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.

The use of film rather than videotape was essential, as British 405-line video was technically incompatible with the U. S. NTSC videotape format.

Not technically a projector system, it was a peep show machine showing a continuous loop of the film Dickson invented, lit by an Edison light source, viewed individually through the window of a cabinet housing its components.

Leone's next two films – For a Few Dollars More ( 1965 ) and The Good, the Bad and the Ugly ( 1966 ) – completed what has come to be known as the Man with No Name trilogy ( a. k. a. the Dollars Trilogy ), with each film being more financially successful and more technically accomplished than its predecessor.

" In his review of the film, Roger Ebert says that " Chaplin was technically not playing the Tramp ", but Ebert also states that, " He put the Little Tramp and $ 1. 5 million of his own money on the line to ridicule Hitler ".

## how the song was released: Cyndi Grecco, Pratt & McClain, Joey Scarbury, David Naughton, and MFSB, for instance, were all technically one-hit wonders, but their hits were solely popularized by their use as themes to television shows ( Laverne & Shirley, Happy Days, The Greatest American Hero, Makin ' It, and Soul Train respectively ), although Naughton's hit did also appear on the soundtrack to the film, Meatballs, from the same year the song was released ( 1979 ).

According to The Twilight Zone Companion this was one of the hardest episodes technically to put on film.

Nickelodeon also advertises hour-long episodes of its original series, such as iCarly, True Jackson, VP, Big Time Rush, Victorious and House of Anubis as movies ; though these technically do not qualify as such as the " TV movie " versions of Nickelodeon's original series are shorter than the standard length of a television movie ( approximately 45 minutes without commercials, compared to the typical 75 – 100 minutes for television movies ), the hour-long episodes of the channel's multi-camera comedies are shot using that camera setup ( whereas feature films and television movies are standardly shot in a single-camera setup ), laugh tracks are used and the programs are shot on videotape instead of film ( though the video frame rate of its multi-camera comedies are reduced to the 24p film frame rate, using the filmizing process ).

The film producers insisted so Morley persuaded Keeler to sit astride a plywood chair so that whilst technically she would be nude, the back of the chair would obscure most of her body.

The exposure slit is formed by drawing open the first curtain onto one drum and then pulling closed the second curtain off a second drum after a clockwork escapement timed delay ( imagine two overlapping window shades ) and moves at one speed ( technically the curtains are still accelerating slightly ) across film gate.

Jailhouse Blues is often referred to as a " lost film ," though technically it hasn't been ; the visual element has been held at the Library of Congress for a long time, but no soundtrack disc was known.

For cinema releases, the BBFC has no legal power ( technically, films do not even have to be submitted for classification ), as it falls to councils to decide who should be admitted to a certain film, but they generally apply the BBFC's certificates, effectively making them legally-binding.

A video editor is a technically inclined individual that is involved with making creative video editing decision in the post-production of film making and video production.

Taking into account its $ 90 million budget, the film was technically considered a moderate financial success after its theatrical run.

Welles sought to direct the film with Chaplin as star, but Chaplin backed out at the last minute, on the grounds that he'd never been directed by somebody else in a full length feature film before and wasn't willing to start ( which was not technically correct since he was directed in one feature film during his Keystone days.

Raymond Williams compares Peer Gynt with August Strindberg's early drama Lucky Peter's Journey ( 1882 ) and argues that both explore a new kind of dramatic action that was beyond the capacities of the theatre of the day ; both created " a sequence of images in language and visual composition " that " became technically possible only in film.

Monster Zero said that " some critical flaws exist " but felt overall that " of all the films of the < nowiki >< nowiki ></ nowiki >, Godzilla vs MechaGodzilla II represents Toho's most technically and artistically successful effort ," adding that " the action sequences in this film are impeccable ... excitingly staged, logical, and quite dramatic.

The entire Shadows of the Empire project, along with The Force Unleashed, though not technically a film, can be collectively considered the closest project to a film in the Star Wars official continuity, without actually being a film.

In Peter Jackson's film adaptations of The Lord of the Rings, Gimli calls Balin his cousin, though their kinship is technically " first cousin once removed ".

Andromeda also features in the 2010 film Clash of the Titans, a remake of the 1981 version.

The ongoing popularity of the series spawned a 1993 film remake by 20th Century Fox.

Because of illness, he asked his son-in-law, actor Anthony Quinn, to direct a remake of his 1938 film The Buccaneer ; although DeMille served as executive producer, he was unhappy with Quinn's work and tried unsuccessfully to remedy the situation.

Emlyn Williams was cast as Caligula in the never-completed 1937 film I, Claudius, and Courtney Love appeared as Caligula in a fake trailer for Gore Vidal's Caligula, ostensibly a remake of the 1979 film, but actually a parodic short film by conceptual artist Francesco Vezzoli.

For the 1954 movie remake starring Audie Murphy and Thomas Mitchell, see Destry ( film ).

* Down ( film ), an English remake of the film De Lift, about an express elevator that develops a mind of its own

Muhomatsu no Issho, released as the Rickshaw Man 1958 remake in the United States, to recreate the honesty and integrity seen in the film.

His feature film debut was in producer Samuel Goldwyn's Technicolor 1944 comedy Up in Arms, a remake of Goldwyn's Eddie Cantor comedy Whoopee!

" The film Little Miss Marker ( and its remake, Sorrowful Jones ) grew from his short story of the same name.

Work on a script for a further film has started although it was announced on July 13, 2011 that Raimi and Campbell would now shift focus to a remake of the original film.

Empire magazine praised the film saying " the gaudily gory, virtuoso, hyper-kinetic horror sequel / remake uses every trick in the cinematic book " and confirms that " Bruce Campbell and Raimi are gods " and Caryn James of The New York Times called it " genuine, if bizarre, proof of Sam Raimi's talent and developing skill.

Capra's final theatrical film was with Glenn Ford and Bette Davis, named Pocketful of Miracles ( 1961 ), a remake of his 1933 film Lady for a Day.

The 1973 film The Texas Chain Saw Massacre ( along with the 2003 remake ) claims to be based on true events, but this is not the case.

Following the production, Brauner was ready to proceed with his remake of Das Testament des Doctor Mabuse when Lang approached him with the idea of adding another original film to the series.

In 1992 ( to coincide with the company's 60th anniversary ), Toho wanted to remake this film as Godzilla vs. King Kong as part of the Heisei series of Godzilla films.

Despite all this, the film is also one of the most widely seen Godzilla films in the United States — it was popular in its initial theatrical release, largely due to an aggressive marketing campaign, including elaborate posters of the two title monsters battling atop New York City's World Trade Center towers, presumably to capitalize on the hype surrounding the Dino De Laurentiis remake of King Kong, which used a similar image for its own poster.

Originally, this film was going to be a remake of King Kong vs. Godzilla with the title Godzilla vs. King Kong, but Turner Entertainment demanded too much money for the use of Kong.

In December 1952, Cukor was approached by Sid Luft, who proposed the director helm a musical remake of the 1937 film A Star is Born with his then-wife Judy Garland in the lead role.

In 1976 he was hired by Barbra Streisand and her producer-boyfriend Jon Peters to play Bobby Ritchie, road manager to Kris Kristofferson's character in the remake film A Star is Born.

A pornographic remake of the film, entitled Glen & Glenda, was released the same year as Ed Wood and featured much the same script as the original film, as well as explicit sex scenes.