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Graeme Ferguson
Ontario Place - home of IMAX Ferguson: It's a film about what it's hke film in Cinesphere? to join the circus, to be a Ferguson: Not for the pubhc. We'll Graeme performer in the circus. The film is pro probably be doing our pre duced and directed by my partner views there. It's the only existing theatre Roman Kroitor, and will probably be Ferguson called "This Way to the Big Show." where we can look at an IMAX film. Ques: Will IMAX be part of all world Ques: Did he use actors in the fUm? — by Shelby M. Gregory and Phyllis Expos to come? Wilson. Ferguson: No, he used only circus per Ferguson: There is an Expo taking place sonnel. Roman took the cam Graeme Ferguson is the Director- in Spokane in 1974, and the era right into the circus, and filmed Cameraman-Producer of "North of United States PaviUon will feature an during actual performances. It was very Superior". He is also president of Multi- IMAX theatre. Screen Corporation Limited, located in difficult because they could only get Gait-Cambridge, Ontario (developers of about two or three shots in any one Ques: Are they paying for the produc IMAX). performance. tion of a film? Ques: Was this filmed with the standard Ferguson: Yes, Paramount Pictures is Ques: What have you been doing since IMAX camera? producing, and Roman and I North of Superior? are involved. Ferguson: Yes, John Spotton was the Ferguson: We're just finishing a film for cameraman. Eldon Rathburn, Ques: Is it a feature film? Ringhng Brothers and Bar- who did the music for Labyrinth, is num and Bailey. -
9. IMAX Technology and the Tourist Gaze
Charles R. Acland IMAX TECHNOLOGY AND THE TOURIST GAZE Abstract IMAX grew out of the large and multiple screen lm experiments pro- duced for Expo ’67 in Montréal. Since then, it has become the most suc- cessful large format cinema technology.IMAX is a multiple articulation of technological system, corporate entity and cinema practice. This article shows how IMAX is reintroducing a technologically mediated form of ‘tourist gaze’, as elaborated by John Urry,into the context of the insti- tutions of museums and theme parks. IMAX is seen as a powerful exem- plar of the changing role of cinema-going in contemporary post-Fordist culture, revealing new congurations of older cultural forms and practices. In particular,the growth of this brand of commercial cinema runs parallel to a blurring of the realms of social and cultural activity,referred to as a process of ‘dedifferentiation’. This article gives special attention to the espistemological dimensions of IMAX’s conditions of spectatorship. Keywords cinema; epistemology; postmodernism; technology; tourism; spectatorship Technologies and institutional locations of IMAX N E O F T H E rst things you notice at the start of an IMAX lm, after the suspenseful atmosphere created by the mufed acoustics of the theatre, andO after you sink into one of the steeply sloped seats and become aware of the immense screen so close to you, is the clarity of the image. As cinema-goers, we are accustomed to celluloid scratches, to dirty or dim projections, and to oddly ubiquitous focus problems. The IMAX image astonishes with its vibrant colours and ne details. -
Northern Conference Film and Video Guide on Native and Northern Justice Issues
DOCUMENT RESUME ED 287 653 RC 016 466 TITLE Northern Conference Film and Video Guide on Native and Northern Justice Issues. INSTITUTION Simon Fraser Univ., Burnaby (British Columbia). REPORT NO ISBN-0-86491-051-7 PUB DATE 85 NOTE 247p.; Prepared by the Northern Conference Resource Centre. AVAILABLE FROM Northern Conference Film Guide, Continuing Studies, Simon Fraser University, Burnaby, British Columbia, Canada V5A 1S6 ($25.00 Canadian, $18.00 U.S. Currency). PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adolescent Development; *American Indians; *Canada Natives; Children; Civil Rights; Community Services; Correctional Rehabilitation; Cultural Differences; *Cultural Education; *Delinquency; Drug Abuse; Economic Development; Eskimo Aleut