The Cinematograph is finished the summer the girl turns nine—although nobody calls it the Cinematograph , they call it bion , Swedish for "cinema"—and it has a heavy, rust-red door and a huge keyhole with light streaming through it.
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At San Apollinare we were filmed by a cameraman from the U.S. Cinematograph Service.
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Cinema has always been a moving target, from the cinematograph era to the streaming.
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Nothing is further from what we have really perceived than the vision that the cinematograph presents.
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Nothing is further from what we have really perceived than the vision that the cinematograph presents.
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Bresson was 74 years old when Notes on the Cinematograph was published, but the book had been in the works for many years.
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Robert Bresson's Notes on the Cinematograph, first published in 1975 and about to be reissued by New York Review Books, is not a manifesto or unified theory.
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Bresson moves casually from first person to second person, between the stern and the personal in Notes on the Cinematograph, and the only questions, notably, appear on the final page.
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Director Jon Favreau worked closely with Oscar-nominated cinematograph Caleb Deschanel to bring to life realistic animals within the film, such as the pride of lions, Timon the meerkat and a baboon named Rafiki.
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But Notes on the Cinematograph, first published in France in 1975, might be the greatest book about film ever written, as well as the hardest to describe — the latter, in fact, might explain the former.
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The collection "Bresson on Bresson: Interviews 1943-1983" and Bresson's own "Notes on the Cinematograph," published in tandem by New York Review Books, are primers for the gradual understanding of Robert Bresson, to paraphrase Gertrude Stein.
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The words in Notes on the Cinematograph are points of departure, a foundation to build upon, which gives them their strength (in this way, they share a connection with Brian Eno and Peter Schmidt's Oblique Strategies deck of cards).
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I mean, you could argue that the Lumière brothers actually set up a communications network around the world with their agents that were exchanging these films in five continents within I think the first two years of the cinematograph being invented.
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"Notes on the Cinematograph" (previously published here in 1977, in the same translation by Jonathan Griffin, as "Notes on Cinematography") is the ultimate refinement of Bresson's thought, a loosely grouped succession of aphorisms and Zen koans ("the soundtrack invented silence").
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Efforts to organize emerged two years ago when a small group of visual artists noticed that unions such as Musicians Union; Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU); and actors' guild Equity exist — but their own kind had no such independent representation.
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Men like Gaumont and the Lumière brothers, who patented and presented an early cinematograph in 1895, were focused then on the mechanics of moving pictures as a way to document real life: workers leaving a factory, crowds gathered for a parade, trains traveling along tracks.
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As Keith Reader has noted in his book on Bresson, Notes on the Cinematograph exists in a French aphoristic tradition that dates back to François de La Rochefoucauld and Nicolas Chamfort, and draws comparisons to both Blaise Pascal and Michel de Montaigne, both of whom are quoted in the book.
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From the Lumière brothers taking the intermittent motion of a sewing machine to create the cinematograph, to the punch cards of the Jacquard loom forming the basis of modern computation, and the role of sewing and gendered labor in jobs like editing and dyeing in film production, textile production remains an essential, but insufficiently unacknowledged formal and social influence on media arts.
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His work is defined by a harshness of vision and concern for the turmoil of inner life, rigorously pursued through a series of restrictions that put his films outside both the mainstream and the underground: the use of non-actors (whom he called "models"), a distinct acting style that sought restraint ("being," he says in Notes on the Cinematograph, instead of "seeming"), and a visual style characterized by the essential ordering of elements as opposed to a reproduction of reality.
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The Indian Cinematograph Committee was established by British Raj in 1927 to "investigate the adequacy of censorship and the supposedly immoral effect of cinematograph films", and subsequently the Indian Cinematograph Committee Evidence and Report 1927-1928 was published in the following year.
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On 2 May 1898 Dove Paterson and Robert Calder present the first Cinematograph Carnival in the Music Hall.
