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IS/SONY in High Gear W/Japanese Market on Eve Ur Inch Disks Bow
i sh Box Self Service Tape Guide (Turn The Page) ... IS/SONY In High Gear w/Japanese Market On Eve 2nd Spot In Global Disk Sales . The Split Look August 16, 1969 i Top 40 Radio ,;oldners Form ash.,mpany...EVR: )se To A Consumer Reality ... SSS Buys Ott Cash Box754 d Bird, Blue Cat Catalogs ... Mini Players, ur Inch Disks Bow On European Markets... Peter Sarstedt E WONDER: BIG STEVIE WONDER Intl Section Begins on Pg. 61 www.americanradiohistory.com The inevitable single from the group that brought you "Young Girl" and "WomanYVoman:' EC "This Girl Is Dir Ai STA BII aWoman Now7 hbAn. by Gary Puckett COiN and The Union Gap. DEE On Columbia Records* Di 3 II Lodz,' Tel: 11A fie 1%. i avb .» o www.americanradiohistory.com ///1\\ %b\\ ISM///1\\\ ///=1\\\ Min 111 111\ //Il11f\\ 11111111111111 1/11111 III111 MUSIC -RECORD WEEKLY ii INTERNATIONAL milli 1IUUIII MI/I/ MIII II MU/// MUMi M1111/// U1111D U IULI glia \\\1197 VOL. XXXI - Number 3/August 16, 1969 Publication Office / 1780 Broadway, New York, New York 10019 / Telephone JUdson 6-2640 / Cable Address: Cash Box, N. Y. GEORGE ALBERT President and Publisher MARTY OSTROW Vice President IRV LICHTMAN Editor in Chief EDITORIAL MARV GOODMAN Cash Box Assoc. Editor JOHN KLEIN BOB COHEN BRUCE HARRIS Self- Service EDITORIAL ASSISTANTS MIKE MARTUCCI ANTHONY LANZETTA Tape Guide ADVERTISING BERNIE BLAKE Director of Advertising ACCOUNT EXECUTIVES STAN SOIFER, New York BILL STUPER, New York HARVEY GELLER, Hollywood Much of the confusion facing first - 8 -TRACK CARTRIDGES: Using the WOODY HARDING unit tape consumers lies in the area same speed and thickness of tape Art Director of purchaser education. -
Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Newsletter 09/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 09/07 DIGITAL EDITION Nr. 206 - April 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 09/07 (Nr. 206) April 2007 editorial Hallo Laserdisc- und DVD-Fans, und Fach. Wie versprochen gibt es dar- diesem Editorial auch gar nicht weiter liebe Filmfreunde! in unsere Reportage vom Widescreen aufhalten. Viel Spaß und bis zum näch- Es hat mal wieder ein paar Tage länger Weekend in Bradford. Also Lesestoff sten Mal! gedauert, aber nun haben wir Ausgabe satt. Und damit Sie auch gleich damit 206 unseres Newsletters unter Dach beginnen können, wollen wir Sie mit Ihr LASER HOTLINE Team LASER HOTLINE Seite 2 Newsletter 09/07 (Nr. 206) April 2007 US-Debüt der umtriebigen Pang-Brüder, die alle Register ihres Könnens ziehen, um im Stil von „Amityville Horror“ ein mit einem Fluch belegtes Haus zu Leben zu erwecken. Inhalt Roy und Denise Solomon ziehen mit ihrer Teenager-Tochter Jess und ihrem kleinen Sohn Ben in ein entlegenes Farmhaus in einem Sonnenblumenfeld in North Dakota. Dass sich dort womöglich übernatürliche Dinge abspielen könnten, bleibt von den Erwachsenen unbemerkt. Aber Ben und kurz darauf Jess spüren bald, dass nicht alles mit rechten Dingen zugeht. Weil ihr die Eltern nicht glauben wollen, recherchiert Jess auf eigene Faust und erfährt, dass sich in ihrem neuen Zuhause sechs Jahre zuvor ein bestialischer Mord abgespielt hat. Kritik Für sein amerikanisches Debüt hat sich das umtriebige Brüderpaar Danny und Oxide Pang („The Eye“) eine Variante von „Amityville Horror“ ausgesucht, um eine amerikanische Durchschnittsfamilie nach allen Regeln der Kunst mit übernatürlichem Terror zu überziehen. -
Cinerama to Digital Cinema: from the Zenith to the Decline Written by Enric Mas ( ) January 11, 2016
