Relevant bibliographies by topics / Feature filme script

Academic literature on the topic 'Feature filme script'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Feature filme script"

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류훈. "Storytelling in film script - Focus on industrial feature films -." 한국문예비평연구 ll, no. 33 (December 2010): 7–40. http://dx.doi.org/10.35832/kmlc..33.201012.7.

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Hersey, Curt. "Script(ing) Treatment: Representations of Recovery from Addiction in Hollywood Film." Contemporary Drug Problems 32, no. 3 (September 2005): 467–93. http://dx.doi.org/10.1177/009145090503200308.

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American films and television programs increasingly feature characters recovering from addiction. These representations are based on previous depictions and help create a cultural understanding of addicts. This study analyzes the depiction of addicts and addiction in three Hollywood films whose narratives are largely situated within a treatment center: Clean and Sober (1988), When a Man Loves a Woman (1994), and 28 Days (2000). It concludes that the films depict a stock experience of treatment that is surprisingly univocal, as well as unrealistic when compared with the availability and realities of real-life programs. In addition, the films limit their representations of successful recovery to white, upper-class individuals and offer only one conceptual framework for addiction.
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Konstantinova, E. I., and L. E. Ulitskaya. "‘Graphomania is a writer’s first and indispensable prerequisite’." Voprosy literatury, no. 6 (December 28, 2020): 97–111. http://dx.doi.org/10.31425/0042-8795-2020-6-97-111.

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The interview of E. Konstantinova with the prose and script writer and social activist L. Ulitskaya mainly focuses on the latter’s books, their origins and unique features and principles. In particular, Konstantinova brings up the fate of screen adaptations of Ulitskaya’s works, including the scripts for the episode A Hundred Buttons [Sto pugovits] in the almanac A Joyful Roundabout [Vesyolaya karusel] (1983) and for the cartoons The Toys’ Secret [Tayna igrushek] (1986) and A Lazy Dress [Lenivoe platie] (1987), which became a sort of springboard for her career in grown-up literature. Also mentioned are films: This Queen of Spades [Eta pikovaya dama] (2003), The Kukotsky Case [Kazus Kukotskogo] (2005), and others. As the interview was conducted remotely due to the pandemic, it also discusses the ways in which the novel coronavirus may change the world (if at all). Ulitskaya also shares her opinion on what a writer should do in these changing times.
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Stezhko, N. G. "Features and specificity of creating a script for a television documentary drama." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 3 (August 6, 2020): 328–35. http://dx.doi.org/10.29235/2524-2369-2020-65-3-328-335.

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The author analyses the specifics of writing a script for a television documentary drama (hereinafter referred to as docudrama), which combines the characteristics of the feature and documentary films. The article points out that many books have been written about the rules of scriptwriting for a feature film. However, there is no literature on the art of scriptwriting for a docudrama despite the fact that there are numerous docudramas being created worldwide. The opinion is given that the mastery of the docudrama scriptwriting is in choosing the most interesting and paradoxical moments in a hero’s life and showing his or her character through the resistance to life challenges: how the hero overcomes them, the motivation behind their actions and why a particular choice is being made. While in feature films the narrative is presented through action and actors’ performances, the article emphasises that docudramas explain the hero’s motivations through an additional figure such as an expert or co­participant in the events. While the difficult moments in the hero’s life and their overcoming are usually depicted through the staged episodes, an exploration into the hero’s character is supported by historical documents, a chronicle or other genuine historical sources. Docudrama is inherently narrative and the author investigates how the best practices of television journalism are used in scriptwriting, in addition to the cinema laws that are used in creating an image. The author explores the methodology of the docudrama scriptwriting in the project “Countdown” (“Vladimir Bokun’s Workshop”,Belarus) as an example.
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Małgorzata Hendrykowska, Małgorzata Hendrykowska. "Ważyk – Ford – Starski. Historia pewnego scenariusza." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 35–61. http://dx.doi.org/10.14746/i.2019.35.02.

