Short film importance

Vivian and Peaceman (V5), 1956 Experimental mass transfer work in short wetted-wall columns (1.9-4.3 cm. long) ripples absent at most flow rates. Rate of desorption of C02 independent of gas velocity up to ArReB = 2200. Width and type of liquid inlet slot had little effect. Acceleration of film important. 

But for our purpose in this book, Un Chien d Andalou—because it is so challenging to the narrative conventions often associated with film— remains an experiment in form rather than a case study for scripting the successful short film. Nevertheless, the audacity of the film cemented a relationship between film and the visual arts and ideas closely tied to art (for example, surrealism and the growing importance of psychotherapy in the visual arts) this has become a continuing source of short films, from the work of Man Ray and Maya Deren to the more contemporary work of Stan Brakhage, Michael Snow, and Joyce Wieland. 

In Europe, however, the short film remains a viable form of expression, one supported in large part by cultural ministries. Magazines devoted to short films as well as festivals devoted exclusively to the form assure, at least for the medium term, that it will continue to thrive. Internationally, film schools have provided continuing support for the short film. The international organization of film schools, CILECT, has held a biannual student film festival focused on the European schools, and an annual student festival has been sponsored by the Hochschule in Munich. Another important biannual festival is the Tel Aviv Film Festival. All of these festivals are related to the CILECT organization and focus on the work of students in member schools. The Oberhausen Festival in Germany and the Clement-Ferrand Festival in... 

Before considering this question, it is important to note once more that most short films or tapes work best with a single protagonist there simply is not enough time for an audience to identify with more than one. The exception is with certain kinds of comedy—slapstick, parody, or satire, for example— where a writer may not want the audience to identify with the main character but to maintain a psychological distance from all the characters. (Think of how one views W. C. Fields, the Marx Brothers, or the main characters in... 

But there are other reasons stories have been important, beyond the need to understand, and one is the need of the teller to communicate. Whether in pantomime or Elizabethan tragedy, storytellers want to communicate with others. The cave painter and the short-film director may have different means, but both want to use their medium to bind artist and audience together for that instant or that half-hour of the storytelling experience. For that time, storyteller and audience become a community, with all the historical implications of the relationship between artist and audience. 

Different writers will speak of intentional or energized characters. It doesn t matter which term you use. What is important is that there be a palpable internal quality that pushes your character in a particular direction. This drive is as important to your story as the dominant behavioral or physical qualities you have given your character. The drive is the fuel for the plot. Without it your character is passive, acted upon rather than reacted to. A passive character can work in a short film, but by choosing such a character, you flatten the conflict and position your character as much as an observer as a participant. The result can be counterproductive in dramatic terms. The active, obsessed main character is more useful in the narrative. Once the plot begins, there is a natural tension between plot and character that will carry the audience easily through the story. 

Having confirmed the expected tone of the genre, it s important to reaffirm that tone in the short film has a wider latitude than does tone in the long-form melodrama. Two examples will illustrate the point. Ayanna Elliot s Tough is a story of a teenager. The story is simple, "a day in the life." But it s a special day—the first day she menstruates. She is on the verge of womanhood. Also, her father (divorced from her mother) is to take her out... 

Plot is very important in hyperdrama. It provides the scale of the story. Unlike in other genres, it is critical to the success of the narrative. In the short film, the plot will have far more effect than character. The resulting sketchiness of the characters helps the metaphorical presentation of the narrative. 

Who would have thought that Martin Scorsese and Spike Lee, who began their careers as student filmmakers, would return to the short film midcareer BMW hired each filmmaker to make a short film about his car that would be shown on its website. The films have been so successful that at least one has been released in select cinemas and the series is available for purchase on DVD. Scorsese had returned earlier to the short form to make the Michael Jackson music video "Bad" for the album Thriller. Spike Lee, on an ongoing basis, makes commercials. Thus, short films continue to be an important ongoing element of the creative careers of both Martin Scorsese and Spike Lee. 

The short film is crucial, not simply as a format suitable for portfolio development. It is important for three enduring reasons its proximity to other arts, its cost, and its enhanced capacity for the voice of the writer and the director. First, we will address the proximity of the short film to the other arts. 

As mentioned earlier, the link of the short film to metaphor and to fable enhances voice. In the case of the documentary, however, it is its unique structure as well as the fact that it looks real that lends gravitas to the enterprise It s about real people and real events, so the intention of the filmmaker is to portray a real world as opposed to an imagined world. And as a result, the documentary seems more important. 

Although the experimental film and video embrace style as the central quality of the genre, the short film varies in the degree of that embrace. Although it is true that style is very important in the short film, it needn t be the exclusive defining characteristic that it is in the experimental genres. Style will be less important should the filmmaker opt for a melodrama, but it will become more important if the filmmaker opts for a fable or a docud-rama or indeed an experimental narrative. 

Interfacial Forces. Neighboring bubbles in a foam interact through a variety of forces which depend on the composition and thickness of Hquid between them, and on the physical chemistry of their Hquid—vapor interfaces. For a foam to be relatively stable, the net interaction must be sufficiently repulsive at short distances to maintain a significant layer of Hquid in between neighboring bubbles. Otherwise two bubbles could approach so closely as to expel all the Hquid and fuse into one larger bubble. Repulsive interactions typically become important only for bubble separations smaller than a few hundredths of a micrometer, a length small in comparison with typical bubble sizes. Thus attention can be restricted to the vapor—Hquid—vapor film stmcture formed between neighboring bubbles, and this stmcture can be considered essentially flat. 

