Academic literature on the topic 'Lady in the water (Motion picture)'

The cinema is as much a theatrical form of entertainment as performance on the stage, a fact that is crucial to a full appreciation of Ernst Lubitsch‘s Lady Windermere‘s Fan (Warner Brothers, 1925). Particularly in the cinemas silent era (1895-1925), when motion picture exhibition relied on numerous performance elements, theatrical performance and film exhibition interpenetrated. This underscores a basic conundrum: cinema has been integral to, and an extension of, theatrical culture, even though it has also been something quite different - a new art form. Indeed, the unity of stage and screen was so well established that critics, theorists, historians and artists expended large amounts of intellectual energy distinguishing the two forms while paying little attention to what they held in common. One fundamental feature of theatrical practice that carried over into many areas of filmmaking was adaptation. For Lubitsch, adaptation was a central fact of his artistic practice. This article looks at the history of adaptations of Lady Windermere‘s Fan on stage and screen making reference to textual comparisons, public reception, painting, symbolism and queer readings.

The elucidation of the detailed mechanism used by F0 to convert proton gradient to torque and rotational motion presents a major puzzle despite significant biophysical and structural progress. Although the conceptual model has advanced our understanding of the working principles of such systems, it is crucial to explore the actual mechanism using structure-based models that actually reproduce a unidirectional proton-driven rotation. Our previous work used a coarse-grained (CG) model to simulate the action of F0. However, the simulations were based on a very tentative structural model of the interaction between subunit a and subunit c. Here, we again use a CG model but with a recent cryo-EM structure of cF1F0 and also explore the proton path using our water flooding and protein dipole Langevin dipole semimacroscopic formalism with its linear response approximation version (PDLD/S-LRA) approaches. The simulations are done in the combined space defined by the rotational coordinate and the proton transport coordinate. The study reproduced the effect of the protomotive force on the rotation of the F0 while establishing the electrostatic origin of this effect. Our landscape reproduces the correct unidirectionality of the synthetic direction of the F0 rotation and shows that it reflects the combined electrostatic coupling between the proton transport path and the c-ring conformational change. This work provides guidance for further studies in other proton-driven mechanochemical systems and should lead (when combined with studies of F1) to a complete energy transduction picture of the F0F1-ATPase system.

The study of the spectra of flow is carried out by experimental methods. The paper summarizes the authors’ experience in the design, construction and use of hydrodynamic installations for the visualization of liquid or gas flow using hydrogen bubbles obtained by electrolysis of water. The design of a vertical hydrodynamic pipe, the technology of making experimental models, the design and purpose of the main equipment are considered. Research methods and procedures are described. The article presents the results of the studies that make it possible to evaluate the capabilities of the experimental equipment and picture physical processes around the bodies that change the kinematic parameters of motion in the incident flow according to a given law. The proposed research methods and experimental equipment are distinguished by originality. They can be used to study the features of macrostructures around bodies of complex geometric shapes and laws of motion.

AbstractThis paper presents the results of computer simulations (Ansys-Fluent) and laboratory experiments (physical water model) carried out to describe the motion of steel flow in the tundish. The facility under investigation is a single-nozzle slab tundish. The internal geometry of consider object was changed by flow control device i.e. subflux turbulence controller (STC). In order to obtain a complete hydrodynamic picture in the tundish furniture variants tested, the computer simulations were performed for both isothermal and non-isothermal conditions. From the performed computer simulations and laboratory experiments (physical modeling) it can be found that, the non-isothermal conditions occurring during continuous steel casting will definitely influence the hydrodynamic pattern forming in the tundishes with STC.

Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

AbstractIn the first application of the developing plate tectonic theory to the pre-Pangaea world 50 years ago, attempting to explain the origin of the Paleozoic Appalachian–Caledonian orogen, J. Tuzo Wilson asked the question: ‘Did the Atlantic close and then reopen?’. This question formed the basis of the concept of the Wilson cycle: ocean basins opening and closing to form a collisional mountain chain. The accordion-like motion of the continents bordering the Atlantic envisioned by Wilson in the 1960s, with proto-Appalachian Laurentia separating from Europe and Africa during the early Paleozoic in almost exactly the same position that it subsequently returned during the late Paleozoic amalgamation of Pangaea, now seems an unlikely scenario. We integrate the Paleozoic history of the continents bordering the present day basin of the North Atlantic Ocean with that of the southern continents to develop a radically revised picture of the classic Wilson cycle The concept of ocean basins opening and closing is retained, but the process we envisage also involves thousands of kilometres of mainly dextral motion parallel with the margins of the opposing Laurentia and Gondwanaland continents, as well as complex and prolonged tectonic interaction across an often narrow ocean basin, rather than the single collision suggested by Wilson.

