BIG , BIG STORIES

1 STUDYGUIDE ENTERTAINMENT THAT ILLUMINATES

THE IMAX DIFFERENCE real world. When you look at an object each eye sees a slightly different view MAX is the largest and most and our brain fuses these together into exciting format in the world. a single 3D image. IWith crystal clear images, ten times larger than traditional cinema format, The two lenses on the IMAX® 3D the IMAX experience draws you in roughly match the distance with pictures so real you want to touch between our eyes and so each lens them, so powerful you can feel them. ‘’sees’’ a slightly different view. The images are photographed onto two The screens in IMAX Theatres are separate rolls of film—corresponding the biggest in the world. Up to eight to a right eye and left eye image storeys high, they fill the whole field —which run simultaneously through of human vision. Made of stretched vinyl, coated with a reflective silver DID YOU KNOW? paint, they are stretched taut over a The IMAX Theatre in scaffold frame. With thousands of has the world’s largest 2D IMAX small perforations they allow sound screen. The IMAX Theatre in from speakers positioned behind the has the largest 3D screen to play their key role in the total screen image. system. Sydney screen: 29m x 36m Melbourne screen: 26m x 31m THE THIRD DIMENSION Sound is critical to the IMAX If your idea of a is a pair of experience. The film soundtracks ISSUE 34 ISSUE 34 cheap cardboard glasses with green are delivered through a mighty and red cellophane for lenses it’s time 15,000 watt digital surround

® AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION to think again. IMAX 3D is state-of- sound system. The IMAX six the-art technology which takes the channel, high fidelity, motion 3D film experience in a whole new picture sound system with sub direction.  bass plays off three separate CDs each carrying two tracks. 3D technology is based on human vision. It mimics the way we see the

2 FROM TOP: IMAX 2D CAMERA; IMAX 3D CAMERA; HOW 3D POLARISED GLASSES WORK 3 definition and clarity of the huge film frames. These huge film frames are the key to an IMAX experience. Three times larger than traditional 70mm frames, they have pushed the quality of motion picture images to new heights (quite literally). 8/70 and 15/70. 8/70 films are set up vertically with eight perforations Conventional films are shot on 35mm per frame, while 15/70 film is set up film. Large format films are shot on horizontally with fifteen perforations two main varieties of 70mm film: per frame.

The basis of the IMAX system is a 3D DID YOU KNOW? camera that is 65mm wide The basic technology for (or high in IMAX terms since the the camera. These two films are then ‘stereoscopic cinema’ has been film runs transversely) and travels at alternately projected in the theatre. around for more than a century. The shutters on the projector alternate When French movie theatre between left and right images ninety- pioneers Auguste Lumiere and six times per second. Lois Lumiere screened what is believed to be the first publicly Since the beginning of large film shown 3D movie, a short black- technology in the early 1970s, half a and-white film called ‘L’Arrivee billion people throughout the world have du Train’. The film showed a enjoyed a large format film experience. locomotive appearing to steam ISSUE 34 ISSUE 34 right through the screen, which by JUST HOW BIG IS BIG? some accounts was too realistic AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION for early movie audiences who IMAX is the largest in fled from their seats! The first existence; ten times larger than 3D Hollywood film, a melodrama standard 35mm format. Large called ‘Bwana Devil’ was format films can only be projected produced in 1952, prompting a successfully onto the huge IMAX wave of films. screen because of the amazing high

