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.

After the credits of Billy Wilder's film Witness for the Prosecution, the cinemagoers are asked not to talk to anyone about the plot so that future viewers will also be able to fully enjoy the unravelling of the mystery.

Lullaby, perhaps the last film in which Vertov was able to maintain his artistic vision, was released in 1937.

In 1956, Sullivan flew to Europe and was able to film an interview with Ingrid Bergman, Yul Brynner, and Helen Hayes on the set of the film Anastasia.

He was able to line up a couple of potential distributors in Warner Brothers and Universal Pictures International even before the film began production.

However, as more Westerners were able to view the original version of the film ( especially after its availability on home video during the late 1980s ), and gain access to Japanese publications about the film, the myth was dispelled.

However, after doing some screen tests and storyboards, Toho figured Jet Jaguar would not be able to carry the film on his own, either in screen appearance or marketing value, so they shut the project down during pre-production.

Hitler was able to convince her to film Triumph instead, on the condition that she not be required to make further films for the party.

The film continues to cause controversy ; in February 2007 the Church of St Thomas the Martyr in Newcastle upon Tyne held a public screening in the church itself, with song-sheets, organ accompaniment, stewards in costume and false beards for female members of the audience ( alluding to an early scene where a group of women disguise themselves as men so that they are able to take part in a stoning ).

Likewise, the Trust's control of patents on motion picture cameras ensured that only MPPC studios were able to film, and the projector patents allowed the Trust to make licensing agreements with distributors and theaters – and thus determine who screened their films and where.

He continued to work in various roles in the animation industry over the decade until he was able to direct his first feature film Lupin III: The Castle of Cagliostro which was released in 1979.

Susan Stark of the Detroit News commented that in the film Thornton was able to guide Damon, Henry Thomas and Cruz to " their most impressive performances in a major movie yet.

Her performance was well received by critics, with BBC film critic Brandon Graydon saying that Cruz " is an enchanting screen presence ," and Ethan Alter of the Film Journal International noting that Cruz and her co-star Cruise were " able to generate some actual chemistry.

Eric Harrison of the Houston Chronicle noted that Cruz " goes all out " with her appearance and Patrick Peters of Empire magazine commented that the film's director, who also appears in the film, was able to draw a " sensitive performance " from Cruz.

Though there was little scientific interest in the film, Patterson was still able to capitalize on it.

Through this relationship, Frakes was able to cast Woodard in the film ; he considered it a coup to land an Academy Award-nominated actress.

Through family, friends, and a network of investors Raimi was able to finance production of the highly successful horror film The Evil Dead ( 1981 ) which became a cult hit and effectively launched Raimi's career.

The film was his first major studio picture, and was only moderately successful, but through it he was still able to secure funding for Evil Dead III, which was retitled Army of Darkness and turned away almost totally from horror in favor of fantasy and comedy elements.

Smallfilms was resultantly able to produce two minutes of film per day, ten times as much as a conventional animation studio, with Postgate moving the cardboard pieces himself, and working his 16mm camera frame-by-frame with a home-made clicker.

The film tells the story of Cole Sear ( Haley Joel Osment ), a troubled, isolated boy who is able to see and talk to the dead, and an equally troubled child psychologist ( Bruce Willis ) who tries to help him.

Meyer persuaded ABC to dedicate the film to the citizens of Lawrence and also to put a disclaimer at the end of the film, following the credits, letting the viewer know that The Day After downplayed the true effects of nuclear war so they would be able to have a story.

Years later, Jittlov was able to remake the short, as well as incorporate portions of some of his other short films ( such as Time Tripper and Animato ), into a feature-length 35 mm film.