Rapture (1950 film)

Rapture (Italian:Sangue sul sagrato) is a 1950 Italian romantic drama film directed by Goffredo Alessandrini.

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Rapture (Blondie song)

"Rapture" is a song by the American pop rock band Blondie from their fifth studio album, Autoamerican (1980).

In January 1981, "Rapture" was released as the second and final single from the album. The song reached No. 1 on the U.S. Billboard Hot 100 chart, where it stayed for two weeks. It was the first No. 1 song in the U.S. to feature rap. The song peaked at No. 4 in Australia and No. 5 in the United Kingdom.

History

"Rapture" is a combination of disco, funk, and hip hop with the rap section forming an extended coda. The song title "Rapture" served to indicate this element. While it was not the first single featuring rapping to be commercially successful, it was the first to top the charts. Its lyrics were especially notable for namechecking hip-hop pioneers Fab Five Freddy and Grandmaster Flash.

Music video

The music video made its U.S. television debut on Solid Gold on January 31, 1981, and became the first rap video ever broadcast on MTV. Set in the East Village section of Manhattan, the "Man from Mars" or "voodoo god" (dancer William Barnes in the white suit and top hat) is the introductory and central figure. Barnes also choreographed the piece. The final shot is a one-take scene of Debbie Harry dancing along the street, passing by graffiti artists, Uncle Sam, a Native American and a goat. Fab Five Freddy and graffiti artists Lee Quinones and Jean-Michel Basquiat make cameo appearances. Basquiat was hired when Grandmaster Flash did not show for the filming. The UK 7" version of the song is used in the video.

Rapture (composition)

Rapture is an orchestral composition in one movement by the American composer Christopher Rouse. The work was commissioned by the Pittsburgh Symphony Orchestra and was completed January 9, 2000. It is dedicated to then Pittsburgh Symphony Orchestra music director Mariss Jansons and premiered in May 2000.

Composition

Rapture is markedly more tonal than Rouse's earlier compositions. In the program notes to the score, Rouse commented, "With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever more blinding ecstasy, but the entire work inhabits a world devoid of darkness -- hence the almost complete lack of sustained dissonance." The piece is also built around "gradually increasing tempi" gains speed over the course of its roughly 11 minutes.

Despite the religious title of the work, Rouse did not intend Rapture to be sacred music. He further commented, "...the piece is not connected to any specific religious source. Rather, I used the word 'rapture' to convey a sense of spiritual bliss, religious or otherwise."

Rapture (iiO song)

"Rapture" (sometimes referenced as "Rapture (Taste So Sweet)") is a song by American recording duo iiO. It was chosen as the lead single from their debut studio album, Poetica (2005). The song was written by both the members; Nadia Ali and Markus Moser, while production was handled just by Moser. The song was released on October 29, 2001 by Universal Records. Musically, the song is a dance-oriented song, which was very popular around the early 2000s. The song also incorporates musical genres of dance-pop, electronica, disco, house, and trance music.

With the song winning positive reviews from music critics, citing it as catchy and one of the best songs of the year, the song was a commercial success. The song charted inside the top ten in countries including Romania, United Kingdom, United States, New Zealand, Australia, Canada and Ireland. It managed to chart inside the top fifty on the US Billboard Hot 100. A music video was also shot, showing the group in a futuristic city with visual lighting.

Film (Iranian magazine)

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

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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.

Television film

A television film (also known as a TV film; television movie; TV movie; telefilm; telemovie; made-for-television film; direct-to-TV film; movie of the week (MOTW or MOW); feature-length drama; single drama and original movie) is a feature-length motion picture that is produced for, and originally distributed by or to, a television network, in contrast to theatrical films, which are made explicitly for initial showing in movie theaters.

Origins and history

Though not exactly labelled as such, there were early precedents for "television movies", such as Talk Faster, Mister, which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures, or the 1957 The Pied Piper of Hamelin, based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks (most "family musicals" of the time, such as Peter Pan, were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only method of recording a television program until the invention of videotape).