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A Very Natural Thing. A Very Natural Thing is a 1974 American film directed by Christopher Larkin and starring Robert Joel, Curt Gareth, Bo White, Anthony McKay, and Marilyn Meyers. The plot concerns a gay man named David who leaves a monastery to become a public school teacher by day, while looking for true love in a gay bar by night.
"Natural Philosophy" has meant a lot of different things. Throughout most of the 19th century, the people we recognize as physicists called themselves natural philosophers (James Clerk Maxwell, for instance, and just about anyone before the mid-19th century). Natural Philosophy was a school subject, alongside chemistry and physiology.
The Natural is a 1984 American sports film based on Bernard Malamud 's 1952 novel of the same name, directed by Barry Levinson, and starring Robert Redford, Robert Duvall, Glenn Close, Kim Basinger, Wilford Brimley, Barbara Hershey, Robert Prosky and Richard Farnsworth. [1] [2] Like the novel, the film recounts the experiences of Roy Hobbs, an ...
t. e. A film ( British English) – also called a movie ( American English ), motion picture, moving picture, picture, photoplay or (slang) flick – is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images.
Japan. Language. Japanese. Budget. est. $1,000,000 (JPY) Cure (キュア, Kyua) is a 1997 Japanese psychological horror film written and directed by Kiyoshi Kurosawa, starring Kōji Yakusho, Masato Hagiwara, Tsuyoshi Ujiki and Anna Nakagawa. The story follows a detective investigating a string of gruesome murders where an X is carved into the ...
The golden ratio is also an algebraic number and even an algebraic integer. It has minimal polynomial. This quadratic polynomial has two roots, and. The golden ratio is also closely related to the polynomial. which has roots and As the root of a quadratic polynomial, the golden ratio is a constructible number.
With Film as Philosophy, Bernd Herzogenrath sets out to “bring film studies and philosophy into a productive dialogue” that explores the ability of film to “think” and to enable thought (pp. xiii–xiv). In his introduction, he traces a tradition of philosophical engagement with film that informs cognitive film studies, academic ...
