Lotna is a Polish war film released in 1959 and directed by Andrzej Wajda.
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.
Speed is a 1936 Metro-Goldwyn-Mayer action film starring James Stewart in his first starring role, and Wendy Barrie. Although only a low-budget "B" movie, the film was notable for its realistic cinematography by Lester White, incorporating scenes from the Indianapolis 500 race and on-location shooting at the Muroc dry lake bed, used for high-speed racing by "hot rodders" in the 1930s. Advance publicity trumpeted that Stewart drove the specially-prepared "Falcon" to 140 mph (230 km/h).
Auto mechanic Terry Martin (James Stewart), the chief car tester for Emery Motors in Detroit, is working on his own time to perfect a revolutionary design for a new carburetor. Automotive engineer Frank Lawson (Weldon Heyburn) is a rival for the attention of Jane Mitchell (Wendy Barrie), who has just been hired to work in the publicity department. Terry has little formal education and resents inferences that his knowledge of cars is inferior to that of the trained Lawson. He nearly loses his job when he makes a jealous spectacle of himself at a company dinner dance that Jane attends with Frank.
Speed is an amusement ride design produced by the Dutch company KMG.
It is commonly referred to as KMG Booster, due to its similarity with the Fabbri Booster ride.
It has become an extremely common ride on European travelling funfairs, particularly in the UK. This is due to a combination of the ride's spectacular visual impact, and its highly practical operation. The ride can be transported on only one trailer, and requires just three hours to build up.
The ride is primarily a 37-metre arm, connected midway to the main support of the ride. Two sets of two seats are mounted at the end of each arm, back to back. Each four-seat assembly can swing through 360 degrees.
The arm rotates at up to 13 revolutions per minute, producing an acceleration of 3.5 g on the riders.
Fade or Fading may refer to:
In stage lighting, a fade is a gradual increase or decrease of the intensity of light projected onto the stage. The term fade-in refers to gradually changing the lighting level from complete darkness to a predetermined lighting level. A fade-out (also known as fade-to-black) refers to gradually decreasing the intensity of light until none is shining on the stage. A crossfade is when lighting levels are gradually altered from one setting to another. A fade-in is sometimes called a build, and where this terminology is used, a fade is understood to be a fade-out.
Increasing lighting intensities that are not black is referred to as a fade-up. Similarly, decreasing lighting intensities to a level above black is referred to as a fade-down.
Cross-fades are accomplished by executing fade-ups and/or fade-downs. In nearly all theatrical lighting designs, multiple lighting instruments are used to illuminate the stage at any one time. A cue refers to the recorded state of illumination for the entire stage at that time. The intensity of the lighting instruments are often altered with a single crossfade, altering the lighting state of the stage.
In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way (see fade (filmmaking) and fade (lighting)).
A recorded song may be gradually reduced to silence at its end (fade-out), or may gradually increase from silence at the beginning (fade-in). Fading-out can serve as a recording solution for pieces of music that contain no obvious ending. Both fades and cross-fades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and the end of any audio region is smooth in order to not have any prominent glitches. It is necessary that there is a clear section of silence prior to the audio. Fade-ins and out can also be used to change the characteristics of a sound, for example a fade-in is used to soften the attack, especially in vocals where very plosive (‘b’,‘d’, and ‘p’) sounds can occur. It can also be used to soften up the attack of the drum and/or percussion instruments. A cross-fade can be manipulated through its rates and coefficients in order to create different styles of fading. Almost every fade is different; this means that the fade parameters must be adjusted according to the individual needs of the mix.