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The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.
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Henschen, Jan. "Die Filmprimadonna (The Film Primadonna, 1913): A case study of the fiction of a screenplay and the process of filmmaking in German early cinema." Journal of Screenwriting 10, no. 3 (September 1, 2019): 247–59. http://dx.doi.org/10.1386/josc_00002_1.

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A case study on Urban Gad’s German shooting script for Die Filmprimadonna (The Film Primadonna, 1913) reviews the screenplay in the production process shortly after the emergence of multiple-reel feature films. In the dramatic story of the rise and fall of a film prima donna, a fictitious screenplay plays an idiosyncratic function in filmmaking that sketches, for the cinematic audience of that time, a specific idea of how and why an appropriate script has to be made. The article offers an analysis of Gad’s preserved script and demonstrates that this screen-idea contrasts with the value and agency of screenplays in the historic mode of production in 1913. Inasmuch as the plot of the movie simply highlights the function of acting, Die Filmprimadonna as a script itself functions as a complex and highly composed agent in the process of filmmaking ‐ as both a narrative and, equally, a production schedule for the film.
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Michalovič, Michal. "The Miraculous Virgin: Journey from Novella to Shooting Script." Slovenske divadlo /The Slovak Theatre 66, no. 1 (March 1, 2018): 52–66. http://dx.doi.org/10.2478/sd-2018-0004.

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Abstract Dominik Tatarka’s novella The Miraculous Virgin was first published in 1944. Twenty years later a second edition (revised by the author) was published and at approximately the same time Tatarka wrote a literary script for an intended film based on his novella. Director Štefan Uher (who had previously directed three feature films – Class Nine A, The Sun in a Net and The Organ) undertook the film adaptation. He wrote the shooting script based on Tatarka’s literary script and in 1966 he directed the movie The Miraculous Virgin. In the present study the author analyses the evolution of the text from one version to another. Tatarka’s modifications to the text and Uher’s subsequent changes are being analysed. The readers – and future audience of the film – had at their disposal four literary versions of The Miraculous Virgin: two editions of the novella, a film treatment by Tatarka (published in two issues of the Slovenské pohľady magazine in 1964) and a so-called literary script (published in 1966). Therefore we can talk about a complex consisting of various components and we can analyse in detail the relationship between them.
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Nikiforova, Inna Gerbertovna. "SCRIPTS OF SCHOOL EDUCATIONAL DISCOURSE OF THE THIRD REICH (based on German feature films)." Политическая лингвистика, no. 2 (2018): 119–22. http://dx.doi.org/10.26170/pl18-02-15.

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Zvegintseva, Irina Anatolyevna. "Both Screenwriter and Director." Journal of Flm Arts and Film Studies 6, no. 2 (June 15, 2014): 120–22. http://dx.doi.org/10.17816/vgik62120-122.

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American screenwriter, producer, director and actor Paul Haggis has substantially gone down in world cinema's history. Currently he is an author of more than thirty-five feature length films' scripts among which are such significant films as "Million Dollar Baby" (2004), "Flags of Our Fathers"(2006), "Letters from Iwo Jima", "Casino Royale"(2006), "Quantum of Solace" (2008), "Terminator Salvation" (2009). His directorial works are of interest as well. The article is devoted to brief analysis of this "second" and less known Haggis' profession.
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Tsuji, Sahoko. "‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 149–61. http://dx.doi.org/10.1386/smt_00029_1.

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Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.
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Dissertations / Theses on the topic "Feature filme script"

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Maxwell, Nicholas Elliott, and nmaxwel1@bigpond net au. "Black Comedy and the Principles of Screenwriting/The Actions." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081212.123034.

