Flesh | |
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File:Flesh FilmPoster.jpeg | |
Directed by | John Ford (uncredited) |
Produced by | John Ford John W. Considine Jr. |
Written by | Moss Hart William Faulkner |
Starring | Wallace Beery Ricardo Cortez Karen Morley Jean Hersholt |
Music by | Alfred Newman |
Cinematography | Arthur Edeson |
Editing by | William S. Gray |
Distributed by | Metro-Goldwyn-Mayer |
Release date(s) | December 8, 1932 |
Running time | 96 min. |
Country | U.S.A. |
Language | English/German |
Flesh is a 1932 black-and-white drama film directed by John Ford (uncredited) and starring Wallace Beery as a German wrestler. Some of the script was written by Moss Hart and an uncredited William Faulkner.
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Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.
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:
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.
Flesh is the second studio album by David Gray, initially released in September 1994, and re-released along with Gray's debut album A Century Ends on July 2, 2001. In the United States, the album featured a photo of a storefront's window display as its album cover.
All songs written and composed by David Gray.
In mycology trama is a term for the inner, fleshy portion of a mushroom's basidiocarp, or fruit body. It is distinct from the outer layer of tissue, known as the pileipellis or cuticle, and from the spore-bearing tissue layer known as the hymenium.
In essence the trama is the tissue we call the "flesh" of mushrooms and similar fungi.
Literally "trama" is the Latin word for the "weft" or "woof" yarns in the weaving of cloth. This probably is related to the basidiocarp trama being "filler" tissue and that analogously the woof yarn in weaving is sometimes called "fill". What is more, the trama tends to be soft tissue, and in weaving, the woof yarn is not tightly stretched; it therefore need not as a rule be as strong as the warp yarn.