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They had two daughters and a son. After drafting the Cinematograph-film Censorship Act 1916, Jolliffe was appointed Censor of Cinematograph Films on 16 September 1916, at the age of 65. The Act provided that no film could by exhibited to the public until it had been passed by the censor.
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Jaroslav Hasek's Exemplary Cinematograph () is a 1955 Czechoslovak comedy film directed by Oldřich Lipský. The film starred Josef Kemr.
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Cinematograph was a regular part of the programme at the Alexandra. It had been licensed under the 1909 Cinematograph Act, as had the Palace and Empire theatres. The Act was essentially a health and safety measure though its implementation soon included censorship. George Morton brought in back-screen projection, further improving quality.
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The ICC was established by an order of the Home department and it was directed to examine the following issues: 1\. to examine the organization and principles of methods of the censorship of Cinematograph films in India 2\. to survey the organization of Cinematograph films in the film producing industry in India 3\.
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Kleine's Lumiere Cinematograph promised families the chance to see their sons in the Spanish–American War march toward the camera.
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She was one of the earliest members (no. 35) of the Association of Cinematograph and Television Technicians (ACCT; founded in 1933).
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In 1896 he first saw Lumière brothers' cinematograph in Prague. In 1898 he bought his own cinematograph together with his friend Josef František Pokorný. He started showing Lumières' as well as his own short documentary films at pavillion in Prague's Výstaviště during Architecture and Engineering Exhibition in June 1898. Kříženecký staged, directed, developed and showed his films by himself.
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The Association of Cinematograph, Television and Allied Technicians (ACTT) was a trade union in the United Kingdom which existed between 1933 and 1991.
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Similar cards have been published in Japan around 1920 as Cinematograph by SK and in France around 1940 as Mon cinema chez moi.
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The Indian copyright law protects literary works, dramatic works, musical works, artistic works, cinematograph films and sound recordings.Sec. 2(y) of Copyright Act 1957.
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Each of these early films is 17 meters long (approximately 56 feet), which, when hand cranked through a projector, runs approximately 50 seconds. The Cinématographe was also exhibited at the Paris Exposition of 1900. At the Exposition, films made by the Lumière Brothers were projected onto a large screen measuring 16 by 21 meters (approximately 52.5 x 69 feet).Cinematograph, Louis Lumière. “1936 the Lumière Cinematograph.” SMPTE Journal 105, no.
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Cinema in Iran began to develop in 1900, when Mozaffar ad-Din Shah Qajar was introduced to the cinematograph upon traveling to France. He ordered his chief photographer, Mirza Ibrahim Khan Akasbashi, to buy one. Visiting the Festival of Flowers in Belgium, Akasbashi turned the cinematograph toward the flower- adorned carriages, making him the first Iranian to ever film anything. Theaters were opened beginning in 1903 by Mirza Ibrahim Sahfbashi.
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The Broadcasting and Entertainment Trades Alliance (BETA) was a short-lived British entertainment trade union. It was founded in 1984 with the merger of the Association of Broadcasting Staff and the National Association of Theatrical Television and Kine Employees. The union appointed two General Secretaries, Tony Hearn and John Wilson; Wilson standing down in 1987. In 1991, BETA merged with the Association of Cinematograph Television and Allied Technicians to form the Broadcasting, Entertainment, Cinematograph and Theatre Union.
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Conrich, Ian (October 2003). "Film Classification and the BBFC". BBC. Retrieved 20 September 2012. The Board's legal basis was the Cinematograph Act 1909, which required cinemas to have licences from local authorities.
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He both starred in the lead role and directed the production, made by the Co-operative Cinematograph Co. Benson was knighted following a performance of Julius Caesar at Drury Lane Theatre in 1916.
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A book describing his life and work was published in 2017. The Lumiere cinematograph is held by the Queensland Museum. Lantern slides of his work are held by the State Library of Queensland.
