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CINERAMA: the First Really Big Show
CCINEN RRAMAM : The First Really Big Show DIVING HEAD FIRST INTO THE 1950s:: AN OVERVIEW by Nick Zegarac Above left: eager audience line ups like this one for the “Seven Wonders of the World” debut at the Cinerama Theater in New York were short lived by the end of the 1950s. All in all, only seven feature films were actually produced in 3-strip Cinerama, though scores more were advertised as being shot in the process. Above right: corrected three frame reproduction of the Cypress Water Skiers in ‘This is Cinerama’. Left: Fred Waller, Cinerama’s chief architect. Below: Lowell Thomas; “ladies and gentlemen, this is Cinerama!” Arguably, Cinerama was the most engaging widescreen presentation format put forth during the 1950s. From a visual standpoint it was the most enveloping. The cumbersome three camera set up and three projector system had been conceptualized, designed and patented by Fred Waller and his associates at Paramount as early as the 1930s. However, Hollywood was not quite ready, and certainly not eager, to “revolutionize” motion picture projection during the financially strapped depression and war years…and who could blame them? The standardized 1:33:1(almost square) aspect ratio had sufficed since the invention of 35mm celluloid film stock. Even more to the point, the studios saw little reason to invest heavily in yet another technology. The induction of sound recording in 1929 and mounting costs for producing films in the newly patented 3-strip Technicolor process had both proved expensive and crippling adjuncts to the fluidity that silent B&W nitrate filming had perfected. -
The Search for Spectators: Vistavision and Technicolor in the Searchers Ruurd Dykstra the University of Western Ontario, [email protected]
Kino: The Western Undergraduate Journal of Film Studies Volume 1 | Issue 1 Article 1 2010 The Search for Spectators: VistaVision and Technicolor in The Searchers Ruurd Dykstra The University of Western Ontario, [email protected] Abstract With the growing popularity of television in the 1950s, theaters experienced a significant drop in audience attendance. Film studios explored new ways to attract audiences back to the theater by making film a more totalizing experience through new technologies such as wide screen and Technicolor. My paper gives a brief analysis of how these new technologies were received by film critics for the theatrical release of The Searchers ( John Ford, 1956) and how Warner Brothers incorporated these new technologies into promotional material of the film. Keywords Technicolor, The Searchers Recommended Citation Dykstra, Ruurd (2010) "The Search for Spectators: VistaVision and Technicolor in The Searchers," Kino: The Western Undergraduate Journal of Film Studies: Vol. 1 : Iss. 1 , Article 1. Dykstra: The Search for Spectators The Search for Spectators: VistaVision and Technicolor in The Searchers by Ruurd Dykstra In order to compete with the rising popularity of television, major Hollywood studios lured spectators into the theatres with technical innovations that television did not have - wider screens and brighter colors. Studios spent a small fortune developing new photographic techniques in order to compete with one another; this boom in photographic research resulted in a variety of different film formats being marketed by each studio, each claiming to be superior to the other. Filmmakers and critics alike valued these new formats because they allowed for a bright, clean, crisp image to be projected on a much larger screen - it enhanced the theatre going experience and brought about a re- appreciation for film’s visual aesthetics. -
10. the Extraordinarily Stable Technicolor Dye-Imbibition Motion
345 The Permanence and Care of Color Photographs Chapter 10 10. The Extraordinarily Stable Technicolor Dye-Imbibition Motion Picture Color Print Process (1932–1978) Except for archival showings, Gone With the He notes that the negative used to make Wind hasn’t looked good theatrically since the existing prints in circulation had worn out [faded]. last Technicolor prints were struck in 1954; the “That negative dates back to the early ’50s 1961 reissue was in crummy Eastman Color when United Artists acquired the film’s distri- (the prints faded), and 1967’s washed-out bution rights from Warner Bros. in the pur- “widescreen” version was an abomination.1 chase of the old WB library. Four years ago we at MGM/UA went back to the three-strip Tech- Mike Clark nicolor materials to make a new internegative “Movies Pretty as a Picture” and now have excellent printing materials. All USA Today – October 15, 1987 it takes is a phone call to our lab to make new prints,” he says.3 In 1939, it was the most technically sophisti- cated color film ever made, but by 1987 Gone Lawrence Cohn With the Wind looked more like Confederates “Turner Eyes ’38 Robin Hood Redux” from Mars. Scarlett and Rhett had grown green Variety – July 25, 1990 and blue, a result of unstable film stocks and generations of badly duplicated prints. Hair The 45-Year Era of “Permanent” styles and costumes, once marvels of spectral Technicolor Motion Pictures subtlety, looked as though captured in Crayola, not Technicolor. With the introduction in 1932 of the Technicolor Motion Not anymore. -
Grieveson Empire & Film Ch
Grieveson_Empire & Film Ch3 22/6/11 2:20 pm Page 35 3 Sons of Our Empire: Shifting Ideas of ‘Race’ and the Cinematic Representation of Imperial Troops in World War I Toby Haggith and Richard Smith During Queen Victoria’s Diamond Jubilee in 1897, the Illustrated London News observed the ‘curious medley of soldiery representing various races of men, African, Asian, Polynesian, Australasian, and American’ from all over the British empire, gathered at Chelsea barracks to take part in the ceremonies.1 At the height of the imperial era the British empire was recruiting on five continents to fill the ranks of local militias, garrison troops and expeditionary armies. The multiethnic composition of the British army was inextricably linked to colonialism and the imperial project. Prior to colonial expansion, Ireland, Scotland and Wales had been traditional recruiting grounds. From the 1650s African slaves and free blacks were deployed during the conflicts with France and Spain in the Caribbean. By the mid-eighteenth century, the East India Company had established local recruitment to fill the ranks of its armies in the three presidencies. At the turn of the twentieth century, the Royal West Africa Frontier Force and the King’s African Rifles helped to garrison and police Britain’s African possessions. World War I underlined the dependence of the empire on the Indian Army and other non-white units and was clearly an imperial, rather than simply a British effort. For example, over 550,000 members of the Indian Army served overseas, the campaigns in Africa drew on the service of over 1 million carriers during the course of the war and territories as far flung as Fiji and the Bahamas provided contingents.2 The British Army remains a multiethnic force today, despite British-born minority ethnic groups being underrepresented in the ranks. -
History-Of-The-Moving-Image-LIB-Pd
tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A. -
Exhibits: U.S. V. Technicolor Motion Picture Corporation
William C, Dixon, Special Assistant to the Attorney General James M, McGrath, Special Attorney Antitrust DiTision D3pa7T;msLi- of Justjoe 16u2 Ti. Postcffice & Courthouse Los Angeles 12, Clifornia Madison 7411, Extension 285 Attorneys for the Plaintiff IN THE DISTRICT COURT OF THE UNITED STATES FOR THE W13THERN DISTRICT OF CALIFORNIA CENTRAL DIVISION UNITED STATES OF AMERICA, Plaintiff, v. Civil Action No. •o-,^11 TECHNICOLOR, INC., TECHNICOLOR COMPLAINT •. MOTION PICTURE CORPORATION, and ELSTIAN KODAK COMPANY, Defendants. The United States of America, plaintiff, by its attorneys, acting under the direction of the Attorney General of the United States, brings this action against the defendants, and complains and alleges as follows JURISDICTION AND VENUE 1, This Complaint is filed and these proceedings are instituted under c. ^6tim 4 of the Act of Congress of July 2, 1890, c. 647, 26 Stat. 20q, es amended, entitled 'An Act to ProteA Trade and Commerce against Unlawrul Restraints and Monopolies," commonly known as the Sherman Antitrust Act, end under Section 15 of the Act of Congress of October 15, 1914, a. 323, 38 Stat, 730, as amended, commonly known as the Clayton Act, in order to prevent and restrain c-Jntinuing violations by the defendants, as hereinafter alleged, of Sections 1 and 2 of the Sherman Act, and of Section 3 of the Clayton Act. 2. Defendants Technicolor Motion Picture Corporation and East- man Kodak Company transact business and are found in the Southern District of California. II DEFINITIONS 3. The words 'professional -
Birt Acres (1854–1918)