Enric Mas nitsenblanc.cat Cinerama to digital cinema: from the zenith to the decline Written by Enric Mas ( http://nitsenblanc.cat ) January 11, 2016 I try to imagine what the audience felt when they first saw a movie in Cinerama... but I cannot. I wonder, did they feel the same as I did when I saw a projection in 70 mm IMAX for the first time? Some clues tell me the answer is no. Howard Rust, of the International Cinerama Society, gave me an initial clue: “I was talking to a chap the other day who’d just been to see IMAX. ‘Sensational’, he said. ‘But, you know… it still doesn’t give you the same pins and needles up and down the back of your spin that Cinerama does’ ”. 1 What is its secret? Why is every film seen in Cinerama a unique event that is remembered for decades? We have another clue in a man who had worked with D.W. Griffith in That Royle Girl (1925), who produced and directed technically innovative short films, where black performers appeared, a rarity at the time, including the first appearance of Billie Holiday (Symphony in Black: A Rhapsody of Negro Life , 1935). He created a new imaging system (Vitarama) for the World’s Fair in New York (1939), joining 11 projectors of 16 mm, which reached a vertical image of 75 degrees high and 130 degrees wide, 2,3 developments which led to the most advanced artillery simulator in the world, which was used to train future aircraft gunners in World War II. -
Film Essay for "This Is Cinerama"
This Is Cinerama By Kyle Westphal “The pictures you are now going to see have no plot. They have no stars. This is not a stage play, nor is it a feature picture not a travelogue nor a symphonic concert or an opera—but it is a combination of all of them.” So intones Lowell Thomas before introduc- ing America to a ‘major event in the history of entertainment’ in the eponymous “This Is Cinerama.” Let’s be clear: this is a hyperbol- ic film, striving for the awe and majesty of a baseball game, a fireworks show, and the virgin birth all rolled into one, delivered with Cinerama gave audiences the feeling they were riding the roller coaster the insistent hectoring of a hypnotically ef- at Rockaway’s Playland. Courtesy Library of Congress Collection. fective multilevel marketing pitch. rama productions for a year or two. Retrofitting existing “This Is Cinerama” possesses more bluster than a politi- theaters with Cinerama equipment was an enormously cian on the stump, but the Cinerama system was a genu- expensive proposition—and the costs didn’t end with in- inely groundbreaking development in the history of motion stallation. With very high fixed labor costs (the Broadway picture exhibition. Developed by inventor Fred Waller from employed no less than seventeen union projectionists), an his earlier Vitarama, a multi-projector system used primari- unusually large portion of a Cinerama theater’s weekly ly for artillery training during World War II, Cinerama gross went back into the venue’s operating costs, leaving sought to scrap most of the uniform projection standards precious little for the producers. -
Widescreen Weekend 2010 Brochure (PDF)
52 widescreen weekend widescreen weekend 53 2001: A SPACE ODYSSEY (70MM) REMASTERING A WIDESCREEN CLASSIC: Saturday 27 March, Pictureville Cinema WINDJAMMER GETS A MAJOR FACELIFT Dir. Stanley Kubrick GB/USA 1968 149 mins plus intermission (U) Saturday 27 March, Pictureville Cinema WIDESCREEN Keir Dullea, Gary Lockwood, William Sylvester, Leonard Rossiter, Ed Presented by David Strohmaier and Randy Gitsch Bishop and Douglas Rain as Hal The producer and director team behind Cinerama Adventure offer WEEKEND During the stone age, a mysterious black monolith of alien origination a fascinating behind-the-scenes look at how the Cinemiracle epic, influences the birth of intelligence amongst mankind. Thousands Now in its 17th year, the Widescreen Weekend Windjammer, was restored for