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For a number of years, it was believed that a showing of The Kiss was the first film publicly shown in Canada, projected in West End Park, Ottawa, on July 21, 1896. It has since been learned that the competing Lumière Brothers Cinematograph had already exhibited different films in Montreal 24 days earlier, on June 27, 1896.Gaudreault, André and Lacasse, Germain (1996). "The Introduction of the Lumière Cinematograph in Canada", Canadian Journal of Film Studies, Volume 5, No. 2.
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The greenhouses were replaced in 1911 and fire alarms were fitted throughout the asylum, the new piggery was also completed. The patients also performed in a concert, and theatrical performance was held in the winter of 1911. In 1912, the burgh of Falkirk petitioned for the SDLA to be included in their burgh, but again they were denied. The profits from the Asylum shop were used to purchase a large magic lantern and cinematograph; this allowed the patients to have frequent cinematograph displays.
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A lifelong trade unionist, Gates became the President of the Association of Cinematograph Television and Allied Technicians and supported its merger with the Broadcasting and Entertainment Trades Alliance which formed the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU), of which he served as vice president until 2004. A controversial figure, he twice took his union to court, using legislation passed by the Conservative Party in the 1980s. He stood unsuccessfully for the Presidency of BECTU in 2002, 2004 and 2006.
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Thirdly, Sony alleged that their device prevented PlayStation users from infringing copyright, by not allowing the RAM in the PlayStation to download a “substantial part” of the game's “cinematograph film.” Sony claimed that Steven's mod chips reversed this function, allowing the RAM to download a “substantial part” of the game's “cinematograph film” and thus infringed copyright within the meaning of ss 86(a) and 14(1) of the Copyright Act 1968. Sackville J in the initial hearing found that only a very small proportion of the images and sounds comprising the cinematograph film were "embodied" in the PlayStation console's RAM at any given time. "In the circumstances as they arose at trial, Sony failed to lay the necessary evidentiary basis for a finding in its favour on substantiality".
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The Regent Cinema was a cinema in Brighton, England. It was opened by Provincial Cinematograph Theatres on 27 July 1921 and was one of that company's first super cinemas. It was demolished in 1974.
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Elisabeth Furse (30 August 1910 – 14 October 2002) was a Communist activist, World War II resistance escape route organizer, London bistro proprietress, and an early member of the Association of Cinematograph and Television Technicians (ACCT).
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Procession at Seville and bullfighting Scenes is a non-fiction short film created by Auguste and Louis Lumière between 1898 and 1899. The Lumière brothers used a cinematograph to film this motion picture in Seville, Spain.
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The film had a shooting script, was shot with a camera, and its negatives were sent to London for processing. Positives were produced and finally released at Coronation Cinematograph, Girgaum. The film ran for two weeks.
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The Cinematograph Films Council was established by the Cinematograph Films Act 1938 as a result of a Board of Trade reportReport of a Committee appointed by the Board of Trade to consider the position of British films (Cmnd 5320), November 1936 by a committee chaired by Lord Moyne, which recommended that such a statutory body should be created to advise the UK government on matters relating to the film industry. Among its specific functions was the monitoring of a so-called 'quality test' (based on cost per foot of finished film) that was to be applied under the Act to films which sought registration as British under the screen quota to eliminate quota quickies. In the 1977 New Year Honours, John Wingett Davies was appointed OBE for services to the Cinematograph Films Council.The London Gazette (Supplement) dated 31 December 1976, p.
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From 1905 to 1907, the firm of Jasper Redfern & Co. Ltd. had a location at Central Hall in Sheffield. About 1909, Redfern was issued a licence, good until 1913, in compliance with the Cinematograph Act of 1909.
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Shree Pundalik, which was released on 18 May 1912 at the Coronation Cinematograph, Girgaum, Mumbai, is recognised as the first feature-length Indian film. Shree Pundalik was produced and directed by Dadasaheb Torne alias Rama Chandra Gopal.
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He also became Secretary of the loose Federation of Broadcasting Unions."Hearn, David Anthony", Who's Who In 1984, Hearn took the ABS into a merger with the National Association of Theatrical and Kine Employees, which formed the Broadcasting and Entertainment Trades Alliance (BETA).BECTU, "BECTU's History" He became joint General Secretary of BETA with John Wilson, then sole head of the union in 1987. In 1991, he BETA it into a further merger, this time with the Association of Cinematograph Television and Allied Technicians, which produced the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU).
