Delusions (film)

Delusions (Hebrew: דמיונות‎ / Dymionot) is a 2005 Israeli film, comedy-drama, Nouvelle Vague film style, that deals with the structure and conventions of cinematic language. Directed by Nimrod Etsion Koren and Saar Lachmi starring Osnat Hakim, Riki Blich, Leon Rosenberg and Ohad Knoller.

Plot

Tamy is a dreamy girl, who has "Poetic Schizophrenia," a rare personality disorder which makes her imagine that her life is a film plot and that she is the star. In real life, she is an ordinary girl, who lives with her cousin Ayala. They both fall in love with Johney Rocker, a hit rock star, who prefers Ayala, and Tamy finds it difficult to get over him. At some point, when Ayala makes Tamy very angry, the director of the film suddenly enters, fires Ayala and casts a new Ayala instead. The story continues as if nothing happened, but the crisis between the girls aggravates, and from time to time, when daily events are hard for Tamy to handle, she "stops the film" and enters her imaginary world in the shape of the director, the actors behind the characters, sound equipment etc. And so it seems that we are watching a film inside a film, but as the story continues we realize that what seems real, the backstage of the movie, is in fact the wild imagination and schizophrenic mind of Tamy.

Delusions (album)

Delusions is the second album from the British progressive metal band To-Mera. Its musical style is similar to that of their debut album Transcendental of 2006.

The album was initially released in a limited edition glossy slipcase featuring the band logo embroidered onto it. This was available directly through the band website and was limited to 2000 copies, all of which are now sold out.

The artwork was once again done by Eliran Kantor.

Track listing

All lyrics by Julie Kiss, music as noted

Personnel

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.