Carmen (1984) is a film directed by Francesco Rosi. It is a film version of Bizet's opera Carmen.Julia Migenes stars in the title role, Plácido Domingo as Don José, Ruggero Raimondi as Escamillo, and Faith Esham as Micaela. Lorin Maazel conducts the Orchestre National de France.
The film premiered in France on March 14, 1984, and in the U.S. on September 20 of that year. In 1985, the film was nominated for the Golden Globe Award for Best Foreign Film.
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Production
Rosi selected 1875 for the period and filmed entirely on locations in Andalusia, using Ronda and Carmona and Seville itself to simulate the Seville of that era. He worked with his longtime collaborator, the cinematographer Pasqualino De Santis, and with Enrico Job supervising the sets and costumes. Rosi acknowledged Gustave Doré's illustrations for Baron Charles Davilliers Spain (which was published in serial form in 1873) as his principal source for the visual design. He believed that Bizet, who never visited Spain, was guided by these engravings, and shot scenes in some of the exact places that Doré drew.
In Ancient Rome, the term "carmen" was generally used to signify a verse; but in its proper sense, it referred to a spell or prayer, form of expiation, execration, etc. Surviving examples include the Carmen Arvale and the Carmen Saliare.
Purposes
Spells and incantations were used for a variety of purposes. If a spell was intended to harm someone, the State could interfere to protect him. For instance, it was not unusual for a farmer whose crops had failed to accuse another farmer of having, by a carmen, lured the crops away. Tibullus, in a poem in which he complains that an old woman has bewitched Marathus, takes the opportunity to recount various feats of witches, such as transferring crops from one field to another. Similarly, Pliny the Elder records in Naturalis Historia (XVIII. 8) that a certain freedman, Furius, by using better implements and better methods than his neighbor, obtained richer crops from a smaller strip of land. A neighbor compelled Furius to go before the tribes and accused him of having bewitched his field. But when the tribes saw his sturdy slaves and his implements of witchcraft—hoes, rakes, and ploughs—they acquitted him.
Carmen is a 1932 British musical film directed by Cecil Lewis and starring Marguerite Namara, Thomas F. Burke and Lance Fairfax. It is an adaptation of the opera Carmen by Georges Bizet. It is also known by the alternative title of Gipsy Blood.
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Carmen is a French-Italian film directed by Christian-Jaque and starring Jean Marais. It is a version of the famous opera. Although filmed in 1942 it was not released until 1945.
It was one of the most popular movies in France in 1945 with admissions of 4,277,813.
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Film (Persian:فیلم) is an Iranian film review magazine published for more than 30 years. The head-editor is Massoud Mehrabi.
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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.
Film periodicals combine discussion of individual films, genres and directors with in-depth considerations of the medium and the conditions of its production and reception. Their articles contrast with film reviewing in newspapers and magazines which principally serve as a consumer guide to movies.