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A Cinematograph, one of the premier filmmaking cameras, produced in France. Ruiz was a showman by trade, and had got into the business of showing films. A variety show he was putting on at the Circo Metropolitano included film as well as zarzuelas and circus acts; in 1897, after the release of the first Venezuelan films in Maracaibo, Ruiz went into business with Ricardo Rouffet to create their own films. One of the people he employed to show films at the Circo was Gabriel Veyre; Veyre's Cinematograph may have been used to make Ruiz' films.
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The Indian Cinematograph Act came into effect in 1920, seven years after the production of India's first film: Dadasaheb Phalke's Raja Harishchandra. Censorship boards were originally independent bodies under the police chiefs of the cities of Madras (now Chennai), Bombay (now Mumbai), Calcutta (now Kolkata), Lahore (now in Pakistan), and Rangoon (now Yangon in Myanmar). After the 1947 independence of India, autonomous regional censors were absorbed into the Bombay Board of Film Censors. The Cinematograph Act of 1952 reorganised the Bombay board into the Central Board of Film Censors.
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With their backing he launched Ireland's first cinema, the Volta Cinematograph, which was well-received, but fell apart after Joyce left. He returned to Trieste in January 1910 with another sister, Eileen, in tow.Ellmann (1982), pp. 300–03, 308, 311.
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Newbould originally joined the British Army as a trooper in the 1st Royal Dragoons and fought in the Second Boer War, but his main profession was in the developing entertainment industry, the cinema. He was a director of Provincial Cinematograph Theatres National Council of Public Morals Cinema Commission of Inquiry, The Cinema: Its Present Position and Future Possibilities; Arno Press, 1970 p ix and worked for Gaumont British as a publicist. He was also a Chairman and Director of Associated Provincial Picture Houses Ltd; a director of London Film Company Ltd and director of Fenning's Film Service Ltd.The Cinema; Its Present Position and Future Possibilities; Read Books, 2008 p262 He was sometime Chairman The Times, 23 January 1917 and later President The Times, 1 July 1919 of the Cinematograph Exhibitors' Association of Great Britain and Ireland, Chairman of the Cinematograph Trade Council The Times, 8 May 1917 and a member of the Entertainment Industry Committee.
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When Queen's Royal Theatre was rebuilt in Dublin in 1909, it opened with a program headed by The Story of the Kelly Gang.Condon, Denis (2008). "Politics and the Cinematograph: The Boer War and the Funeral of Thomas Ashe". Field Day (Issue 4).
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Artfilm began to define itself as a festival of film artistry, and since then it has focused on feature films from around the world. 2002 also saw the arrival of the popular open-air cinema known as the Čadík Brothers’ Travelling Cinematograph.
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The original Working Time Regulations 1998 provided for a 13-week qualifying period at work before one could benefit from its protection. This restriction was challenged by the Broadcasting, Entertainment, Cinematograph and Theatre Union, because there was nothing about it in the Directive.
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To make a full-length silent film, a temporary studio was made in the gardens of the family's estate, and they produced a full-length silent film titled The Last Kiss, released in 1931. The “East Bengal Cinematograph Society” was later established in Dacca.
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Ardashes Badmagrian or Artashes Patmgrian (known as Ardashir Khan) (1863–1928) was an Iranian Armenian Movie Theater owner. Badmagarian had worked at Pathé in Paris at the turn of the century and had brought back to Persia the cinematograph, the phonograph, and the bicycle.
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Coronation Cinematograph and Variety Hall was a hall in the Girgaon area of south Mumbai, India used for variety entertainment shows, dramas and to screen movies. The first Indian movie Raja Harischandra was screened here, thus heralding the birth of the Indian film industry.
