Long film

Figure 24-16 Split and splitless injections of a solution containing 1 vol% methyl isobutyl ketone (b.p. 118°C) and 1 vol% p-xylene (b.p. 138°C) in dichloromethane (b.p. 40°C) on a BP-10 moderately polar cyanopropyl phenyl methyl silicone open tubular column (0.22 mm diameter x 10 m long, film thickness = 0.25 m, column temperature = 75°C). Vertical scale is the same for A-C. In D, signal heights should be multiplied by 2.33 to be on the same scale as A-C. [From R J. Marriott and P. D. Carpenter, Copillory Gas Chromatography Injection," J. Chem. Ed. 1996, 73, 96.]...

If two heavy-atom derivatives can be crystallized which preserve the space group and unit cell size of a large protein, then the structure can be solved directly this method of multiple isomorphous replacement was used by Perutz152 and Kendrew153 to solve the first two protein structures by laborious, decade-long film methods hemoglobin and myoglobin. 

R, R. Myers and J. S. Long, Film Forming Compositions, Vols. 1-3. New York Dekker, 1967-1969. 

Are the characteristics of the short film variations of those of the long film In most cases, no. It is true that the two forms rely on visual action for exposition and characterization, as well as on the illusion of reality inherent in the use of film as a visual medium. Beyond these two characteristics, however, the short film proceeds in both a simpler, and a potentially freer, manner. 

The simplicity lies in the restricted number of characters, often no more than three or four, and the level of plotting, which is usually a simple story. This does not mean that the main character is necessarily simple in the short film, but it does mean that an economy of style is employed to create that character. There is no time in the short film for the kind of pauses for elaboration of character so often deployed in the long film. 

The freedom of short film relative to long lies in the possibilities of using metaphor and other literary devices to tell the story—a luxury not available in the commercially driven, realism-oriented long film. Indeed, one of our major points about the short film is its linkage to literary forms such as the short story, the poem, the photograph, and the one-act play. 

Although screen stories have unique qualities particular to film, screen stories for both short and long films often share characteristics with other kinds of storytelling. In this chapter, we will discuss those general qualities and suggest links to other forms of storytelling, forms that provide the first and best source of material for short films. 

The first impulse of writers of short films is not to spend much time on the characters. The thinking is that because you have less time, you therefore need less characterization. This is totally wrong. In fact, your short film relies principally on character. Unlike in the long film, there is little time to deal with the complexity of relationships, but the viewers must feel that your main character has a complexity appropriate to the type of story you choose to tell. For example, in Incident at Owl Creek, it is true that we don t have a profound understanding of all the dimensions of the principal character, but we fully understand his desire to live rather than to die. Similarly, we understand the two main characters in Two Men and a Wardrobe to be naive in a cynical world—but at least they believe in something In both cases we understand and empathize with the characters in the context of their goals. Short films, therefore, do not tend to develop complex relationships between characters, but they do rely on complex characters to tell the story. 

Given the issue of scale in the short film, writers employ fewer secondary characters than in the long film. The amount of time devoted to developing the secondary characters is also far less. Although this may mean disproportionate reliance on stereotypes for the secondary characters, a more productive approach is to relate the secondary characters to their functions in... 

As stated earlier, the broad qualities of the melodrama are most clearly apparent in the long film. Many of these qualities are also present in the short film. There are, however, key areas where the mechanics are different, and it is to those differences that we now turn. The most useful way to... 

The deployment of plot in a short film is in one way similar to the presentation in the long film a short melodrama can proceed without a plot and remain effective. If, however, you choose to deploy plot, its utilization leads... 

Having elaborated upon the features of the docudrama in the long film, what is the balance between subject matter and style in the short film Are main character and goal, plot, and tone deployed in a manner that supports the authorial voice How much if any variance in tone does the short docudrama tolerate These are questions to which we now turn. 

In the short film, the notion that you are watching a documentary is even more critical than in the long film. Consequently, the deployment of journalistic techniques, from camera style to on or off-air narration, is critical. In fact, the first narrative responsibility of the writer is to create at least the illusion that what we are watching are real people at real work or leisure. A candid quality, even the sense of "eavesdropping," should inform the writing and the style of performance. This "spontaneity" immediately establishes veracity and seriousness, upon which the writer-director will draw. What is being captured is not so much an enactment as the real thing. This is the central style of the docudrama. It is the primary and foremost key to the success of the docudrama. 

As in the long film, the main character, with his or her goal, is the vehicle for the ideas of the writer-director. Although the character may be vivid or important, the narrative has to create a large place for the voice of the writer-director. We will look at this issue in detail below, under structure. 

The short film is actually a more natural form for hyperdrama. The long film, with its complexity of character and relationships, is more immediately compatible with realism. The short film, with its relationship to the short story, the poem, the photograph, and the painting, is a more metaphorical form, and thus it adapts easily to hyperdrama. 

As in the long film, the main character and his or her goal serve the moral rather than inviting identification. The character tends to be a vehicle, even in stories where he becomes a superhero (Star Wars). The voice of the writer-director, his or her affiliation to the moral rather than to the character, distances us from character. Nevertheless, the main character does have a well-defined goal, and it carries him or her forward into the narrative. 

As in the long film, the tone is far from realistic and in fact is quite free—it can be fantastic, or it can be very dark. In both cases, the tone has to make credible events and characters that do not exist in our everyday lives. The presentation of the material should sharpen the passion the author feels regarding the moral tale that underlies the narrative. 

Unlike the feature film, in the United States the short film has strong linkages to noncommercial arts—the short story, the poem, the painting, the photograph. Consequently, in both form and content, the short film is adaptive to a broader band of creative goals. The short film can address a moment as the photograph does a mood, as the poem does or a deep, reflective observation, as the short story so often has. The form consequently is far freer in its creative parameters than is the long film. 

Take very long film exposures. (3) Do a total analysis of agreement of IF0I vs I Fcl as a function of IF0I, setting angles, and Miller indices. (4) Have faith in your chemical intuition. 

Morals (1) Take very long film exposures. (2) Calculate and examine all intermolecular contacts at the end of a structure refinement. 

The sheet resistance of both nontemplated and double-gyroid-structured films was determined by measuring the current through a 1 cm long film section for a... 

A treatment for an hour-long film might be five pages or 25, depending on what you need. (For some examples, see the end of... 

For film samples with uniaxial orientation, a thin stripe can be cut and handled for sample preparation in the same way as a fiber, by gluing its ends together after winding it up on a steel plate. However, this type of sample preparation is more complicated for films than that for fibers the film often may break during the sample preparation, especially if it is not very thin. Also, sufficiently long film pieces are not always available for cutting out a thin stripe. 

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