70Mm Films Shown at the Atrium
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Thursday 15 October 11:00 an Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma!
Thursday 15 October 11:00 An Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma! Please allow 10 minutes for introductions Friday 16 October before all films during Widescreen Weekend. 09.45 Interstellar: Visual Effects for 70mm Filmmaking + Interstellar Intermissions are approximately 15 minutes. 14.45 BKSTS Widescreen Student Film of The Year IMAX SCREENINGS: See Picturehouse 17.00 Holiday In Spain (aka Scent of Mystery) listings for films and screening times in 19.45 Fiddler On The Roof the Museum’s newly refurbished digital IMAX cinema. Saturday 17 October 09.50 A Bridge Too Far 14:30 Screen Talk: Leslie Caron + Gigi 19:30 How The West Was Won Sunday 18 October 09.30 The Best of Cinerama 12.30 Widescreen Aesthetics And New Wave Cinema 14:50 Cineramacana and Todd-AO National Media Museum Pictureville, Bradford, West Yorkshire. BD1 1NQ 18.00 Keynote Speech: Douglas Trumbull – The State of Cinema www.nationalmediamuseum.org.uk/widescreen-weekend 20.00 2001: A Space Odyssey Picturehouse Box Office 0871 902 5756 (calls charged at 13p per minute + your provider’s access charge) 20.00 The Making of The Magnificent Seven with Brian Hannan plus book signing and The Magnificent Seven (Cubby Broccoli) Facebook: widescreenweekend Twitter: @widescreenwknd All screenings and events in Pictureville Cinema unless otherwise stated Widescreen Weekend Since its inception, cinema has been exploring, challenging and Tickets expanding technological boundaries in its continuous quest to provide Tickets for individual screenings and events the most immersive, engaging and entertaining spectacle possible. can be purchased from the Picturehouse box office at the National Media Museum or by We are privileged to have an unrivalled collection of ground-breaking phoning 0871 902 5756. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942). -
Lonely Places, Dangerous Ground
Introduction Nicholas Ray and the Potential of Cinema Culture STEVEN RYBIN AND WILL SCHEIBEL THE DIRECTOR OF CLASSIC FILMS SUCH AS They Live by Night, In a Lonely Place, Johnny Guitar, Rebel Without a Cause, and Bigger Than Life, among others, Nicholas Ray was the “cause célèbre of the auteur theory,” as critic Andrew Sarris once put it (107).1 But unlike his senior colleagues in Hollywood such as Alfred Hitchcock or Howard Hawks, he remained a director at the margins of the American studio system. So too has he remained at the margins of academic film scholarship. Many fine schol‑ arly works on Ray, of course, have been published, ranging from Geoff Andrew’s important auteur study The Films of Nicholas Ray: The Poet of Nightfall and Bernard Eisenschitz’s authoritative biography Nicholas Ray: An American Journey (both first published in English in 1991 and 1993, respectively) to books on individual films by Ray, such as Dana Polan’s 1993 monograph on In a Lonely Place and J. David Slocum’s 2005 col‑ lection of essays on Rebel Without a Cause. In 2011, the year of his centennial, the restoration of his final film,We Can’t Go Home Again, by his widow and collaborator Susan Ray, signaled renewed interest in the director, as did the publication of a new biography, Nicholas Ray: The Glorious Failure of an American Director, by Patrick McGilligan. Yet what Nicholas Ray’s films tell us about Classical Hollywood cinema, what it was and will continue to be, is far from certain. 1 © 2014 State University of New York Press, Albany 2 Steven Rybin and Will Scheibel After all, what most powerfully characterizes Ray’s films is not only what they are—products both of Hollywood’s studio and genre systems—but also what they might be. -
Lærebok I Digital Kinoteknikk