BFI EDUCATION VICTORIAN FILM BIOGRAPHIES BIRT ACRES (1854–1918) Born in Richmond, Virginia to English parents, this American-British filmmaker spent most of his life in London, where he became one of the most important moving-image pioneers of the 1890s. He was the first person to build a working 35mm film camera in Britain, he hosted Britain’s first public film screening, and he invented the first narrow-gauge film system (the Birtac, which used 17.5mm film). Acres started experimenting with filmmaking in February 1895, in partnership with R.W. Paul. A few frames survive of what is now thought to be the first British film, Incident at Clovelly Cottage, filmed in March. Their first commercial production, Oxford and Cambridge Boat Race, was filmed on 30 March, swiftly followed by Rough Sea at Dover, The Arrest of a Pickpocket, The Carpenter’s Shop, Boxing Kangaroo and a record of the Derby horse race held on 29 May 1895. Acres and Paul had very different personalities, and by July their partnership had broken up. The films were intended for viewing in machines similar to Edison’s Kinetoscopes, but Acres also planned to project them on big screens to large audiences. Private demonstrations of his projector were made towards the end of 1895, before a public screening on 10 January 1896, just weeks after the Lumière Brothers demonstrated something similar in Paris. Acres’ achievements could have made him a very rich man, but he believed that moving images should be used for education rather than commercial purposes, and spent the late 1890s lecturing about those possibilities instead. -
Glasgow Cinema Programmes 1908-1914
Dougan, Andy (2018) The development of the audience for early film in Glasgow before 1914. PhD thesis. https://theses.gla.ac.uk/9088/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] The development of the audience for early film in Glasgow before 1914 Andy Dougan Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow May 2018 ©Andy Dougan, May 2018 2 In memory of my father, Andrew Dougan. He encouraged my lifelong love of cinema and many of the happiest hours of my childhood were spent with him at many of the venues written about in this thesis. 3 Abstract This thesis investigates the development of the audience for early cinema in Glasgow. It takes a social-historical approach considering the established scholarship from Allen, Low, Hansen, Kuhn et al, on the development of early cinema audiences, and overlays this with original archival research to provide examples which are specific to Glasgow. -
Intro History Precursors Cinematograph Y Camera
Intro History Precursors Cinematograph Color y Digital Cinematography Image Sensor + Film Stock Camera Movement Introduction: - The science or art of motion-picture photography. By recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensi tive material such as film stock. a lens is used to repeatedly focus the light reflected from objects into real images on the light-sensitive surface inside a camera during a questioned exposure, creating multiple images. - History: In the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator began to emerge. With the advent of artificial lighting and faster (more light sensitive) film stocks, in addition to technological advancements in optics, the technical aspects of cinematography necessitated a specialist in that area. Precursors: 1830’s: Moving images were produced on revolving drums and disks. - 1840’s: - Francis Ronalds Inventor of the first successful camera able to make continuous recordings of the varying indications of meteorological and geomagnetic instruments over time. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century. 1860’s: - William Lincoln patented a device, that showed animated pictures called the "wheel of life" or "zoopraxiscope". In it, moving drawings or photographs were watched through a slit. “Sallie Gardner at a Gallop" by Eadweard Muybridge: - 1878 Eadweard Muybridge successfully photographed a horse named "Sallie Gardner" in fast motion using a series of 24 stereoscopic cameras. -
Charles Urban and the Early Non-Fiction Film in Great Britain and America, 1897-1925
