Sleepless (Italian: Non ho sonno) is a 2001 Italian giallo film directed by Dario Argento. The film stars Max von Sydow and Stefano Dionisi and marks Argento's return to the giallo subgenre. The film was another box office success when it opened in Italy, taking in over $5,019,733,505 lira ($3,280,080 US) by the end of its theatrical run.
Plot
Detective Ulisse Moretti (von Sydow) is investigating a series of murders in Turin in 1983 known as The Dwarf Murders. The main suspect, a giallo novelist named Vincenzo de Fabritiis, turns up dead and the case is considered closed. However, seventeen years later, a similar series of murders begin and draw the since-retired Moretti back into the case. Moretti teams up with Giacomo (Stefano Dionisi), whose mother was murdered in the 1983 spree, to determine if de Fabritiis is still alive or was actually innocent of the crimes for which he was accused. As the murders continue, the investigating duo discovers that the murderer is arranging their murder to an old nursery rhyme about the killing of animals.
"Sleepless" is an English language song performed by Swedish singer Eric Saade. It is the first single from Saade's first album, Masquerade, and was released on 21 December 2009 worldwide. It reached the top 50 in Sweden.
The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. In this episode, Mulder is assigned a new partner, Alex Krycek (Nicholas Lea). The two investigate a case where doctors and soldiers who were part of a sleep deprivation experiment are being killed off.
"Sleepless" featured what would become the recurring character of Alex Krycek, portrayed by Nicholas Lea. Krycek would progress from Mulder's partner to one of his enemies. Howard Gordon, the episode's writer, was inspired by various cases of insomnia. During the first season, Chris Carter had written a similar themed episode, but stopped working on it when he became "unhappy" with the result.
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:
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.
Morgan Citizen
26 Jan 2023
Morgan Citizen
26 Jan 2023