Languages; Family Life; Family Programs; *Films; French; Government Role; Juvenile Courts; Legal Aid; Minority Groups; Slides; Social Problems; Suicide; Tribal Sovereignty; Tribes; Videotape Recordings; Young Adults; Youth; *Youth Problems; Youth Programs IDENTIFIERS Canada ABSTRACT Intended for teacheLs and practitioners, this film and video guide contains 235 entries pertaining to the administration of justice, culture and lifestyle, am: education and services in northern Canada, it is divided into eight sections: Native lifestyle (97 items); economic development (28), rights and self-government (20); education and training (14); criminal justice system (26); family services (19); youth and children (10); and alcohol and drug abuse/suicide (21). Each entry includes: title, responsible person or organization, name and address of distributor, date (1960-1984), format (16mm film, videotape, slide-tape, etc.), presence of accompanying support materials, length, sound and color information, language (predominantly English, some also French and Inuit), rental/purchase fees and preview availability, suggested use, and a brief description. -
Estta1050036 04/20/2020 in the United States Patent And
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA1050036 Filing date: 04/20/2020 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91254173 Party Plaintiff IMAX Corporation Correspondence CHRISTOPHER P BUSSERT Address KILPATRICK TOWNSEND & STOCKTON LLP 1100 PEACHTREE STREET, SUITE 2800 ATLANTA, GA 30309 UNITED STATES [email protected], [email protected], [email protected] 404-815-6500 Submission Motion to Amend Pleading/Amended Pleading Filer's Name Christopher P. Bussert Filer's email [email protected], [email protected], [email protected] Signature /Christopher P. Bussert/ Date 04/20/2020 Attachments 2020.04.20 Amended Notice of Opposition for Shenzhen Bao_an PuRuiCai Electronic Firm Limited.pdf(252165 bytes ) IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD In the matter of Application Serial No. 88/622,245; IMAXCAN; Published in the Official Gazette of January 21, 2020 IMAX CORPORATION, ) ) Opposer, ) ) v. ) Opposition No. 91254173 ) SHENZHEN BAO’AN PURUICAI ) ELECTRONIC FIRM LIMITED, ) ) Applicant. ) AMENDED NOTICE OF OPPOSITION Opposer IMAX Corporation (“Opposer”), a Canadian corporation whose business address is 2525 Speakman Drive, Sheridan Science and Technology Park, Mississauga, Ontario, Canada L5K 1B1, believes that it will be damaged by registration of the IMAXCAN mark as currently shown in Application Serial No. 88/622,245 and hereby submits this Amended Notice of Opposition pursuant to 37 C.F.R. §2.107(a) and Fed. R. Civ. P. 15, by which Opposer opposes the same pursuant to the provisions of 15 U.S.C. -
Canadian Innovations
CanadianStories of Canadian Innovations Innovation McIntosh Red Apple The McIntosh Red is a world-famous apple that was discovered in Ontario in 1811. John McIntosh, a settler from New York, found apple-tree seedlings as he cleared brush on his Dundela farm, near Morrisburg on the St Lawrence River. McIntosh transplanted the trees and one bore delicious fruit: a deep-red apple with tart flavour and tender white flesh. Over the decades, the McIntosh family propagated their unique apple by grafting scions, or cuttings, to other fruit trees in their orchard. Allan McIntosh, John’s son, continued this work. He established a McIntosh Red nursery in 1870 and sold trees to other orchardists. By the early 1900s, the McIntosh Red was popular across North America. Apple breeders, such as W. T. Macoun at the Central Experimental Farm in Ottawa, used the hardy McIntosh Red to create new varieties including Lobo, Cortland, Empire, and Spartan. Farm botanist and artist Faith Fyles recorded some of this breeding work in beautiful watercolours. And while new apple varieties like Gala and Honeycrisp have challenged the McIntosh Red’s supremacy, the McIntosh apple remains a favourite both for cooking and for eating fresh. Notably, the McIntosh Red inspired the name of the Macintosh computer. Jef Raskin, an Apple engineer, called the McIntosh “my favourite kind of eatin’ apple.” Allan McIntosh Ottawa, February 1908 beside a “McIntosh Red” apple tree, Hawker Hurricane The Hawker Hurricane gained fame for its role in defeating the German air force during the Battle of Britain in 1940. Robust and rugged, the Hurricane was a single-seat monoplane launched in 1935. -