High Definition. Several new and of years later scientists discover the monolith hidden on the moon continues to welcome all those fans of large format and innovative software restoration techniques were employed and the re- which subsequently lures them on a dangerous mission to Mars... widescreen films – CinemaScope, VistaVision, 70mm, mastering and preservation process has been documented in HD video. Regarded as one of the milestones in science-fiction filmmaking, Cinerama and IMAX – and presents an array of past A brief question and answer session will follow this event. Stanley Kubrick’s 2001: A Space Odyssey not only fascinated audiences classics from the vaults of the National Media Museum. This event is enerously sponsored by Cinerama, Inc., all around the world but also left many puzzled during its initial A weekend to wallow in the nostalgic best of cinema. release. More than four decades later it has lost none of its impact. -
Widescreen Weekend 2014 Brochure
WIDESCREEN WEEKEND 10-13 APRIL 2014 2OTH BRADFORD INTERNATIONAL FILM FESTIVAL IN PARTNERSHIP WITH NATIONAL MEDIA MUSEUM Bradford BD1 1NQ Box Office 0844 856 3797 www.nationalmediamuseum.org.uk www.bradfordfilmfestival.org.uk 20TH BRADFORD INTERNATIONAL FILM FESTIVAL 27 MARCH - 6 APRIL 2014 WIDESCREEN WEEKEND 1 ................................................................................................................. INTRODUCTION TH TICKETS 2O In 1954 the movie industry was facing fierce competition from television, and investing heavily in offering the best possible experience in the cinema. Quality counted, and that year Tickets for individual screenings and events can be a new widescreen process was launched. The words “Paramount proudly presents the first purchased from the National Media Museum Box picture in VistaVision” appeared on screen and the letter V came flying towards the audience, Office (open 10am-9pm during the festival), on the BRADFORD creating a startling 3D effect. And with this introduction yet another widescreen process was phone 0844 856 3797 (8.30am-8.30pm), or via the presented to the public, the third in as many years. Each was designed to ensure that the only website www.bradfordfilmfestival.org.uk INTERNATIONAL place you could witness vivid, exciting, detailed imagery, was in cinemas. For details of how to book a widescreen FILM FESTIVAL Hollywood had to strive continually in the 1950s to offer something which could not be weekend pass, please see the festival website 27 MARCH - 6 APRIL 2O14 rivalled in the home. Television had started gaining a foothold in American homes from 1948 www.bradfordfilmfestival.org.uk and just like today – with large screen HD TVs, home cinema and uncompressed audio – the battle between the two media was intense. -
Master Class with Douglas Trumbull: Selected Filmography 1 the Higher Learning Staff Curate Digital Resource Packages to Complem
Master Class with Douglas Trumbull: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. * mentioned or discussed during the master class ^ special effects by Douglas Trumbull Early Special Effects Films (Pre-1968) The Execution of Mary, Queen of Scots. Dir. Alfred Clark, 1895, U.S.A. 1 min. Production Co.: Edison Manufacturing Company. The Vanishing Lady (Escamotage d’une dame au théâtre Robert Houdin). Dir. Georges Méliès, 1896, France. 1 min. Production Co.: Théâtre Robert-Houdin. A Railway Collision. Dir. Walter R. Booth, 1900, U.K. 1 mins. Production Co.: Robert W. Paul. A Trip to the Moon (Le voyage dans la lune). Dir. Georges Méliès, 1902, France. 14 mins. Production Co.: Star-Film. A Trip to Mars. Dir. Ashley Miller, 1910, U.S.A. 5 mins. Production Co.: Edison Manufacturing Company. The Conquest of the Pole (À la conquête de pôle). Dir. Georges Méliès, 1912, France. 33 mins. Production Co.: Star-Film. *Intolerance: Love’s Struggle Throughout the Ages. Dir. D.W. Griffith, 1916, U.S.A. 197 mins. Production Co.: Triangle Film Corporation / Wark Producing. The Ten Commandments. -