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This exegesis will aim to research and analyse the conventions of writing a black comedy in a feature film script. As a screenwriter with a particular interest in black comedy, my aim is to explore the technical structures of black comedy in order to facilitate the writing of a tragicomic screenplay. We will attempt to define the components of black comedy and survey its origin in theatre and literature. The exegesis will aim to explore what components comprise the middle ground between drama and humour and position it in relation to the classical genres of tragedy and comedy. The exegesis will also aim to examine the function of black comedy in relation to the psychology of the protagonist and the audience, as well as defining the characteristics of the genre in the context of Screenwriting. The exegesis will observe the film adaptation of the renowned play, Who's Afraid of Virginia Woolf? as a case study. The research will inform the writing of the feature length screenplay entitled The Actions.
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Miami, Silas. "Tero Buro: Feature film script." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32801.

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The conflict and controversy sparked by the production and public consumption of creative work wherein African queerness is liberally expressed is rarely explored from the perspective of the African queer creative. This paper examines how South African queer creatives interpret and understand the often-tumultuous reception that exhibitions of queerness in film and television receive from largely heterosexual South African audiences. With its focus trained on locating the labor concomitant to queer visibility, labor carried predominantly by members of the queer community, it interrogates the positioning of cinematic presentations of African queerness within South Africa's past and current social and cultural landscape by examining how performative resistance of African queer narratives impact the Black queer creative community in South Africa. Finally, this study critically explores the line of reasoning behind the displacement central to arguments that simultaneously seek to strip African queerness of any legitimate claim to ownership of indigenous African cultures and stories. Jon Trengrove's film, Inxeba (The Wound) (2017), functions as this paper's primary text. Inxeba's conceptualisation, production, reception, and the controversy that succeeded its release will ultimately ground this paper's examination of the consequential impact that its exhibition's spectacle had on the lives, and production outputs, of Black African queer creatives
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Paitaki, Gregory. "Cast-off: Original script for a feature film." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/12651.

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Morris, Anthony Kevin. "It's all a plot : an examination of the usefulness of the popularly accepted structural paradigm in the practice of writing of a feature film script." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16632/.

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This study took the widely-accepted, ‘industry standard’ Structural Paradigm of feature film plotting, and ‘road tested’ it, assessing its value as a tool in the process of actually writing a feature film script. The methodology employed was to write a feature film script (titled THE ARM THAT DOES THE HARM) and look to apply the Paradigm to the writing process. Journals recording the process were kept and peer assessment undertaken. The data from these sources was then analysed and conclusions drawn. The reason for and value of this study are that, while this Paradigm is widely espoused by screenwriting gurus, taught as part of film courses and applied as a tool of script assessment and review, there is very little documented evidence of its actual value to the practice of writing a script. My findings revealed that, though a useful reference point throughout, the Paradigm is most valuable during the early stages of story structuring and again, most particularly, when editing later drafts. An important outcome of this study was that it identified the Paradigm as a valuable tool, not a rule that must be adhered to, a series of points a narrative must be seen to ‘hit’ in order for it to be considered to have been told correctly. Further, this study demonstrated in practice how this tool can be applied. This study suggests that trying to force an evolving story into the confines of the Paradigm can inhibit the story from developing ‘organically’ from its characters. Rather, the Paradigm should be applied as a tool for helping shape stories that first and foremost should be character-driven.
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Hart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.

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Smith, Donna Lee. "Mombasa days : a feature-length film script." Thesis, 1989. http://spectrum.library.concordia.ca/3713/1/ML51331.pdf.

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Books on the topic "Feature filme script"

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Lucey, Paul. Story sense: Writing story and script for feature films and television. New York: McGraw-Hill, 1996.

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Heritage, Canada Canadian. From script to screen: New policy directions for Canadian feature film. Ottawa: Canadian Heritage, 2000.

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Heritage, Canada Canadian. From script to screen: New policy directions for Canadian feature film. Ottawa: Canadian Heritage, 2000.

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Chamness, Danford. The Hollywood guide to film budgeting and script breakdown for low budget features. 5th ed. Los Angeles, CA: S.J. Brooks Co., 1988.