Concentration and Aroma Recovery. Concentration of juice from deciduous fmit is best carried out using an evaporator that causes as httle thermal degradation as possible and that permits recovery of volatile materials important to the aroma of the fresh fmit, ie, essence. Evaporators that use a high temperature for a short time and operate under a vacuum, such as the APV Crepaco falling film plate evaporator or the Alfa Laval centrifugal... 

Properties. Uranium metal is a dense, bright silvery, ductile, and malleable metal. Uranium is highly electropositive, resembling magnesium, and tarnishes rapidly on exposure to air. Even a poHshed surface becomes coated with a dark-colored oxide layer in a short time upon exposure to air. At elevated temperatures, uranium metal reacts with most common metals and refractories. Finely divided uranium reacts, even at room temperature, with all components of the atmosphere except the noble gases. The silvery luster of freshly cleaned uranium metal is rapidly converted first to a golden yellow, and then to a black oxide—nitride film within three to four days. Powdered uranium is usually pyrophoric, an important safety consideration in the machining of uranium parts. The corrosion characteristics of uranium have been discussed in detail (28). 

Solution processes are used mainly for coating, film casting and fibre spinning, i.e. in processes where the distance the solvent has to diffuse out of the solution once coated, cast or spun is short. Regulation of this diffusion process is important if products of even quality are to be obtained. 

In suspension processes the fate of the continuous liquid phase and the associated control of the stabilisation and destabilisation of the system are the most important considerations. Many polymers occur in latex form, i.e. as polymer particles of diameter of the order of 1 p.m suspended in a liquid, usually aqueous, medium. Such latices are widely used to produce latex foams, elastic thread, dipped latex rubber goods, emulsion paints and paper additives. In the manufacture and use of such products it is important that premature destabilisation of the latex does not occur but that such destabilisation occurs in a controlled and appropriate manner at the relevant stage in processing. Such control of stability is based on the general precepts of colloid science. As with products from solvent processes diffusion distances for the liquid phase must be kept short furthermore, care has to be taken that the drying rates are not such that a skin of very low permeability is formed whilst there remains undesirable liquid in the mass of the polymer. For most applications it is desirable that destabilisation leads to a coherent film (or spongy mass in the case of foams) of polymers. To achieve this the of the latex compound should not be above ambient temperature so that at such temperatures intermolecular diffusion of the polymer molecules can occur. 

In Section 4.2.2 the central role of atomic diffusion in many aspects of materials science was underlined. This is equally true for polymers, but the nature of diffusion is quite different in these materials, because polymer chains get mutually entangled and one chain cannot cross another. An important aspect of viscoelastic behavior of polymer melts is memory such a material can be deformed by hundreds of per cent and still recover its original shape almost completely if the stress is removed after a short time (Ferry 1980). This underlies the use of shrink-fit cling-film in supermarkets. On the other hand, because of diffusion, if the original stress is maintained for a long time, the memory of the original shape fades. 

UV absorbers have been found to be quite effective for stabilization of polymers and are very much in demand. They function by the absorption and harmless dissipation of the sunlight or UV-rich artificial radiation, which would have otherwise initiated degradation of a polymer material. Meyer and Geurhart reported, for the first time in 1945 [10], the use of UV absorber in a polymer. They found that the outdoor life of cellulose acetate film was greatly prolonged by adding phenyl salicylate (salol) [10]. After that, resorcinol monobenzoate, a much more effective absorber, was introduced in 1951 [11] for stabilization of PP, but salol continued to be the only important commercial stabilizer for several years. The 2,4-dihydroxybenzophenone was marketed in 1953, followed shortly by 2-hydroxy-4-methoxybenzophenone and other derivatives. Of the more commonly known UV absorbers, the 2-hydroxybenzophenones, 2-hy-droxy-phenyl-triazines, derivatives of phenol salicylates, its metal chelates, and hindered amine light stabilizers (HALS) are widely used in the polymer industry. 

Secondly, under certain conditions copper may suffer intense localised pitting corrosion, leading sometimes to perforation of the tube, in quite a short time. This form of attack is not common and depends on a combination of unusual circumstances, one of which is the possession by the tube of a fairly, but not entirely, continuous film or scale that is cathodic to the copper pipe in the supply water this can set up corrosion at the small anodes of bare copper exposed at faults or cracks in the film. Carbon films give rise to such corrosion, but since 1950, when the importance of carbon films was... 

By substituting the well-known Blasius relation for the friction factor, Eq. (45) in Table VII results. Van Shaw et al. (V2) tested this relation by limiting-current measurements on short pipe sections, and found that the Re and (L/d) dependences were in accord with theory. The mass-transfer rates obtained averaged 7% lower than predicted, but in a later publication this was traced to incorrect flow rate calibration. Iribame et al. (110) showed that the Leveque relation is also valid for turbulent mass transfer in falling films, as long as the developing mass-transfer condition is fulfilled (generally expressed as L+ < 103) while Re > 103. The fundamental importance of the Leveque equation for the interpretation of microelectrode measurements is discussed at an earlier point. 

---