California’s forgotten movie heritage is on view in the National Film Preservation Foundation’s Treasures 5: The West, 1898-1938 DVD set. Included among the 40 films are such fictional ones as The Sergeant (1910, the first surviving narrative film shot in Yosemite), Salomy Jane (1914, from the San Francisco-based California Motion Picture Corp.) and Over Silent Paths (1910, shot in the San Fernando Valley when it was still a desert). Even more revealing are the nonfiction types, including Romance of Water (1931, from the L.A. Department of Water and Power), Sunshine Gatherers (1921, from Del Monte), and two 1916 travelogues that document the beginning of auto tourism: Seeing Yosemite with David A. Curry and Lake Tahoe, Land of the Sky. These once-forgotten films stand as testimony to the complexity of the West—as a concept, a landscape, a borderland, a tourist destination, a burgeoning economy, and an arena for clashing cultures.

BP Exploration has developed a new concept in providing safety cover for personnel working on offshore installations. The concept involves the use of a new design of rigid inflatable boat, which can be deployed in emergencies to recover casualties from the water, sustain their life and then return them to a surgical facility for primary care. This paper describes the innovative trials run by QinetiQ in order to simulate elements of the vessel and to build a more complete picture of its usability and operational capability. The team has taken a total systems multi-disciplinary approach to the solution, encompassing offshore engineering, surgical expertise and ergonomics. The trials encompass the retrieval of casualties from a wave tank onto an afterdeck mock-up, their treatment under conditions of motion in a large displacement motion simulator and the flow of casualties within a mock-up of the vessel. The paper describes how the data gathered from these trials was then integrated to allow an appreciation of likely casualty handling capability of the vessel.

This work numerically simulates immiscible liquids flow in co-axial microtubes and investigates the effects of changing the injection velocities and physical properties of the liquids and the diameters of the co-axial microtubes on the prevailing flow regimes for forming disperse droplets. These regimes are dripping, transition and jetting. The solution is validated by comparing the present results with those of reported numerical and experimental investigations in all three flow regimes. The generated motion picture movies of the computation domain for up to 18 cycles of forming disperse droplets, help determine not only the breakup mechanisms of the droplets but also the conditions for shifting among the three regimes. A dimensionless correlation is developed based on the present numerical results for predicting the boundary between the transition and the jetting regimes. The correlation is good agreement, to within ±10%, with numerical results and within 20% of the reported experimental measurements for ionized water and PDMS (Polydimethylsiloxane) mineral oil. A flow regime map of the dripping, transition and jetting regimes and of the condition for shifting among them is developed.

Heat transfer enhancement by the motion of the bubbles sliding along the heating surface are wildly reported by many researchers, thus it is of great importance to quantitatively investigate the characteristics of sliding bubbles. A visualization study of subcooled flow boiling of water in a vertical single face-heated narrow rectangular channel under a series of natural circulation working conditions was conducted. Pictures of the bubble sliding behaviors were captured by a high speed camera simultaneously with thermal data. A sequence of digital image processing algorithms were applied to the original picture to extract bubble shape and location information, which post-processing methods were adopted to obtain characteristic sliding parameters (including the distribution of the equivalent sliding bubble diameter and velocity, number density of the sliding bubbles). It is found that bubbles can be able to nucleate and grow while sliding on the heating plate after the ONB point; the bubble number density, average bubble sliding velocity and the average sliding diameter continue to increase along the test section; heat transfer in the flow channel are significantly enhanced along flow direction with relatively low local void fraction. The average bubble sliding velocity near the inlet is significantly smaller than the sectional average velocity of single-phase fluid of the flow channel, and then it exceeded near the outlet of the test section. The average bubble sliding velocity and diameter increase with increasing heat flux and decreeing local subcooling degree. The equivalent diameter of sliding bubbles and the bubble sliding velocity approximately follow normal distribution. The distribution of the bubble diameter and velocity both cover a wild range. The standard deviations of the probability density function of the sliding bubble diameter and velocity increase with increasing heat flux and decreasing subcooling degree.