Speed (1984 film)
Written and directed by Greg MacGillivray of MacGillivray Freeman Films in 1984, Speed is a documentary which chronicles the development of human technology as part of our desire to go faster than before.
It was originally produced for Six Flags Autoworld in Flint, Michigan.
In 1994 Knowledge Adventure worked with IMAX to make an MS-DOS game of the film.
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Lotna
Lotna is a Polish war film released in 1959 and directed by Andrzej Wajda.
Overview
This highly symbolic movie is both the director's tribute to the long and glorious history of the Polish cavalry, as well as a more ambiguous portrait of the passing of an era. Wajda was the son of a Polish Cavalry officer who was murdered by the Soviets during the Katyn massacre.
The horse Lotna represents the entire Romantic tradition in culture, a tradition that had a huge influence in the course of Polish history and the formation of Polish literature. Lotna is Wajda's meditation on the historical breaking point that was 1939, as well as a reflection on the ending of an entire era for literature and culture in Poland and in Europe as a whole. Writing of the film, Wajda states that it "held great hopes for him, perhaps more than any other." Sadly, Wajda came to think of Lotna "a failure as a film."
The film remains highly controversial, as Wajda includes a mythical scene in which Polish horsemen suicidally charge a unit of German tanks, an event that never actually happened.
Ten Speed
Ten Speed may refer to:
Four-velocity
In physics, in particular in special relativity and general relativity, a four-velocity is a four-vector in four-dimensional spacetime that represents the relativistic counterpart of velocity, which is a three-dimensional vector in space.
Physical events correspond to mathematical points in time and space, the set of all of them together forming a mathematical model of physical four-dimensional spacetime. The history of an object traces a curve in spacetime, called its world line. If the object is massive, so that its speed is less than the speed of light, the world line may be parametrized by the proper time of the object. The four-velocity is the rate of change of four-position with respect to the proper time along the curve. The velocity, in contrast, is the rate of change of the position in (three-dimensional) space of the object, as seen by an observer, with respect to the observer's time.
The value of the magnitude of an object's four-velocity, i. e. the quantity obtained by applying the metric tensor g to the four-velocity u, that is ||u||2 = u ⋅ u = gμνuνuμ, is always equal to ±c2, where c is the speed of light. Whether the plus or minus sign applies depends on the choice of metric signature. For an object at rest its four-velocity is parallel to the direction of the time coordinate with u0 = c. A four-velocity is thus the normalized future-directed timelike tangent vector to a world line, and is a contravariant vector. Though it is a vector, addition of two four-velocities does not yield a four-velocity: The space of four-velocities is not itself a vector space.
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.
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).
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