ABOVE LEFT: 3D THEATRE ABOVE RIGHT: THE IMAX 3D EXPERIENCE RIGHT: FILM COMPARISON TOP- 35MM FILM. CENTRE- 5 PERF/70MM 2 FILM BOTTOM: 15 PERF/70MM FILM. 3 3D DID YOU KNOW? The 15,000 watt IMAX lamp is exceptionally bright. (Some say that it is so bright that it could be 1.71m per second! Each border has advancing the fi lm horizontally in a seen with the naked eye from the fi fteen perforations and each frame smooth, wave-like motion. International Space Station!) The of fi lm image measures 70 x 50mm heat generated by these lamps is – a ratio of 1.4 to 1. This provides an During projection, each frame is so intense they need to be water- image that is almost ten times the positioned on a fi xed registration point cooled; they are made of quartz area but rather more square than the and the fi lm is held fi rmly against the and fi lled with pressurised 2.35 to 1 frame. rear element of the lens by a vacuum. gas which can be very dangerous, This ensures that the screen image and and in extreme cases can explode A reel of IMAX fi lm is generally over steadiness exceed normal standards, with incredible force. a metre in diameter, weighs about providing outstanding image clarity. 80kg and is lifted onto the projection platters with a fork lift. The rolling-loop system was invented by Australian engineer Ron Jones. It idea was to move the fi lm across the THE ROLLING LOOP began in 1969 when Jones delivered projector’s gate in a series of waves. a paper on his revolutionary ‘rolling- The fi lm perforations were to be used To project such large fi lms, IMAX have loop’ projector. Instead of the to guide each fi lm frame onto fi xed built powerful, high precision projectors mechanical pull-down claw that had registration pins for its moment of with a unique ‘Rolling Loop’ fi lm been around since Edison’s time, illumination, rather than pulling the movement. This rolling loop movement or the improved but still ‘violent’ fi lm intermittently. The wave shape is crucial to reliable projection and Maltese Cross movement that moved is formed by air pressure, with each provides superior performance by the fi lm in a stop-go motion, Jones’ frame held against the rear of the lens by a vacuum. This provides the amazing image steadiness.

IMAX was fi rst shown publicly at the 1970 World’s Fair in . Ron Jones ISSUE 34 AUSTRALIAN SCREEN EDUCATION ISSUE 34 AUSTRALIAN SCREEN EDUCATION has since died, but his invention lives on in the 70mm IMAX motion picture format.

IMAX CORPORATION

Based in Canada, IMAX® Corporation is a leading manufacturer of large

4 LEFT: INSIDE THE IMAX PROJECTION BOOTH 5 format theatre systems, and projectors for what is generically known as the large format industry. IMAX produces and distributes many large format film titles, however most have been produced by independent producers, including filmmakers in .

For more information on IMAX® Corporation, visit www..com

NEW DEVELOPMENTS IN THE IMAX INDUSTRY

IMAX has recently moved into producing films in different genres and with new technology.

Digital Technology

Technology has advanced to the point where large format films can be now TOP-BOTTOM: DISNEY’S LION KING WAS be shot using high definition digital ENLARGED AND ENHANCED FOR THE GIANT SCREEN USING NEW OMR TECHNOLOGY; technology. TITANIC 3D: ; YOUNG BLACK STALLION Director was one of the first to use this digital approach with Director Simon Wincer and in the filmTitanic 3D: Ghosts of the Cinematographer Reed Smoot: Abyss with excellent results. Using HD digital enabled Cameron greater Shooting on large format did require flexibility in capturing images in a certain amount of adaptation on the challenging situations (ie. the bottom part of the filmmakers. ‘Large format of the Atlantic Ocean, 4km down!). is incredibly challenging,’ says Simon Wincer. ‘The composition is quite Digitial technology has also been used different because the camera sees to ‘blow up’ traditional 35mm films to such a huge area and it’s very hard to the giant screen and is known within the isolate characters in dialogue scenes, large format industry as DMR (or digital Episode II Attack of the Clones, Matrix therefore, you have to stage it in a re-mastering). II and III, with many more to come. slightly more theatrical way.’

