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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. -
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. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Read Book Force 10 from Navarone
FORCE 10 FROM NAVARONE PDF, EPUB, EBOOK Alistair MacLean | 336 pages | 01 Nov 2004 | HarperCollins Publishers | 9780006164333 | English | London, United Kingdom Force 10 from Navarone movie () - Robert Shaw, Harrison Ford, Barbara Bach - video dailymotion Miller and Mallory you could visualize from the movie. Did you have an extreme reaction to this book? Did it make you laugh or cry? I had a tear in my eye at the end of the audiobook. Alistair Maclean always treats the German soldiers with respect and as a note he died in Frankfort, Germany. He entered a contest about the sea and won. He moved to Switzerland because of the high taxes at home. Really admire his work. I really enjoyed this audible book as much as the movie. I believe the narrator did an excellent job capturing this book. Someone who has not yet read "the Guns of Navaronne" or who can take this as a stand-alone novel. Would you ever listen to anything by Alistair MacLean again? I like his books. Uneven, unlikely in spots. What reaction did this book spark in you? Anger, sadness, disappointment? MacLean keeps the final objective secret until the very last part of the book. Another brilliant story from MacLean and very ably performed. I hope there's more to come. Overall a great story, however I found the plot at times difficult to follow, and a bit incoherent. The latter chapters are exciting and more absorbing than earlier parts that required more of an effort. A rollicking good romp though the War in Yugoslavia, a little far fetched but races along at a good pace to a climactic ending. -
Tropical Malady: Film & the Question of the Uncanny Human-Animal
etropic 10(2011): Creed, Tropical Malady | 131 Tropical Malady: Film & the Question of the Uncanny Human-Animal “The tiger trails you like a shadow/ his spirit is starving and lonesome/I see you are his prey and his companion” – Tropical Malady. Barbara Creed University of Melbourne Abstract The acclaimed Thai film, Tropical Malady (2004), represents the tropics as a surreal place where conscious and unconscious are as inextricably entwined. Directed by Apichatpong Weerasethakul, Tropical Malady presents two interconnected stories: one a quirky gay love story; the other a strange disconnected narrative about a shape-shifting shaman, a man-beast and a ghostly tiger. This paper will argue that from it beginnings in the silent period, the cinema has created an uncanny zone of tropicality where human and animal merge. rom its beginnings in the early twentieth century the cinema has expressed an F enduring fascination with the tropics as an imaginary space. While many filmmakers have envisaged the tropics as an unspoiled paradise (Bird of Paradise, 1932, 1951; The Moon of Manakoora, 1943; South Pacific, 1958), a view which has its origins in classical times, others have represented the tropics as a deeply uncanny zone where familiar and unfamiliar coalesce. It is as if the heat and intensity of the tropics has liquefied matter until normally incommensurate forms are able to dissolve almost imperceptibly into each other. In this process the boundaries between different systems of thought, ideas and ethics similarly dissipate, creating a space for new and often subversive ideas to flourish. As Driver and Martins state, the meaning of “tropicality” is so elastic a number of discourses have been able to shape it to suit their own purposes. -
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Tv Pg 5 04-04.Indd
The Goodland Star-News / Friday, April 4, 2008 5 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle FUN BY THE NUM B ERS will have you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, column and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO TUESD A Y ’S SATURDAY EVENING APRIL 5, 2008 SUNDAY EVENING APRIL 6, 2008 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 ES E = Eagle Cable S = S&T Telephone ES E = Eagle Cable S = S&T Telephone The First 48: Stray Bullet; The First 48 Body rolled in The Sopranos (TVMA) (:18) The First 48 (TVPG) (:18) The First 48: Stray Bul- “The Godfather” (‘72, Drama) A decorated veteran takes over control of his family’s criminal empire from “The Godfather” (‘72) Ma- 36 47 A&E 36 47 A&E his ailing father as new threats and old enemies conspire to destroy them. (R) fia family life. -
MARK FREEMAN Encyclopedia of Science, Technology and Society Ooks&Sidtext=0816031231&Leftid=0