Rolv Gjestland LÆREBOK I DIGITAL KINOTEKNIKK BOKEN ER LAGET I ET SAMARBEID MELLOM FILM & KINO OG FAGFORBUNDET Versjon: 11.12.16 17:36 © 2014 Rolv Gjestland Forsidebilde: Fra premiere på Law Abiding Citizen, Saga Kino i Oslo FOTO: JOHN BERGE, KINOMAGASINET © Illustrasjonene i boken er hentet fra tidligere lærebøker i kinoteknikk (Rolv Gjestland), materiell fra utstyrsfabrikanter, organisasjoner, DCI og fra kilder på internett (Wikipedia mm) Boken er gratis tilgjengelig på web. Det må ikke kopieres fra denne bok utover det som er tillatt etter "Lov om opphavsrett til åndsverk". side 2 Takk Det er mange som har bidratt til denne boken. Først og fremst vil jeg takke Fagforbundet Seksjon kirke, kultur og oppvekst, som har bidratt til finansiering av boken, og rådgiver Ellen Ovenstad, som har vært den viktigste pådriveren og har fulgt bokprosjektet hele veien. Uten denne støtten hadde det ikke blitt noen bok. Fagforbundet har også satt ned en gruppe som har kommet med gode innspill og råd. Gruppen har bestått av Stein Ivar Johansen, Oslo Kino, Per Georg Andersen, Oslo Kino og Hege Lochner, Kristiansand/Vennesla Kino. Stein Ivar har i tillegg vært behjelpelig med mye fagkunnskap og hjelp til illustrasjoner. Takk også til Ronny Bekken Larsen i Folldal, som var en av initiativtakerne til samarbeidet mellom Film & Kino og Fagforbundet om boken. Kinotekniske leverandører og utstyrsfabrikanter har generøst delt av sin kunnskap, og bidratt med informasjon og illustrasjoner om ulike produkter og bruken av disse. Jeg har fått gode råd og mange tips fra teknisk personale på kinoene. Spesielt vil jeg nevne Einar Jacobsen (Bergen), Kurt Laumann (Trondheim), Thor Vidar Hjelmervik (Haugesund) og personalet ved Kristiansand Kino hvor jeg hadde noen dagers praktisk opplæring. -
Widescreen Weekend 2008 Brochure (PDF)
A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue
ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair, -
Newsletter 19/06 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 19/06 DIGITAL EDITION Nr. 190 - September 2006 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 19/06 (Nr. 190) September 2006 editorial Hallo Laserdisc- und DVD-Fans, sein, mit der man alle Fans, die bereits ein lich zum 22. Bond-Film wird es bestimmt liebe Filmfreunde! Vorgängermodell teuer erworben haben, wieder ein nettes Köfferchen geben. Dann Was gibt es Neues aus Deutschland, den ärgern wird. Schick verpackt in einem ed- möglicherweise ja schon in komplett hoch- USA und Japan in Sachen DVD? Der vor- len Aktenkoffer präsentiert man alle 20 auflösender Form. Zur Stunde steht für den liegende Newsletter verrät es Ihnen. Wie offiziellen Bond-Abenteuer als jeweils 2- am 13. November 2006 in den Handel ge- versprochen haben wir in der neuen Ausga- DVD-Set mit bild- und tonmäßig komplett langenden Aktenkoffer noch kein Preis be wieder alle drei Länder untergebracht. restaurierten Fassungen. In der entspre- fest. Wer sich einen solchen sichern möch- Mit dem Nachteil, dass wieder einmal für chenden Presseerklärung heisst es dazu: te, der sollte aber nicht zögern und sein Grafiken kaum Platz ist. Dieses Mal ”Zweieinhalb Jahre arbeitete das MGM- Exemplar am besten noch heute vorbestel- mussten wir sogar auf Cover-Abbildungen Team unter Leitung von Filmrestaurateur len. Und wer nur an einzelnen Titeln inter- in der BRD-Sparte verzichten. Der John Lowry und anderen Visionären von essiert ist, den wird es freuen, dass es die Newsletter mag dadurch vielleicht etwas DTS Digital Images, dem Marktführer der Bond-Filme nicht nur als Komplettpaket ”trocken” wirken, bietet aber trotzdem den digitalen Filmrestauration, an der komplet- geben wird, sondern auch gleichzeitig als von unseren Lesern geschätzten ten Bildrestauration und peppte zudem alle einzeln erhältliche 2-DVD-Sets. -
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.