The IMAX DMR technology scans a Live Action Drama Made For To a large extent Wincer had to trust 35mm digitally, enhances it, The Giant Screen director of photography Reed Smoot, and enlarges it to 70mm. The quality a veteran large format filmmaker, when of the film can be improved through Young Black Stallion is the first Disney it came to the positioning of shots ISSUE 34 ISSUE 34 this digital process, thus enabling film produced specifically for the giant because of the subject movement projection onto giant IMAX screens. IMAX screen. Unlike most IMAX films, within the frame. ‘It is difficult to AUSTRALIAN SCREEN EDUCATION

AUSTRALIAN SCREEN EDUCATION The image re-mastering process takes which are documentaries, Young capture intimacy on large format about 14 weeks for a feature length Black Stallion is a live-action children’s because the screen is so large’, says film, at a cost of about US$4 million. adventure story, featuring a dramatic Smoot. ‘The challenge is to combine script and a cast of actors. It is a the format, the story and the locations, Feature films that have been digitally ‘prequel’ to the 1979 Disney classic and in this film we have a wonderful re-mastered using this new DMR film ‘Black Stallion’. story, spectacular locations and a great technology include Disney’s Fantastia, format with which to capture this.’ Lion King and Beauty & the Beast, The following extract from the film’s Apollo 13, , production notes features an interview 4 5 BEFORE YOUR IMAX Categorical Documentary: Claims following to inform your ideas: EXPERIENCE to convey information, usually in a - Images are up to eight storeys high straightforward and direct manner. and ten times larger and much About the Documentary Format Some features of typical categorical clearer than the traditional cinema documentaries are: format. efore viewing a film we usually - The state-of-the art digital surround- have some idea of the type of - Narrator present as voice over sound system creates sound effects Bfilm we will be seeing. Usually - Tone of objectivity that are more realistic, powerful and we will have heard about the film from encompassing than conventional other people, seen previews on TV or Rhetorical Documentary: Often films. during previous visits to the cinema or presents an argument and attempts to - Most films are shown within a have read advertisements and posters. persuade an audience to accept this frame so we are always aware of When viewing a documentary we viewpoint. Some features of typical our own physical place and that usually expect to find out something rhetorical documentaries are: what is created in front of us is an and hope it is presented in an illusion. The IMAX screen extends interesting or entertaining way. - Openly addressing the viewer in beyond our vision and so the sense order to persuade of framing disappears increasing Many IMAX films are documentaries. A - Facts are supplemented by appeals our sense of being in the movie. documentary ‘documents’ something to emotion This feeling is enhanced when the or puts it on record. A documentary movie is in 3D. usually claims to present factual ACTIVITY - It takes several seconds for the information about the world. To achieve eye to adjust when you cut from this, particular codes and conventions • Use a dictionary to record the a distant subject to a very close are used. A documentary may present meanings of categorical and subject. This slows down the pace interviews or ‘talking heads’, maps, rhetorical. of a film as sudden editing cuts can graphs and charts, live footage, • Group the documentaries listed earlier not work effectively. historical footage and may even as either categorical or rhetorical. - The cameras are unable to zoom. present re-enactments. Provide reasons for your grouping. - Film is extremely expensive and • Do the documentaries fit easily into cameras carry only three minutes ACTIVITY these categories or are there some of footage. that have elements of both? - The cameras are bulky, • Make a class list of documentaries weighty, very noisy and take a students have viewed. As with other media forms, a comparatively long time to load. documentary represents reality through • Search the internet to discover more As with fiction films, many the elements of selection, construction about IMAX films and current trends documentaries are also narratives. A and representation. These elements within the large format industry. Visit narrative is described as ‘a chain of work together to represent reality sites such as events in cause-effect relationship in a way that is different from direct - www.bigmoviezone.com (Large occurring in time and space’ (Bordwell experience of that reality. As we gain format industry & films) and Thompson). experience as viewers, we realize that - www.imax.com (IMAX Corporation) a filmmaker selects certain images to - www.imax.com.au (Australian IMAX A narrative usually begins with a situation, show us and that these images have Theatres - Sydney & Melbourne) a number of changes then take place been edited together, or constructed, in following a cause and effect pattern a way that will present particular ideas. AFTER VIEWING AN IMAX and then a new or different situation Thus the filmmaker, to some extent, is FILM ISSUE 34 ISSUE 34 concludes the narrative. The narrative presenting us with what he or she wants form selects, shapes and interprets us to see; that is, their representation of ACTIVITY AUSTRALIAN SCREEN EDUCATION

