Cadence (film)

Cadence is a 1990 film directed by (and starring) Martin Sheen, in which Charlie Sheen plays an inmate in a United States Army military prison in West Germany during the 1960s. Sheen plays alongside his father Martin Sheen and brother Ramon Estevez. The film is based on a novel by Gordon Weaver.

Plot

PFC Franklin Bean (Charlie Sheen) gets drunk and goes AWOL upon the death of his father. As punishment, he is thrown into a stockade populated entirely by black inmates. But instead of giving into racism, Bean joins forces with his fellow inmates and rises up against the bigoted prison warden, MSgt. Otis McKinney (Martin Sheen).

Cast

Cast Notes

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Film (Iranian magazine)

Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.

References

External links

Film (film)

Film is a 1965 film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.

Beckett’s original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him. Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a "Hollywood epic." Beckett then suggested Buster Keaton. Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with "a handsome fee for less than three weeks' work."James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.

The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:

Lubrication theory

In fluid dynamics, lubrication theory describes the flow of fluids (liquids or gases) in a geometry in which one dimension is significantly smaller than the others. An example is the flow above air hockey tables, where the thickness of the air layer beneath the puck is much smaller than the dimensions of the puck itself.

Internal flows are those where the fluid is fully bounded. Internal flow lubrication theory has many industrial applications because of its role in the design of fluid bearings. Here a key goal of lubrication theory is to determine the pressure distribution in the fluid volume, and hence the forces on the bearing components. The working fluid in this case is often termed a lubricant.

Free film lubrication theory is concerned with the case in which one of the surfaces containing the fluid is a free surface. In that case the position of the free surface is itself unknown, and one goal of lubrication theory is then to determine this. Surface tension may then be significant, or even dominant. Issues of wetting and dewetting then arise. For very thin films (thickness less than one micrometre), additional intermolecular forces, such as Van der Waals forces or disjoining forces, may become significant.

Cadence

Cadence may refer to:

Music

Other

Cadence (music)

In Western musical theory, a cadence (Latin cadentia, "a falling") is "a melodic or harmonic configuration that creates a sense of resolution [finality or pause]." A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.

Cadences are strong indicators of the tonic or central pitch of a passage or piece.Edward Lowinsky proposed that the cadence was the "cradle of tonality."

Classification of cadences in common practice tonality with examples

In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords:

Cadence (poetry)

In poetry, cadence describes the fall in pitch of the intonation of the voice, and its modulated inflection with the rise and fall of its sound.

Etymology

From Middle French cadence, and from Italian cadenza, and from Latin cadentia with the meaning to fall.

Cadence in poetry

In poetry cadence describes the rhythmic pacing of language to a resolution and was a new idea in 1915 used to describe the subtle rise and fall in the natural flow and pause of ordinary speech where the strong and weak beats of speech fall into a natural order restoring the audible quality to poetry as a spoken art. Cadence verse is non-syllabic resembling music rather than older metrical poetry with a rhythmic curve containing one or more stressed accents and roughly corresponding to the necessity of breathing, the cadence being more rapid and marked than in prose.

Legacy

The idea that cadence should be substituted for metre was at the heart of the Imagist credo according to T. E. Hulme. Unrhymed cadence in Vers libre is built upon 'organic rhythm,' or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system . Cadence in Free verse came to mean whatever the writer liked, some claiming verse and poetry had it, but prose did not, but for some it was synonymous with Free verse, where each poet has to find the cadence within himself.