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Canada. Parliament. House of Commons. Standing Committee on Canadian Heritage., ed. Enhancing the Canadian feature film policy: Government of Canada response to the report of the Standing Committee on Canadian Heritage Scripts, screens and audiences : a new feature film policy for the 21st century. Gatineau, Québec: Canadian Heritage, 2006.

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Sean, Walsh, ed. Images from Bloom: Production drawings and script extracts from "Bloom" the feature film inspired and adapted from James Joyce's Ulysses. Dublin, Ireland: Odyssey Pictures Limited, 2004.

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Rowe, Mervyn. Images from Bloom: Production drawings and script extracts from "Bloom" the feature film inspired and adapted from James Joyce's Ulysses. Dublin: Odyssey Pictures Limited, 2004.

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Marlene, Catterall, and Canada. Parliament. House of Commons. Standing Committee on Canadian Heritage., eds. Scripts, screens and audiences: A new feature film policy for the 21st century : report of the Standing Committee on Canadian Heritage. Ottawa, Canada: House of Commons, Canada, 2005.

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Morgan, Usher. Lessons from the Set: A DIY Guide to Your First Feature Film, from Script to Theaters. Library Tales Publishing, 2018.

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Ty, Eleanor. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040887.003.0001.

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While the hashtags #Asianfail, #failAsian and #Asianfailure on Tumblr, Instagram and Twitter feature pictures and humorous anecdotes of Asians who "fail" at doing what Asians are supposed to be good at, cooking rice, using chopsticks, excelling in Math, playing the violin, they are poignant reminders of the ideological power of stereotypes. The myth of the model minority, with its stress on economic and professional success continues to influence the way Asian North Americans see themselves and are perceived by others. The first decade of the twenty-first century has been characterized by economic instability and political insecurity that has resulted in a life of precarity and unhappiness for young Asian Americans and Asian Canadians, but it has also given rise to books and films that contest normative scripts of ethnic identity.
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Book chapters on the topic "Feature filme script"

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Areal, Leonor. "O cinema de Fernando Namora." In Medicina e Outras Artes: Fernando Namora no Centenário do seu Nascimento, 75–101. FLUP-ILC, 2020. http://dx.doi.org/10.21747/978-9895478422/lib23a7.

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This article focuses on Fernando Namora´s long relationship with cinema, carrying out an inventory and study of nine film projects in which the writer was directly involved as screenwriter. Although they have not been produced, due to financial issues, censorship and other problems, these projects attest to the importance of cinema, and of film language, in Namora´s work, of which the script for O Rio Triste (preceding the novel) is a major example. In addition to these, Namora has had, during his lifetime, six feature films adapted to cinema or television, and he was the subject of five documentaries.
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Reeck, Laura. "Guerrilla Filmmaking with Rachid Djaïdani." In Cinéma-monde. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414982.003.0004.

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For many years, hexagonal writer-turned-filmmaker Rachid Djaïdani worked and resided outside of the French filmic establishment. With unconventional modes of filming and producing, including not working from a script, Djaïdani produced two guerrilla films that fit within a wave of guerrilla filmmaking in France, specifically his first fiction-feature Rengaine (2012) and his first documentary-feature Encré (2014). These films were self-financed and self-produced; actors were most often non-professional and handpicked from Djaïdani’s family and closest friends; and Djaïdani never received a license to film from the Centre National du Cinéma et de l’Image Animée. In some ways, his guerrilla filmmaking can be seen to invest the local, skip over the national, and yet nevertheless accede to the global. This chapter asks to what degree Djaïdani complicates cinéma-monde by probing where guerrilla filmmaking and France’s postcolonial ethnic minority filmmakers fit into its purview.
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Towlson, Jon. "Close Encounters: Influences and Production Background." In Close Encounters of the Third Kind, 25–56. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325079.003.0003.