AUSTRALIAN SCREEN EDUCATION images for the audience to stimulate the subject matter of the film. interest and create a sense of coherence. • After viewing an IMAX film discuss At times, a number of narrative threads ACTIVITY the similarities and differences may run through a film. between it and other documentaries. • As a class, discuss the similarities Does the IMAX documentary use One way of describing styles of and differences between an IMAX the narrative form to convey ideas? documentaries is to divide them into documentary, compared with other If so, how does it do this? Could categorical or rhetorical forms: documentaries you have viewed? you describe the documentary as You may want to consider the rhetorical or categorical? If so, why 6 7 would you describe it this way? does it do this? For example, the filming of vast • Write a review of the IMAX film you - What choices were made about expanses of landscape is more have viewed. Begin by recording the the content selected for the film? effective on the large rather than the film’s title, a description of the film, What content was excluded? small screen whereas facial close-ups the Director’s name and the duration How do these choices affect are more appropriate for the small (length) of the film. In your review the messages and meanings screen in keeping with their size in real consider: conveyed by the film? life. - What are the key messages, - How does the camerawork meanings or stories told by the contribute to the film? ACTIVITY film? - Does the editing achieve an - What would the filmmaker have appropriate pace? Have the shots In the table below, choose a genre of considered to be of particular been put together in an effective film that is most suitable for a particular interest or special? way? screen size. Give the film a title, outline - How reliable are the sources of - How does the large screen format what it is about and the reason you information provided? contribute to the messages and believe that film is best shown on the - Is the narrator male or female? meanings being conveyed? screen size you have chosen. What tone of voice is used? - Does the film convey an important - Is the narrator authoritative? story or message? Some genres to start your thinking: - What points of view are Epic; Social realism; Romantic considered? IS BIG ALWAYS BETTER? Comedy; Western; Science Fiction; - What types of evidence are Interview; Reality Cinema/ TV; Horror; provided to support these points Screen size and its accompanying Wild life documentary ... of view? technology lends itself to certain - Does the film appeal to the genres of information and emotions of viewers? If so, how entertainment better than others.

SCREEN GENRE TITLE OUTLINE REASON

IMAX

Movie

TV ISSUE 34 ISSUE 34 AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION

6 ABOVE: THE JAMES CAIRD AS FEATURED IN SHACKLETON’S ANTARCTIC ADVENTURE. 7 COMPARING THE IMAX Shackleton’s Antarctic Adventure. EXPERIENCE TO TELEVISION ACTIVITY Case Study: Shackleton’s Antarctic Adventure • Divide students into groups, each choosing a particular section from A good way to see the effect of screen the story as represented by both size and technology on content films to highlight the similarities and is to compare Charles Sturridge’s differences. Provide students with docudrama, Shackleton (available an empty table to complete such as through ABC Shops, starring the one below. Kenneth Branagh) with the IMAX film,

TYPICAL FEATURE IMAX: “SHACKLETON’S ANTARCTIC ADVENTURE” TELEVISION: “SHACKLETON”

LENGTH This 40 minute film focuses on the physical 2 episodes of 1 hour each to encompass the endurance and heroism. complexity of the human and social.

CAMERA SHOTS Long shot with stable camera panning with Wide range of camera shots and angles. Cut- wide angle/ camera on aircraft ting and intercutting for contrast

POINT OF VIEW Overview, the position of omniscient narra- Occasional overview interspersed with mid tor in realist novels. The human scale is very range and many close-ups. The focus is on small in comparison with the vastness of the human, physical hardship and personal the landscape – invites awe and wonder at responses and relationships. The last of nature and heroic achievement. these, consistent with the intimate setting of the home viewer, invites personal identifica- tion.

