Satyr is a 1996 pornographic film, directed by Michael Zen. It was written by Raven Touchstone and stars Jenna Jameson, Asia Carrera, Missy, Brad Armstrong, and Mickey G.
Fawn Deering (Jenna Jameson) is a college student researching animal mythology and human sexuality. This project leads her to Dr. Jade (Asia Carrera) for an interview on the subject. While at Dr. Jade's Manor, she meets Adam (Brad Armstrong) and is immediately drawn to him. Sophie the maid (Missy) warns her to leave Jade Manor and never look back, but Fawn cannot resist Adam's invitation to return that weekend to observe a bacchanal. Sophie tries to get Adam to leave Fawn alone and not share their curse, but Adam has fallen in love with her and does not want to live without her. Unfortunately, this means that Fawn will have to become a Satyr like the rest of them. While the transformation takes place, Fawn spends most of her time sleeping and having visions where she sees Adam is his Satyr form. After Fawn is completely transformed, she journeys into Adam’s room where they profess their love for each other. Adam finally realizes that he is cursing Fawn for the rest of her lifetime, and sets out to return her to human form.
In Greek mythology, a satyr (UK /ˈsætə/, US /ˈseɪtər/;Greek: σάτυρος satyros,pronounced [sátyros]) is one of a troop of ithyphallic male companions of Dionysus with horse-like (equine) features, including a horse-tail, horse-like ears, and sometimes a horse-like phallus because of permanent erection. Early artistic representations sometimes include horse-like legs, but in 6th-century BC black-figure pottery human legs are the most common. In Roman Mythology there is a concept similar to satyrs, with goat-like features: the faun, being half-man, half-goat. Greek-speaking Romans often used the Greek term saturos when referring to the Latin faunus, and eventually syncretized the two. The female "Satyresses" were a late invention of poets — that roamed the woods and mountains. In myths they are often associated with pipe-playing.
The satyr's chief was Silenus, a minor deity associated (like Hermes and Priapus) with fertility. These characters can be found in the only complete remaining satyr play, Cyclops, by Euripides, and the fragments of Sophocles' Ichneutae (Tracking Satyrs). The satyr play was a short, lighthearted tailpiece performed after each trilogy of tragedies in Athenian festivals honoring Dionysus. There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded. The groundbreaking tragic playwright Aeschylus is said to have been especially loved for his satyr plays, but none of them have survived.
Narnian creatures are any non-human inhabitants of Narnia, the fantasy world created by C. S. Lewis as a setting for his The Chronicles of Narnia. This is a series of commentaries on the creatures of Narnia. Entries include information on physical, habitual, and behavioural elements of the creatures, as well as noting any important members of the species. Each commentary draws on specific references and citations from the books and officially sanctioned Disney films. Many animals that are found in our world are also present in Narnia, and some species include talking variations. At the birth of Narnia, Aslan the lion stares at certain animals and breathes upon them. This enabled them to think and talk in a manner similar to humans, and also altered their size (MN). Smaller talking beasts – such as rodents, birds and small mammals – are generally larger than their non-talking counterparts, whereas larger talking beasts are generally smaller than average. There is never any mention of talking fish or insects, although there are Naiads, or water-spirits. Lewis freely drew on various sources for inspiration; the creatures contained in this list include many from classical mythology and English folklore.
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.