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This chapter examines a number of filmic influences on Steven Spielberg's Close Encounters of the Third Kind (1977), which give it an element of intertextuality. Rather than lending Close Encounters an air of postmodern pastiche, the intertextuality of the film helps to shape its inner meaning and philosophy. The chapter highlights how Stanley Kubrick's 2001: A Space Odyssey (1968) is a major influence on Spielberg's film in a number of ways. Other influences on Close Encounters include Disney films; other great American filmmakers; Alfred Hitchcock and Frank Capra; and astrophysicist J. Allen Hynek's book The UFO Experience: A Scientific Report (1972), which rekindled Spielberg's long-term personal interest in the UFO phenomenon that had begun as a teenager growing up in Arizona, and which had already resulted in his feature-length amateur film, Firelight, made in 1964 when he was sixteen. The chapter then details the production background of Close Encounters, including its script development and filming process.
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Sinwell, Sarah E. S. "Women Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking." In Indie Reframed. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403924.003.0002.

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This chapter explores the pioneering and continuing importance of legendary non-profit Women Make Movies, established in 1972 as the first production and distribution company devoted to films by and about women, before focusing on the work of two recently established companies. Created in 2005 to support the work of female nonfiction filmmakers, Chicken & Egg Pictures continues a tradition of activism in which feminist documentaries figure centrally by funding and mentoring filmmakers who address social, political and global human rights issues. More recently, Gamechanger Films was founded in 2013 as the first for-profit fund exclusively for narrative films scripted and directed by women and aims to intervene in the gender imbalance of the feature film industry.
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LoBrutto, Vincent. "Introduction." In Ridley Scott, 1–5. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0001.

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The introduction describes the details of a typical day in Ridley Scott’s life, from the business responsibilities he conducts in the early morning to his return from a film shoot in the evening, presenting his reading of scripts and drawing of storyboards as well as his late-night activities and preparation for the next day’s shoot. Scott’s role in Ridley Scott Associates (RSA) and Scott Free productions are put into perspective with his artistic life. An analysis of the small and large productions of his own company and of studios both major and independent sheds light on his decision-making process regarding his major feature film career. Also discussed is whether Ridley Scott is an auteur. After exploring the theory, the conclusion is that Ridley Scott is an auteur in the classical sense of being the sole “author” of his films. The introduction also demonstrates that Scott’s visualist approach to movie-making gives him total control of all the films he directs. Scott’s use of photography and design lend his films a distinctive signature.
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Sears, Benjamin. "“The Road to Oz”." In Adapting The Wizard of Oz, 27–52. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663179.003.0003.

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This chapter discusses the adaptation of the script for the MGM film, focusing on the conversion of the original novel to a full-length feature film and addressing the issues faced by changing medium. It looks at alterations made to the story, including the deletion of episodes in the book for the film, and changes in (and deletions of) characters from novel to film. The chapter explores the use of music to enhance the fantasy aspect of the film and the musical conventions used such as introductory songs for Dorothy’s three companions. Although the film is a new interpretation, it retains the sense of a magical world that made the Baum books so popular.
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Heller-Nicholas, Alexandra. "In/Significant Gestures— Elaine May, Screen Performance, and Embodied Collaboration." In ReFocus: The Films of Elaine May, 165–80. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440189.003.0009.

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In Elaine May’s professional biography, her role as actor tends to traditionally fall somewhere in line after the fields for which she is most immediately recognized – comic, screenwriter, director. Yet across a range of feature films in particular, May demonstrated a clearly highly developed skill for performing a range of different roles to camera. For a figure whose achievements are associated so readily with language, what becomes apparent when watching May act on film is how much she relies on the unspoken for lasting effect: gestures, facial expressions and movement inform her characterizations often just as much as dialogue and script. This chapter considers not only May’s performance in perhaps her most well-known screen role as Henrietta in her directorial debut A New Leaf, but more also in her numerous collaborations with a range of acclaimed directors where her role was solely as actor.
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Billheimer, John. "To Catch a Thief (1955)." In Hitchcock and the Censors, 200–205. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0027.