CHARACTERISATION Presents a consistent and simplistic view of Shackleton seen in the context of his society Shackleton as the explorer hero– typical of and relationships with different people – his adventure genre where actions of characters wife, his mistress, his co-explorers. The na- are more important that thoughts or words. ture of his heroism is depicted in its quality and complexity.

SETTING Outdoor shots of landscape maximising the A preponderance of interior shots despite unique splendour of the Antarctic. Use of the subject matter of the outdoor experience. original photographs to enhance authenticity. Variety and contrast with the great expanse gained through range of internal settings and London scenes. These also remind the viewer of the wider context, particularly that of a nation at war.

READING PROCESS Overwhelming size of screen and power More opportunity to for alternative reading ISSUE 34 ISSUE 34 of sound has the effect of immersing the positions as the medium is less overwhelm- viewer in a total experience stimulating ing and the text more complex. The portrayal AUSTRALIAN SCREEN EDUCATION

AUSTRALIAN SCREEN EDUCATION all the senses through visual, sound and of characters and their interactions gives kinaesthetic images. These, coupled with the more scope for negotiation of meaning but linear narrative and authoritative voice-over, the clear heroic casting of Shackleton makes demand that the viewer accept the text as this a fairly limited exercise. Nonetheless a representation of the ‘real world’ and at- questions arise about the role of women and tempt to minimise our awareness of the film the contrast between the purpose and values as a mediated construction. The viewer is of the expedition and the purpose and the positioned as submissive consumer. values of that even greater undertaking, the war. 8 9 TOP: DAVID FLATMAN BELOW: AN ‘IMAX IN FOCUS … AUSTRALIAN MOMENT’ PERFECTLY CAPTURED BY DAVID LARGE FORMAT FLATMAN IN AUSTRALIA: LAND BEYOND TIME FILMMAKERS

MAX Corporation produce a limited number of films each year, Iwith the bulk of film production THE ‘IMAX MOMENT’ being carried out by a wide range of independent filmmakers, many in Most IMAX films feature a classic association with large educational and ‘moment’ which can only be truly cultural institutions. captured by the immense size and scale of the IMAX screen. It could A number of well-known Australian be a dazzling landscape panorama, filmmakers have also produced and a stampede of a herd of animals or directed large format films, most some other remarkable human or notably, John Weilly (Heliograph natural spectacle. Motion Pictures), Michael Caulfield beauty of this country. (Mullion Creek Productions) and David On the website http://films.hmns.org/ & Sue Flatman (Living Pictures) and Flatman set about achieving his goal aussie/making.htm David Flatman Simon Wincer. Like all films, there’s by building a twin-engine aircraft that talks about capturing some true ‘IMAX a crew of people involved behind the could carry an IMAX camera, mounted moments’. For example, he says, ‘It scenes and Australians have also upon the aircraft’s nose. Then, with his was always my dream to capture the been well represented on large format team, he captured Australia’s diverse outback in both drought and flood, productions in areas such as music, landscapes and unique life forms. and then to record the explosion photography and sound. of life that follows these rare and ACTIVITY unpredictable rains.’ DAVID FLATMAN Director, Australia: Land Beyond Time • After viewing the film,Australia: Land When David and the crew reached Beyond Time, discuss whether you Lake Eyre hoping to find a colony As a pilot, David Flatman has enjoyed believe David Flatman captured the of breeding pelicans, they were many breathtaking moments flying ‘vastness’ of Australia in this IMAX astonished to find more than a million over the outback plains of Australia. film. Imagine viewing the same pelicans. Since this only happens From the moment Flatman first saw an images on a traditional cinema screen once or twice every century he says, IMAX film he wondered how he could or on television. What is the effect? ‘We all knew at this instant we had bring his unique aerial perspective • Read brochures promoting IMAX captured a true IMAX moment.’ of Australia to the screen, in a way films and conduct internet searches that would capture the vastness and to find out the titles and descriptions ACTIVITY of as many other IMAX films as possible. What things do IMAX films • List four or five aspects ofAustralia: have in common, other than the Land Beyond Time that you think size of the film and the screen size? qualify as true ‘IMAX moments’. As Make a list of ideal locations or a class, share lists and discuss what topics for IMAX films. Give reasons it is that makes something an ‘IMAX to support your choices. moment’. • Conduct a class debate: ‘The filmmaker • Based on your knowledge of large- ISSUE 34 ISSUE 34 is not presenting a true picture of format film-making, write a ‘pitch’ Australia, rather he is presenting us with to a company such as the IMAX AUSTRALIAN SCREEN EDUCATION

