Ken (film)
The Sword (剣, Ken) is a 1964 Japanese film directed by Kenji Misumi. From a screenplay by Kazuro Funabashi, based upon the short story Ken (Sword) by Yukio Mishima.
Synopsis
The story is centered on Kokubu Jiro (Raizo Ichikawa), a prominent member of his university's Kendo dojo.
Starring
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Ken (unit)
The ken (間) is a traditional Japanese unit of length, equal to six Japanese feet (shaku). The exact value has varied over time and location but has generally been a little shorter than 2 meters (6 ft 7 in). It is now standardized as 1 9/11meter.
Although mostly supplanted by the metric system, this unit is a common measurement in Japanese architecture, where it is used as a proportion for the intervals between the pillars of traditional-style buildings. In this context, it is commonly translated as "bay". The length also appears in other contexts, such as the standard length of the bō staff in Japanese martial arts and the standard dimensions of the tatami mats. As these are used to cover the floors of most Japanese houses, floor surfaces are still commonly measured not in square meters but in "tatami" which are equivalent to half of a square ken.
Word
Among English loanwords of Japanese origin, both ken and ma are derived from readings of the same character 間.
This kanji graphically combines 門 "door" and 日 "sun". The earlier variant character 閒 was written with 月 "moon" rather than "sun", depicting "A 門 door through the crevice of which the 月 moonshine peeps in".
Ken (magazine)
Ken was a short-lived illustrated magazine first issued on April 7, 1938. It was a controversial, political, large format magazine with full page photo spreads, published every two weeks on Thursdays. It contained both articles and stories.
History and profile
Ken was founded in 1938 by publisher David A. Smart and editor Arnold Gingrich, who earlier had founded Esquire. Initial publication was delayed due to difficulties in assembling an editorial team. Jay Allen was the first editor hired, and he began to assemble a staff drawing heavily from the political left. Smart and Gingrich found his work unsatisfactory and quickly fired Allen and most of his new men, replacing him with George Seldes; but as Seldes's left-wing views provoked little sympathy from potential advertisers, he was soon downgraded although not fired. Microbe Hunters author Paul de Kruif was brought on as an editor, but was not able to devote full time to the project.
Smart and Gingrich then took more direct editorial control and launched the magazine with contributors including Seldes, Ernest Hemingway, John Spivak, Raymond Gram Swing, Manuel Komroff, critic Burton Rascoe, and sportswriter Herb Graffis.Sam Berman contributed caricatures, and David Low cartoons.
Ken (doll)
Ken (Ken Carson) is a Mattel toy doll introduced by Mattel in 1961 as the fictional boyfriend of toy doll Barbie, introduced in 1959. Similar to his female counterpart, Ken had a fantastically fashionable line of clothing and accessories. In the Barbie mythos, Ken and Barbie met on the set of a TV commercial in 1961. Mattel has never specified the precise nature of their relationship. Since his debut, Ken has held at least forty occupations.
Overview
From 1961 to the debut of Superstar Ken in 1977, Ken had straight, non bendable arms and a head that could only turn left and right. Ken's hair was felt in his first year (known to collectors as the "flocked" hair Ken), but this was replaced with a plastic, molded hairstyle when the felt hair was found to fall off when wet. Superstar Ken featured a dimpled smile, a head that could swivel, bent arms, a more muscular physique, jewelry, and underwear permanently molded to his body. The woman who made the Ken doll made it to resemble her husband.
Film (Iranian magazine)
Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.
References
External links
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.
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