.

" He then had sets constructed and worked with his stock company to improvise gags and " business " around them, almost always working the ideas out on film.

* Jean-Luc Godard, in his film Sympathy for the Devil, used a crane for almost every shot in the movie, giving each scene a 360 degree tour of the tableau Godard presented to the viewer.

* Prominent socialites, elite aristocrats and royal families, top level professional athletes, chart-topping musicians and pop singers, television and film actors with lead roles on prominently scheduled television shows and hit box office movies, internationally recognized supermodels and models are almost invariably celebrities.

Reviewing the film for Scientific American, John Rennie says " The term is a curious throwback, because in modern biology almost no one relies solely on Darwin's original ideas ...

Such films were extremely rare, and almost entirely restricted to film versions of the life of Christ, which had reached three reels in length in the first few years of cinema.

The 1980s saw the decline of the major Japanese film studios and their associated chains of cinemas, with major studios Toho and Toei barely staying in business, Shochiku supported almost solely by the Otoko wa tsurai films, and Nikkatsu declining even further.

Since the late 1990s, almost all release prints have used polyester film stock.

Cues from these scores were used to almost completely replace the original Japanese score by Akira Ifukube and give the film a more Western sound.

One part of the film, on the other hand, has garnered almost universal praise: Godzilla's final attack on Megalon, a flying kick.

The New World version of the film was almost universally criticized by North American critics.

His many innovations transformed the Hollywood musical film, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.

The film received almost universally negative reviews.

As the subculture became well-established, the connection between goth and horror fiction became almost a cliché, with goths quite likely to appear as characters in horror novels and film.

During a film career of almost thirty years, he appeared in 75 feature films.

Produced at a cost of almost $ 9 million with a high-profile cast including John Hurt, Gabriel Byrne and, in his final role, Robert Mitchum, the film marked a significant departure for the director from his previous features.

The film was not edited and released until almost 10 years later.

Although Riefenstahl lived for almost another half century, Tiefland was her last feature film.

He followed that film with the hugely successful World War II epic The Dirty Dozen ( 1967 ) in which top-billed Marvin again portrayed an intrepid commander of a colorful group ( future stars John Cassavetes, Charles Bronson, Telly Savalas, Jim Brown, and Donald Sutherland ) performing an almost impossible mission.

It was well received, and, despite having almost none of the play's script, critic Harold Bloom called it " the most successful film version of Macbeth.