AUSTRALIAN SCREEN EDUCATION what he wants us to see. Corporation, selling your ideas for • Visit the web site http:// an IMAX film. Be sure to explain why films.hmns.org/aussie/making.htm this topic would make a good IMAX to find out about some of the film and how the large format would challenges involved in filming in help to convey messages or tell the Australia’s harsh outback terrain, story effectively. What would be and how these challenges were your ‘true IMAX moments’? overcome. (See overleaf for interview with David 8 Flatman.) 9 INTERVIEW: DAVID FLATMAN

n Australia: Land Beyond Land Beyond Time) selects the North America, as well as one in Time, innovative filmmakers locations and the situations that Europe, made it possible. Ifrom Australian production will be recorded as they happen, How is this film different from company Living Pictures drew and supervises the filming of other IMAX films? upon a variety of creative skills each individual sequence in to overcome obstacles in order accordance with the treatment or It is the only large format film to bring Australia’s land and its script of the film. I usually write entirely about Australia and the animals to life. In this interview, the scripts for the films I direct. unique life that makes this land different from every other conti- Director David Flatman speaks What are the key differences in about his documentary making nent on Earth. directing an IMAX film compared What other obstacles needed to career and his experiences mak- What inspired your treatment of with a ‘traditional’ sized film? be overcome? ing IMAX films. Australia: Land Beyond Time? The sheer size of the image Covering the entire continent in Describe your film-related A desire to convey the beauty, recorded on large format film a limited time with a couple of background. the mystery and the genius of makes it possible to project truck loads of bulky equipment this continent and the amazing I started as a journalist in radio in the world’s largest and highest and carrying them into almost in- life that has met and overcome the early 1960s, then worked in resolution motion pictures on accessible places was a constant every challenge nature could television as a current affairs re- the giant IMAX screen which, on obstacle. porter. My first documentary job average, is ten times as big as a throw at it, in order to survive was producing and filming my normal 35mm film screen. This in one of the world’s toughest What do you hope viewers own spot on live television called means the audience can see places. take away from Australia: Land Beyond Time? the Channel Nine’s Newsreel, a much more in a single scene. Do you consider this film to be a weekly update of news around The lenses are fixed (not ‘zoom’ documentary? What do you mean A better understanding of their town of interest to young people. lenses), and usually wide angle, by your response? world and how fantastically Later, I worked on ABC Television which means the camera must interesting it is. (And) from this Yes. It documents life as it un- as a reporter, producer, writer, be as close to the subject as better knowledge, an increased folds in ways that many people director and presenter of stories possible. The camera is also very level of caring for the wonderful would not have the opportunity about people and our land. One noisy, and this causes problems treasures nature has given us. to see in a lifetime, and which of the programs I worked on was when filming small wild animals has been going on for millions Are there things you would like A Big Country, about people and (and even large ones) that very of years. to try with large format films that life outside the cities. From there easily take fright when confront- you haven’t yet tried? I started my own production ed by a big, noisy box carried by In what way does the format company in the early 1980s and a couple of people. This means contribute to the meanings, Oh yes. There are still many good with my wife Sue, have made a lot of patience is needed when messages or stories in the large stories to be told in the large independent documentaries for directing a large format film—of- format films you have directed? format that cannot be told as well in any other medium. One film and television for the last ten one scene can take all day or The large format is the next thing would be to recreate some twenty years. even longer to film. best thing to being there—and fictional stories in the reality of being there is the best way to What previous involvement have How did Australia: Land Beyond the giant screen, in 3D, if pos- experience a place or a time. you had with large format films? Time come about? How long did sible. What was your first involvement this film take to complete? In Australia, it contributes to a feeling of vastness, isolation and What is a dream you have about with large format? This film was created in my mind ingenuity of life that character- film-making? I co-produced the IMAX film the first time I saw the breath- ise this place. The scale of the Antarctica with John Weiley, who taking images in an IMAX film on To one day make a film that will images and their reality convey directed the film. It was released the giant screen. I realized then be remembered and valued after this continent on the screen with in 1991 and became one of the that this was the best way to see I am gone. uncanny realism. ISSUE 34 ISSUE 34 most successful large format our vast continent—a feeling What advice do you have for films made to that time. that is almost like being there, in What was most difficult in a aspiring young filmmakers?

