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.

When Johnny Mercer and Harold Arlen began their collaboration in 1940, Mercer, like Arlen, had several substantial film songs to his credit, among them `` Hooray For Hollywood '', `` Ride, Tenderfoot, Ride '', `` Have You Got Any Castles, Baby??

Traci Lords was among the actresses auditioning for the film, saying in 2001, " I didn't get the part but I clicked with Bruce ," with whom she would later work as a guest star in the TV series Hercules: The Legendary Journeys.

In the United Kingdom, film adaptations of stage farces were popular in the early 1930s, while the music hall tradition strongly influenced film comedy into the 1940s with Will Hay and George Formby among the top comedy stars of the time.

According to activist writer Naomi Klein, ironic enjoyment of the film initially arose among those with the video before MGM, the film's chief marketer, capitalized on the idea.

Films featuring the Cheka include Ostern's Miles of Fire, Nikita Mikhalkov's At Home among Strangers, the miniseries The Adjutant of His Excellency, and also Dead Season ( starring Donatas Banionis ), and the 1992 Russian drama film The Chekist.

Another early step in the history of computer animation was the 1973 movie Westworld, a science-fiction film about a society in which robots live and work among humans, though the first use of 3D Wireframe imagery was in its sequel, Futureworld ( 1976 ), which featured a computer-generated hand and face created by then University of Utah graduate students Edwin Catmull and Fred Parke.

Having originated among writers, the concept of cyberspace remains most popular in literature and film.

It developed from the earlier magazine Revue du Cinéma ( Review of the Cinema ) involving members of two Paris film clubs — Objectif 49 ( Objective 49 ) ( Robert Bresson, Jean Cocteau and Alexandre Astruc, among others ) and Ciné-Club du Quartier Latin ( Cinema Club of the Latin Quarter ).

Somewhat superior to the run-of-the-mill exploitation films being turned out at that time, the film recouped its shoestring expenses and went on to become a minor cult film among horror buffs.

Such films include Wolfgang Staudte's Die Mörder sind unter uns ( The Murderers are among us ) ( 1946 ), the first film made in post-war Germany, and Wolfgang Liebeneiner's Liebe 47 ( Love 47 ) ( 1949 ), an adaptation of Wolfgang Borchert's play Draußen vor der Tür.

Other up-and-coming filmmakers allied themselves to this Oberhausen group, among them Rainer Werner Fassbinder, Volker Schlöndorff, Werner Herzog, Jean-Marie Straub, Wim Wenders, Werner Schroeter and Hans-Jürgen Syberberg in their rejection of the existing German film industry and their determination to build a new industry founded on artistic excellence rather than commercial dictates.

Having achieved some of its goals, among them the establishment of state funding for the film industry and renewed international recognition for German films, the New German Cinema had begun to show signs of fatigue by the 1980s, even though many of its proponents continued to enjoy individual success.

This is especially commonplace among larger film festivals, such as the Cannes Film Festival, Toronto International Film Festival, Sundance Film Festival, South by Southwest and even smaller " boutique " festivals such as the Miami International Film Festival and the British Urban Film Festival in London.

This film was among those exported to Europe with the first Kinetoscope machines in 1895, and was seen by Georges Méliès, who was putting on magic shows in his Theatre Robert-Houdin in Paris at the time.

The French film industry in the late 19th century and early 20th century was among the world's most important.

Méliès invented many of the techniques of cinematic grammar, and among his fantastic, surreal short subjects is the first science fiction film A Trip to the Moon ( Le Voyage dans la Lune ) in 1902 ).

The historical drama film Jean de Florette ( 1986 ) and its sequel Manon des Sources ( 1986 ) were among the highest grossing French films in history and brought Daniel Auteuil international recognition.

From the outset, this new republic held that film would be the most ideal propaganda tool for the Soviet Union because of its widespread popularity among the established citizenry of the new land ; Vladimir Lenin, in fact, declared it the most important medium for educating the masses in the ways, means and successes of Communism, a position which was later echoed by Joseph Stalin.

Additionally, they have begun to explore notions of difference, engaging in dialogue about the differences among women ( part of movement away from essentialism in feminist work more generally ), the various methodologies and perspectives contained under the umbrella of feminist film theory, and the multiplicity of methods and intended effects that influence the development of films.

Whether film noir qualifies as a distinct genre is a matter of ongoing debate among scholars.

Movies of his such as 20, 000 Years in Sing Sing ( 1932 ) and Private Detective 62 ( 1933 ) are among the early Hollywood sound films arguably classifiable as noir — scholar Marc Vernet offers the latter as evidence that dating the initiation of film noir to 1940 or any other year is " arbitrary ".

After leaving Paramount, she signed deals with various film companies, being cast in her first horror film roles among many other types of roles, including in The Bowery ( 1933 ) and Viva Villa ( 1934 ), both huge productions starring Wallace Beery.