MARK FREEMAN Encyclopedia of Science, Technology and Society http://www.factsonfile.com/newfacts/FactsDetail.asp?PageValue=B ooks&SIDText=0816031231&LeftID=0 WIDESCREEN The scale of motion picture projection depends upon the inter- relationship of several factors: the size and aspect ratio of the screen; the gauge of the film; the type of lenses used for filming and projection; and the number of synchronized projectors used. These choices are in turn determined by engineering, marketing and aesthetic considerations. Aspect ratio is the width of the screen divided by the height. The classic standard aspect ratio was expressed as 1.33:1. Today most movies are screened as 1.85:1 or 2.35:1 (widescreen). Films shot in these ratios are cropped for television, which retains the classic ratio of 1.33:1. This cropping is accomplished either by removing a third of the image at the sides of the frame, or by "panning and scanning." In this process a technician determines which portion of a given frame should be included. "Letterboxing" creates a band of black above and below the televised film image. This allows the composition as originally photographed to be screened in video. The larger the film negative, the more resolution. Large film gauges allow greater resolution over a given size of projected image. In the 1890's film sizes varied from 12mm to as many as 80mm, before accepting Edison's 35mm standard. Today films continue to be screened in a variety of guages including Super 8mm, 16mm and Super 16mm, 35mm, 70mm and IMAX. Cinema and the fairground share a common history in the search for technologically based spectacles and attractions. -
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. -
A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score. -
Cannes Critics Week Panel Films Screened During TIFF Cinematheque's Fifty Years of Discovery: Cannes Critics Week (Jan. 18-22
Cannes Critics Week panel Films screened during TIFF Cinematheque’s Fifty Years of Discovery: Cannes Critics Week (Jan. 18-22, 2012) In honour of the fiftieth anniversary of Semaine de la Critique (Cannes Critics Week), TIFF Cinematheque invited eight local and international critics and opinion-makers to each select and introduce a film that was discovered at the festival. The diversity of their selections—everything from revered art-house classics to scrappy American indies, cutting-edge cult hits and intriguingly unknown efforts by famous names—testifies to the festival’s remarkable breadth and eclecticism, and its key role in discovering new generations of filmmaking talent. Programmed by Brad Deane, Manager of Film Programmes. Clerks. Dir. Kevin Smith, 1994, U.S. 92 mins. Production Co.: View Askew Productions / Miramax Films. Introduced by George Stroumboulopoulos, host of CBC’s Stroumboulopoulos Tonight, formerly known as The Hour. Stroumboulopoulos on Clerks: “When Kevin Smith made Clerks and it got on the big screen, you felt like our voice was winning.” Living Together (Vive ensemble). Dir. Anna Karina, 1973, France. 92 mins. Production Co.: Raska Productions / Société Nouvelle de Cinématographie (SNC). Introduced by author and former critic for the Chicago Reader, Jonthan Rosenblum. Rosenblum on Living Together: “I saw Living Together when it was first screened at Cannes in 1973, and will never forget the brutality with which this gently first feature was received. One prominent English critic, the late Alexander Walker, asked Anna Karina after the screening whether she realized that her first film was only being shown because she was once married to a famous film director; she sweetly asked in return whether she should have therefore rejected the Critics Week’s invitation. -
SYLLABUS HISTORY and GEOGRAPHY CHAMINADE UNIVERSITY WILLIS HENRY MOORE a VIDEO-MOVIE EXTRA There Are Som E Movies And/Or Video T
SYLLABUS HISTORY AND GEOGRAPHY CHAMINADE UNIVERSITY WILLIS HENRY MOORE A VIDEO-MOVIE EXTRA There are som e movies and/or Video tapes which pertain to this course . You may wish to consider renting and watching one or more of these . WATCH THE VIDEO - - WRITE A REPORT : Name of Movie watched, date, who, what, when, where, etc - - One good paragraph summarizing the plot or purpose of the film - - - One paragraph of critique : THIS IS MOST IMPORTANT Inlcude your ideas of the film, what was shown, how, achy, point of view of filmmaker, technical excllence of film . "I would/would not recommend this film to others in .this course because . ." IF YOU DO A CREDIBLE JOB, that is, if it seems you watched the film, paid attention, and thought about it, you will receive one bonus point (towards that needed for the grade you want .) HISTORY - -THE WORLD SINCE 1500 .a partial list of video movies which pertain to this class, . A WORLD APART (Safrica) UNSETTLED LAND (Palestine) WAR & REMEMBRANCE SERIES OF 12 THE BOUNTY BRIDGE ON THE RIVER KWAI BURN-Caribbean & Slavery RETURN TO SNOWY RIVER Australia TAI PAN - China SHAKAZULU - e Africa BATTLE OF BRITAIN--WWII THE MISSION--1986 Cannes Palm d'or OLD GRINGO - Mexico FORBIDDEN--Nazi THE DOCTOR & THE DEVILS-Victo rian BORN ON 9th JULY - Vietnam MUSSOLINI GALLIPOLI - WWI ELENI - Greek Civil War 1948 EMPIRE OF THE SUN - WWII-China ENOLA GAY : HIROSHIMA EVERYTIME WE SAY GOODBYE-Israel EYE OF THE NEEDLE-WWII EXODUS DEADLINE-Lebanon DR ZHIVAGO CRY IN THE DARK -Australia CRY FREEDOM -S Africa DAMIEN : THE LEPER