technical sense about achieving AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION the midst of the picture. It took Explain what you see as the role No matter how hard, difficult, many years to raise the money what you wanted with this film? of a film director. or impossible it seems, follow and get the film into produc- Being in the right place at the The director creates and controls your dream to tell the stories you tion, and when we finished the right time as nature unfolded her the making of the individual want to tell. Nothing succeeds film, we had been working on story of this land, and recording sequences that, when assembled like persistence, and nothing is it full-time for three years. The it with the most cumbersome together, also under his/her con- more valuable than a hard-won support of many investors who and awkward tools available trol, become the complete film. prize—the prize of knowledge were interested in seeing our made this an exciting, frustrating The director of a documentary that comes with a good story. great continent on the giant and satisfying challenge. 10 film (like Antarctica or Australia: screen, both in Australia and 11 ABOVE: EVEREST: ONE OF THE TOP This study guide was written by Julie GROSSING IMAX FILMS OF ALL TIME RIGHT: THE IMAX ‘MOMENT’ AS CAPTURED Brown (IMAX, Sydney) and Christine IN AUSTRALIA: LAND BEYOND TIME Evely, (ACMI), with contributions from Jane Susak (IMAX Melbourne) and Eva Gold (ETANSW).

REFERENCES Special thanks to Eva Gold for the case study on Shackleton’s Antarctic Bordwell and Thompson, Film Art: an Adventure. introduction, McGraw-Hill, New York, 2001. This study guide was produced by www.giantscreenbiz.com ATOM. For more information about ISSUE 34 ISSUE 34 Web sites Industry news & comment ATOM study guides, The Speakers’ (subscriber only) Bureau or Screen Hub (the daily online AUSTRALIAN SCREEN EDUCATION

AUSTRALIAN SCREEN EDUCATION www.imax.com film and television newsletter) visit our IMAX Corporation www.1570.com web site: www.metromagazine.com.au Large format motion picture network or email: [email protected] www.imax.com.au Australian IMAX Theatres www.giantscreentheater.com Giant Screen Theatre Association www.bigmoviezone.com Industry comment, new films, trailers etc 10 11 IMAX Theatre Melbourne Rathdowne St, Carlton Gardens CARLTON VIC 3053 Education Office: Ph: 03 9663 0200 Fax: 03 9663 0300 Email: [email protected]

LG IMAX Theatre Sydney 31 Wheat Rd DARLING HARBOUR NSW 2000 Education Office: Ph: 02 9213 1600 Fax: 02 9281 3833 Email: [email protected] Contact details Contact

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