HUBBLE 3D Production Notes 2 24 10
Through the power of IMAX ® 3D, “Hubble 3D,” narrated by Leonardo DiCaprio, takes moviegoers on an unprecedented voyage through distant galaxies to explore the grandeur and mystery of our celestial surroundings. Experience never-before-seen 3D flights through the farthest reaches of the universe, and accompany spacewalking astronauts on some of the most difficult and important endeavors in NASA’s history. In May 2009, the crew of the Space Shuttle Atlantis launched a mission to make vital repairs and upgrades to the Hubble Space Telescope, the world’s first space-based observatory, 350 miles above the Earth. On board was an IMAX 3D camera, operated by the shuttle astronauts. It captured stunning sequences of the five intricate spacewalks required to make those repairs, as well as close-up images of the effort to grasp the orbiting telescope with the shuttle’s mechanical arm at 17,500 mph, and one unexpected problem that threatened to sabotage the entire mission. “Hubble 3D” combines this breathtaking IMAX footage with images taken by the telescope during the nearly 20 years it has been our window into space. Through advanced computer visualization, Hubble’s detailed data becomes a series of scientifically realistic flights that unfold on screen like a guided tour of the universe, through time and space. The seventh film from the award-winning IMAX Space Team, “Hubble 3D” offers an inspiring and unique look into the legacy of the Hubble Space Telescope and how it has changed our view of the universe and ourselves. The documentary adventure “Hubble 3D” is an IMAX and Warner Bros. -
Political Ecology in Large Format Films: Analyzing
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Political Ecology in Large-Format Films: Analyzing Environmental Representation & Audience Reception of Imax Nature Documentaries Jason Kemmitt Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION POLITICAL ECOLOGY IN LARGE-FORMAT FILMS: ANALYZING ENVIRONMENTAL REPRESENTATION & AUDIENCE RECEPTION OF IMAX NATURE DOCUMENTARIES By JASON KEMMITT SMITH A Dissertation submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the dissertation of Jason Kemmitt Smith defended on November 13, 2006. ___________________________________ Andy Opel Professor Co-Directing Dissertation ___________________________________ Stephen McDowell Professor Co-Directing Dissertation ___________________________________ Phil Steinberg Outside Committee Member ___________________________________ Donna Nudd Committee Member Approved: _______________________________________________ Stephen McDowell, Chair, Department of Communication _______________________________________________ John Mayo, Dean, College of Communications The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS There are so many people I need to thank because of their support throughout my graduate career. Without their love, understanding, guidance, financial assistance and advice, I would not have been able to complete this project and receive my doctorate. First and foremost, I must express my gratitude for my faith in God, recovery, and the fellowship of Alcoholics Anonymous. Then, I must thank my mother, Suzanne P. Smith. Your undying devotion to your children over the years, while experiencing the loss of your husband and debilitating health has been nothing less than awe-inspiring. -
Graeme Ferguson, One of the Founders of the Classmate, and Roman Kroiter to Invent a IMAX Corporation, Was Born in Toronto in 1929