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To Catch a Thief, filmed on the French Riviera, again featured suggestive dialogue by John Michael Hayes. In their review of the script, Code officials logged a number of objections, including excessive bottom pinching, bikini breast exposure, sexual innuendo, repeated scenes of French police ogling salacious postcards, a casino chip dropped down the cleavage of a female gambler, and a sensuous fireworks seduction scene between Cary Grant and Grace Kelly. Hitchcock filmed the script as planned, and then traded off several objectionable passages (bottom pinching, bikini exposure) in order to save others. He cut the French postcard scenes in order to save the fireworks seduction, but had to rescore the fireworks scene with strings instead of a sexy tenor sax in order to make the trade. Time was on his side in the bargaining phase, since the final cuts were made after Joe Breen had been replaced by the more accommodating Geoffrey Shurlock.
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Hallam, Lindsay. "Filled with Secrets: Fire Walk With Me as a Twin Peaks Film." In Twin Peaks: Fire Walk with Me, 11–26. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325642.003.0002.

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This chapter examines how David Lynch's Twin Peaks: Fire Walk With Me enriched and expanded the underlying mythology of the Twin Peaks universe despite being narrowed in scope. It details the excitement of fans when it was announced that David Lynch was going to return to Twin Peaks in the form of a feature film. It also reveals how fans did not anticipate the Twin Peaks film to be a prequel that shows the last seven days in the life of Laura Palmer. The chapter points out how Fire Walk With Me film was not intended to appease those who wanted to know the fates of the many characters after the series finale, but to delve deeper into the mysteries surrounding Laura's death and the connection to a supernatural realm. It examines Fire Walk With Me's shooting script that several scenes which include series regulars in cameo appearances.
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Billheimer, John. "Vertigo (1958)." In Hitchcock and the Censors, 219–26. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0031.

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Vertigo received mixed reviews on its initial release, but a 2012 poll of film critics rated it the best film of all time. During script preparation and filming, the Production Code Administration reported several objections to the somewhat implausible story of a man who tricks a friend with vertigo, played by James Stewart, into witnessing the ‘suicide’ of the man’s wife with the help of a double for the wife who later falls in love with the friend. Code office objections included the filming of intimate undergarments drying on a line, discussions of brassiere design, a ‘cat house’ reference, all scenes that are ‘objectively lustful’ and feature ‘open mouth kissing,’ and any hint of sexual relations between the Stewart character and the two characters played by Kim Novak. Most of all, the censors advised that ‘it is most important’ that the guilty husband be brought back for trial. The ban on unpunished crime had an adverse impact on more of Hitchcock’s American films, starting with Rebecca, than almost any other Code provision. Hitchcock made a show of accommodating the dictum in Vertigo by filming an ending in which Stewart and his ex-fianc’e listen to a news broadcast announcing that the villainous husband has been captured and is about to be extradited for trial. The ending was so out of place and obviously ‘tacked on’ that it was cut from the American release but included in foreign prints to satisfy the censorship boards of other countries.
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Conference papers on the topic "Feature filme script"

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Cannon, Bennion R., Spencer P. Magleby, Larry L. Howell, Guilin Jiang, Travis L. Niederhauser, and Matthew R. Linford. "Influence of Scribe Speed and Force on Chemomechanical Nanofunctionalized Features." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-33554.

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Researchers at Brigham Young University have recently developed a new method for preparing monolayer films on silicon surfaces. The method consists of wetting the wafer with a reactive organic liquid, mechanically scribing a feature on the surface of the wafer while it is immersed, and cleaning the surface to remove the organic liquid and any silicon particles that are produced by scribing. The objective of this paper is to present preliminary results on understanding how the scribed features and their performance are affected by the mechanical characteristics of the scribing system. Performance is simply judged here by the amount of water a hydrophobic square (corral) can hold. Testing was performed to determine the influence of tip force and scribing speed on the geometry and performance of the scribed lines. Lower forces produced smoother lines, however the corrals that were formed using a high force were shown to hold the most water.
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