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Falling film configurations play an important role in characterizing the heat transfer due to changes in hydrodynamic behavior. The purpose of this study is to establish a novel film distributor to investigate the hydrodynamic behavior of the falling film on the vertical tube. The falling film thickness and flow patterns on the vertical tube were analyzed at a feed water temperature of 30°C for film Re ranged from 53 to 4544 and the heat fluxes ranged from 1.33 to 49.45 kW/m 2 . The correlation between the average falling film thickness and the film Re was fitted; the maximum deviation between the experimental data and the predicted values was 7.58%. Additionally, the film thickness changed sharply when the heat flux increased to a certain value. With the further increase of the heat flux, dry patches appeared on the surface of the experimental tube. There was Marangoni effect on vertical tube and the falling film thickness and flow patterns were significantly affected by heating. The interval value of the critical heat flux with film Re was obtained. Compared with the porous film distributor reported in the literature, the critical heat flux of the new film distributor increased by 3.72%–56.95%.

Purpose This paper aims to examine the strategic issues of risk for independent theatrical film distributors in the Hindi film industry in India. Design/methodology/approach The study adopted qualitative grounded theory approach to explore contextually relevant strategic issues of risk for independent theatrical film distributors. Semi-structured in-depth interviews with Hindi film distributors helped to gain explorative insights about the risk behaviour of film distributors operating in Mumbai “circuit”. Findings The findings suggest that risk faced by distributors is a function of product (film content) features, contractual terms, resources such as finance and strength of strategic alliances with the producers. The study develops a business risk model for the film distributors from a series of propositions. Originality/value The paper contributes to the literature on motion picture industry by highlighting the importance of distribution risk in the film value chain.

Eagle-Lion, an independent film producer and distributor from 1946 to 1951, attempted to compete with the major Hollywood studios by releasing inexpensive films known as programmers that had a unique marketing angle. One of the most successful of these was Destination Moon (1950), which initiated the 1950s boom in science-fiction cinema. The film's semidocumentary mode was intended to broaden its appeal by differentiating it from more juvenile and fantastic examples of the genre. Despite Destination Moon's strong performance, Eagle-Lion was unable to achieve sustained success, due in part to the major studios' continued control of distribution and exhibition.

Exploring the manner in which industry trade practices determined the patterns of local exhibition in the 1920s and 1930s, this article provides a contextual history of Classical Hollywood cinema's most ubiquitous document, the Standard Exhibition Contract, by which the major distributors did business with independent exhibitors.

These interviews tell the story of one of modern independent cinema's most successful distributors. Documentary Educational Resources (DER) was founded in Cambridge, Massachusetts, in 1971 by ethnographic filmmakers John Marshall and Timothy Asch in order to distribute their own films, but through the work of DER directors Sue Cabezas and Cynthia Close, DER expanded and now distributes hundreds of films by nearly three hundred filmmakers from around the world. Cabezas and Close discuss their struggles to come to grips with the expansion of the field of ethnographic film and to maintain DER's relevance within continually changing technologies.

Looking at an isolated and seemingly banal document in the Pathé archives, this article tries to show how such an archival source can be made significant through a series of contextualizations. The starting point here is the question of why this apparently meaningless fragment of a letter has ended up in the archive and what purpose it was meant to serve.

The author confronts the online distribution of experimental media and the blurring of the boundaries that have traditionally separated archives from distributors, focusing on the case study of the UK's Film and Video Distribution Database, an online source for experimental moving image media. Knight examines the challenges and benefits of attempts to circulate experimental media online, discussing canonization, documentation strategies, resource allocation, and digital rights management.

Since the early 1970s British cinema history has conventionally been characterized as an unknown landscape, a tradition for which even those who created it knew little and cared less. This essay argues instead that especially in the mid 1930s and late 1940s there was an active discourse with the film industry's technical community, a debate that was particularly concerned with issues of collaboration and authorship. Concentrating on the work of Adrian Brunel and Ivor Montagu and their associates, notably film editor Ian Dalrymple, the essay outlines one aspect of this debate, and observes its traces on the production of Berthold Viertel's Little Friend (Gaumont-British, 1934).

Established in 1915, Educational Pictures was the industry leader in short subject distribution by the late silent era, dominating the market in two-reel slapstick films. Yet by the mid-1930s the company's reputation had sunk precipitously, and Educational failed to survive the decade. This paper examines that history as a vantage point for reassessing traditional accounts of slapstick's sound-era decline, showing how slapstick cinema's dwindling industrial status was tied to upheavals in the short-subject market and growing cultural divisions within Depression-era America.

Except for one brief period, D.W. Griffith's \"The Birth of a Nation\" was banned in the state of Ohio from the time of its original release until the collapse of motion picture censorship in that state in 1954. Drawing on records in the collection of the Ohio State Archives, this paper examines several of the unsuccessful legal appeals undertaken by Griffith and his distributor, the Epoch Producing Corporation. A lengthy historical bibliography justifying the film's version of reconstruction, prepared by Griffith's attorneys, is analyzed in detail.