Git&irsm FERGUSON Graeme Ferguson, one of the founders of the classmate, and Roman Kroiter to invent a IMAX Corporation, was born in Toronto in 1929. revolutionary new motion picture experience which Filmmaking When he was young he moved with his family to they named IMAX. Gait. Graeme attended Dickson Public School before For moving to Gait Collegiate in 1942. The son of Frank the next 23 years Mr. Ferguson served as president Ferguson, arguably the most popular teacher in the of IMAX Corporation. During this time the history of GCI, Graeme grew up in an atmosphere partners saw their dream realized as IMAX of ‘truth and discovery’. This carried into the school theatres proliferated around the world to more than 150 specialized 22 countries. with science teacher C. Gordon Clarke. According theatres in to Graeme, “any sort of experiment we wanted to do Currently Mr. Ferguson continues as a Gordon Clarke would encourage. He was always filmmaker, challenged to make new discoveries using up to supporting anything we were curious about.” the film medium. Among his JMM( films are North Not surprisingly, with his father’s political of Superior, The Dream is Alive, Blue Planet, Into the Deep, Destiny background as a the CCF candidate for South and in Space. Most recently, he produced L5: First Waterloo, Mr. Ferguson attended the University of City in Space, a large-forn-iat 3D film, and was honoured with NASA’s coveted Toronto where he graduated with a degree in Political Silver Snoopy Award for outstanding contribution to the Science and Economics. -
An Interview with Graeme Ferguson
An Interview with Graeme Ferguson All photos courtesy of Imes Corp. Roman Kroitor's We Are Born of Stars ,. S' From left: Stephen Low's Titania", Roman Kroitar's CMOs World; Graeme Ferguson's The Dream is Alive. "Our idea of a horizontal 70mm format with 15- or 16-perf pull across was really figured out by us in the first few minutes." The Imax story is one of inventiveness, Achievement this past spring. Ferguson about photography as high school students experimentation and success. Conceived by not only co—founded the company, he and Wolf had the good luck of being pulled freelance cinematographer Graeme has also been responsible for producing off a tractor and sent to the Film Board. He Ferguson and National Film Board and directing some of its most successful started at the bottom as a splicer and ended producer and director Roman Kroitor in films: North of Superior (produced, up as one of its finest filmmakers the fall of 1967—their goal was to create directed, photographed, edited, 71), Man the world's most sophisticated film Belongs to the Earth (directed, produced WW You were in New York in the projection system. Today the Imax with Roman Kroitor, 74), Ocean mid-1960s as a freelance cameraman on Corporation has grown to 136 theatres in (produced and directed, 77), Hail Rooftops of New York, which actually got 20 countries, with a backlog of 45 theatres Columbia! (directed and photographed, an Academy award nomination for best scheduled to open during the next few produced with Roman Kroitor, 82), The short in 1960. -
The Big Picture Just Got Bigger
THE BIG PICTURE JUST GOT BIGGER THE BIG PICTURE Imax Corporation Corporation Imax 1997 Annual Report Annual imaxcover_AJ 5/11/98 3:58 PM Page 3 IMAX CORPORATION 1997 ANNUAL REPORT imaxcover_AJ 5/11/98 4:26 PM Page 4 imaxfinal_AJ 5/11/98 5:04 PM Page 5 T-REX: Back to the Cretaceous will feature eight-story high 3D digital dinosaurs — larger than the originals! Coming Fall 1998. imaxfinal_AJ 5/12/98 9:45 AM Page 6 “Totally amazing” LUCAS MADIGAN at Edwards IMAX 3D Theatre, Irvine Spectrum, Irvine, California imaxfinal_AJ 5/12/98 9:45 AM Page 7 IMAX® Brand Awareness in U.S. Our research* shows that recognition of the IMAX brand name in the United States has increased 50% since 1995. The IMAX brand is recognized around the world as a symbol of high-quality, family entertainment. *ANGUS REID GROUP POLL 08/1997 97 60% 96 54% 95 40% 94 33% MESSAGE TO SHAREHOLDERS 1997 was a break- through year for Imax Corporation. The Company experi- enced record financial results, increased brand name recog- nition and a doubling of our previous record for new theatre 2 • 3 signings with orders for 60 new IMAX theatres. In 1997, the Company introduced the IMAX 3D SR theatre system which allowed smaller markets to experience the magic of IMAX 3D for the first time and was a catalyst for our tremendous growth in new theatre contract signings. During the year, we also premiered our 3D animation technologies, demonstrat- ing the potential of 3D animation in IMAX theatres. The goal behind the launch of the IMAX 3D SR theatre sys- tem was to expand the number of potential markets for IMAX theatres around the world. -