‘Something More than a Mere Picture Show’ Charles Urban and the Early Non-Fiction Film in Great Britain and America, 1897-1925 Submitted by Luke McKernan to Birkbeck College, University of London as a thesis for the degree of Doctor of Philosophy in Film Studies, June 2003 ‘Something More than a Mere Picture Show’ 3. The Eighth Wonder of the World And what shall be said of ‘Kinemacolor’, the eighth wonder of the world? At the outset it was regarded with mistrust and mentioned with dubiousness – just as Daguerre’s first sun-pictures were; just as John Hollingshead’s first searchlight from the roof of the Gaiety Theatre was in ’69; aye, just as the Lords of the Admiralty of Queen Victoria’s girlhood once solemnly reported that steam power could never be of any service in her Majesty’s Navy … The history of its development would read like a page of romance, of seemingly insurmountable problems finally solved …1 While Urban had been building up his career as a producer of documentary and educational films, he had also been nurturing a strong interest in the possibility of natural colour cinematography,2 leading to what became the world’s first successful such system, Kinemacolor. The period 1908-1913, when Kinemacolor flourished, was to see Urban become a public figure of note. Kinemacolor lay at the core of everything Urban wanted to achieve. The Age of Colours In 1909, in an essay surveying the history and philosophy of colour printing, Charles T. Kock declared, ‘This is the age of colours; it is colour everywhere’.3 The inference was that it would be within the memory of the writer, or his audience, when it was not an age of colours. -
The Impact of the Film Industry on Tourism
The Impact of the Film Industry on Tourism Bachelor Thesis for Obtaining the Degree Bachelor of Business Administration in Tourism, Hotel Management and Operations Submitted to Eva Aileen Jungwirth-Edelmann, MA Andrea Zurdo Vara 1711019 Vienna, 10 July 2020 Affidavit I hereby affirm that this Bachelor’s Thesis represents my own written work and that I have used no sources and aids other than those indicated. All passages quoted from publications or paraphrased from these sources are properly cited and attributed. The thesis was not submitted in the same or in a substantially similar version, not even partially, to another examination board and was not published elsewhere. 10/07/2020 Date Signature 2 Abstract Topic: The Impact of the Film Industry on Tourism Name of Author: Andrea Zurdo Vara Course/Year: Bachelor of Business Administration in Tourism, Hotel Management and Operations, 2017 Pages: 76 Content: A new emerging trend within modern tourism has been dubbed as film- induced tourism. While this growing phenomenon presents many benefits, it is crucial to address the potential disadvantages such as over-tourism and the lack of research about the topic. Accordingly, this thesis attempts to define film-induced tourism, as well as to explore the relationship between films and tourism. An analysis of the current tourist profile and the level of general knowledge of the term studied is examined. Moreover, imagery, consumer behaviour and motivation play a distinctive role when choosing a travel destination, being these analysed to understand tourists’ motivations. Hence, the main aim is to investigate the influence that the film industry has on a destination and the motivational aspects that drive tourists to choose their next travel destination after consuming said content. -
Abby Meehan – Women Film Pioneers Project
3/24/2020 Abby Meehan – Women Film Pioneers Project Abby Meehan Lived: 1853 - 1931 Worked as: director, journalist Worked In: England by Luke McKernan Abby Meehan was a British fashion journalist, whose brief but distinctive engagement with film arguably gave birth to a new genre, the cinemagazine (McKernan 2008, ix-x). Her father, Bartholomew Meehan, was an antiquarian bookseller originally from Cork, who moved from Ireland to Liverpool, then Swansea in Wales, where Abby, the eldest of four children, was born in 1853. The Irish Catholic family finally settled in Bath, England. The family business was located at 1 Henrietta Street, from where Meehan and her sister Catherine established a millinery shop around 1880 (Advertisement [Bath Chronicle and Weekly Gazette] 5). Meehan had an earlier engagement with motion pictures than most. She was acquainted with Bath resident John Arthur Roebuck Rudge, a scientific instrument maker and magic lanternist. In the 1880s, he experimented with photographic sequences that could give the illusion of movement, and also collaborated with another Bath resident who dreamed of moving pictures, William Friese Greene (Carpenter 1996, 125-126). Meehan recalled, with some inaccuracy: I have been deeply interested in cinematography in all its branches since I was a girl. I knew the late Mr. Henry [sic] Rudge, of Bath, the first inventor of moving pictures, very well. As a special treat he used to allow me to penetrate into the mysteries of his studio and workshop, and I soon learned much of interest concerning the wonders of the cinematograph. The first moving picture—one of a horse—was taken at Bath at that time (“Fashions on the Film” 211).