Hollywood & Television
Hollywood & Television Network TV in the US 1947-- Color • Differentiating the Theatrical Product • Herbert Kalmus & Technicolor • 3 Strip Technicolor 1950 Eastmancolor • Eastmancolor negative monopak film • 1967 All color films • 1969 TV full color • Chemical Eastmancolor fades • Dye transfer Technicolor prints (1934-1974) & B&W negatives do not fade Cinerama 1952-1962 • 1952 Sept THIS IS CINERAMA • 1955 CINERAMA HOLIDAY • 1962 WONDERFUL WORLD OF THE BROTHERS GRIMM • 1962 HOW THE WEST WAS WON 3D Film • 1951 BWANA DEVIL • 1953 HOUSE OF WAX • 1954 DIAL M FOR MURDER Widescreen • Anamorphic lens • CinemaScope • Aspect Ratio • 1:37 to 1 • Academy Ratio • 2.35 to 1 • 1.85 to 1 •20th Century Fox • 1953 THE ROBE 70mm Film Stereophonic Sound • 1955 Mike Todd, Todd AO • 70mm release prints • Super Panavision • Paramount’s VistaVision • Magnetic Recording • High Fidelity Stereophonic Sound Blockbusters • Frozen foreign profits • casts of 1000’s, exotic locations • Event releases • Roadshows and long runs The Production Code & Adult Content • Geoffrey Shurlock -- MPAA • 1951 The MIRACLE decision • 1953 THE MOON IS BLUE • 1955 MAN WITH A GOLDEN ARM • 1966 End of the Production Code MPAA Ratings Board • 1966 Jack Valenti 1921-2007 • Motion Picture Association of America • 1968 Ratings G, PG, R, X • 1969 MIDNIGHT COWBOY • 1972 DEEP THROAT •PG-13 • NC-17 • 2005 Dan Glickman The Youth Audience • 1953 THE WILD ONE • 1955 REBEL WITHOUT A CAUSE • 1956 BLACKBOARD JUNGLE • 1957 Elvis Presley & Hal Wallis • 1963 A HARD DAY’S NIGHT Teen Exploitation Films • American International Pictures • Roger Corman The Drive-In • 1932 First Drive-In • 1958 4000 Drive-Ins Southern California Drive-Ins • 107 So. -
Ultra Panavision 70 in Sydney
SYDNEY IN 70MM – PART 1 ULTRA PANVISION 70 TODD-AO SUPER TECHNIRAMA 70 SUPER PANAVISION 70 ULTRA PANAVISION 70 The original building structure including the façade of the Hoyts Plaza theatre still remains which is located at 600 George Street Sydney. Only part of the entry foyer [currently McDonald’s restaurant] exists from the 1650 seating capacity which premiered Dynamite on the 11th April 1930. During the forty seven [47] years of cinema exhibition, the Hoyts Plaza theatre presented numerous event motion pictures which included the second CinemaScope release in Sydney How To Marry a Millionaire on the 21st January 1954 and was extensively refurbished in 1958 to showcase the exclusive presentations of three strip and single lens Cinerama in New South Wales. Revered by patron, cinema staff, film distributor and exhibitor as the flag ship cinema for Hoyts Theatres in Sydney, the Hoyts Plaza theatre closed on the 29th June 1977 with Mr Billion as its last attraction. Compiled by Doug Louden The following table are the MGM Camera 65 and Ultra Panavision productions presented in Sydney during the era of the Reserved Seating Engagement. The release dates in BLUE FONT are those which were released at the 35mm equipped cinema. Only BEN HUR was later reissued in 70mm … FILM CINEMA SYDNEY LONDON CINEMA Raintree County – MGM Camera 65 Liberty 05/04/58 07/09/58 Empire Ben-Hur – MGM Camera 65 St James 05/05/60 16/12/59 Empire Mutiny on the Bounty St James 18/01/63 19/11/62 Royalty The Fall of the Roman Empire Forum 10/07/64 24/03/64 Astoria It’s -
WIDE SCREEN MOVIES CORRECTIONS - Rev
WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988. -
Boxoffice Barometer (April 15, 1963)
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