BACKISSU ES Photocopy This Ad and Mark the Appropriate Box(Es)
Telephone: (416) 944-1096 • Facsimile: (416) 465-4356 • Email: [email protected] • www.takeonemagazine.ca Photocopy this ad and BACKISSU ES mark the appropriate box(es). Individuals: $10 (includes postage and GST) Institutions: $15 (includes postage and GST) 0 No. 7: Picture of Light, Wind from Wyoming, Valentine's No. 24: Special Animation Issue: Bob and Margaret, O No. 38: Theme issue: Forgotten Classics of Canadian O Day, Whale Music, Wasaga When the Day Breaks, Steve Williams, Co Hoedeman, Cinema: Between Friends, Now that April's Here, La Rene Jodoin, Danny Antonucci, Chris Landreth Vraie Nature de Bernadette, Montreal Main, Madeleine Dance Me Outside, Goin' down the Road, Jesus 0 No. 8: Is..., The Catherine Films, The Things I Cannot Change, of Montreal, including 'Roads Not Taken, Avenues Not No. 25: Felicia's Journey, The Five Senses, O Downtime, Stations, Merry—Go—Round, Ladies and Explored: Confessions of an Unconscious Canonizer' by Emporte—moi, Top of the Food Chain, The Man Who Gentlemen... Mr. Leonard Cohen, music from the films Peter Harcourt Might Have Been, Robert Lantos or, of Phillip Brosos 0 No. 9: Le Confessional, Rude, Soul Survivor, The War O No. 26: Grass, Cinema Verde: Defining the Moment, O No. 39: Bollywood/Hollywood, Ararat, Gambling, Gods Between Us, Margaret's Museum, the films of Mike Tops & Bottoms, Patricia Rozema, interview with Colin and LSD, The Nature of Nicholas, Leaving Metropolis, Hoolboom Low, part II Niv Fichman No. 10: Who's Counting? Marilyn Waring, Sex, Lies and No. 27: New Waterford Girl, Dr. Lucille: Larger than Life, 0 O No. -
The Info-Immersive Modalities of Film Documentarian and Inventor Roman Kroitor
The Info-Immersive Modalities of Film Documentarian and Inventor Roman Kroitor by Graeme Hamish Langdon A thesis submitted in conformity with the requirements for the degree of Master of Information Faculty of Information University of Toronto © Copyright by Graeme Hamish Langdon 2012 The Info-Immersive Modalities of Film Documentarian and Inventor Roman Kroitor Graeme Hamish Langdon Master of Information Faculty of Information University of Toronto 2012 Abstract In this thesis, it is argued that Canadian film documentarian and inventor Roman Kroitor’s lifework is structured by simultaneous appeals to the realist and reflexive capacities of film and animation. It is shown that the diverse periods in Kroitor’s lifework (including documentary film production at the National Film Board of Canada; co-invention and development of the large-format film apparatus, IMAX; and software design for computer animation in stereoscopic 3D) are united by a general interest in facilitating immersive audience experiences with documentary information and evidentiary entertainment. Against those who have conceptualized cinema as functioning like a frame or a window, this thesis analyzes Kroitor’s diverse work in relation to Gene Youngblood’s conception of “expanded cinema” (1970). It is argued that Kroitor’s efforts in film and invention constitute modalities that actively eschew the architectonic limits that typically characterize the cinematic experience. ii Acknowledgments The realization of this thesis would not have been possible without the assistance I received from a number of people. First, I would like to thank my supervisor, Juris Dilevko, for his encouragement throughout the project. Second, I would like to thank my examining committee, David Harris Smith and Neil Narine, for their interest in the project and their insightful comments.