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A Different Perspective, Stage, Screen and Radio: The Journal of the Broadcasting Entertainment Cinematograph & Theatre Union, May 2007, p. 16, Though shot in 2005, post-production was not completed until 2007. An unfinished version was shortlisted for the Akira Kurosawa Memorial Short Film Competition in 2006.
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Un bon bock (aka A Good Beer) is an 1892 French short animated film directed by Émile Reynaud. Painted in 1888, it was first screened on 28 October 1892 using the Théâtre Optique process, which allowed him to project a hand-painted colored film, before the invention of cinematograph.
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The Institut Lumière in Lyon, France The device was invented and patented as the "Cinématographe Léon Bouly" by French inventor Léon Bouly on February 12, 1892. Bouly coined the term "cinematograph," from the Greek for "writing in movement."Abel, Richard. Encyclopedia of Early Cinema. 1st ed. London: Routledge, 2004.
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Karl Freund was born in Dvůr Králové (Königinhof), Bohemia. When he was 11 his family moved to Berlin. His career began in 1905 when, at age 15, he was hired as an apprentice projectionist for Alfred Duskes films. In 1907 he began work at the International Cinematograph and Light Effect Society.
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"History of Philippine Cinema". National Commission for Culture and the Arts. Retrieved January 23, 2009. Carlo Naquera, a Spanish soldier from Aragón, was able to import a Lumiere Cinematograph from Paris, including 30 film titles, out of his savings and the financial banking of two Swiss entrepreneurs, Liebman and Peritz.
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Tom Howard was also a "founding member of the British Society of Cinematographers and a fellow of the Royal Photographic Society and Britain’s Cinematograph, Sound and Television Society." In 1967, he would invent a variation on Front Projection Composite Cinematography. This patent would be widely influential on the process of filmmaking.
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By 1910, cinematograph had long been part of the entertainment there, but that year George Morton brought in back-screen projection, considerably improving quality.Hull Daily Mail 23 May 1910 p. 7 In 1907, Morton bought out the Grand Opera House in George Street, and put in 'W. F.' as manager.
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43 (1919) but the lower floors contained a 1,196-seat cinema, called the Lichtspieltheater im Piccadillyhaus or the Kammerlichtspiele im Haus Potsdam (Cinematograph in the Piccadilly House, Moving Pictures in Haus Potsdam),Sylvaine Hänsel and Angelika Schmitt, eds., Kinoarchitektur in Berlin 1895-1995, Berlin: Reimer, 1995, p. 193 and the Café Piccadilly.
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After the premiere public screening held at the Salon Indien del Grand Café on 28 December 1895, was carried out immediately making the first 200 Cinematography demanded by the Lumière brothers. To perform this device, Carpentier was deposited in March 1896 a patent for a "mechanism Maltese cross with five branches," and at the end of the month of March, also provided for an "apparatus for photographing animated scenes" of filmic bars called Phototrope. In 1897, Jules Carpentier made a special Cinematograph projection that was built in two models: Model A, for moving the films Lumière to perforations (Round claws) and Model B for films to Edison perforations (flat claws). In total, 700 to 800 Lumière Cinematograph factories were built by Carpentier.
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Alan Sapper (18 March 1931 – 19 May 2006) was a British trade unionist. Born in Hammersmith, Sapper studied at the Latymer Upper School, then worked as a botanist at Kew Gardens while studying with the University of London External Programme. He became active in the Institution of Professional Civil Servants, then in 1958 moved to work for the Association of Cinematograph, Television and Allied Technicians, initially also undertaking scriptwriting. He was General Secretary of the Writers' Guild of Great Britain from 1964, before returning to ACTT as General Secretary, serving until 1991, when the union merged with the Association of Broadcasting Staffs to form the Broadcasting Entertainment Cinematograph and Allied Trades Union (BECTU) of which he was briefly Joint General Secretary.
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Low p.134 The film was a commercial success and reportedly took over £53,000 in its first two years on release. It was a particularly notable achievement given the collapse in British film production between the Slump of 1924 and the passage of the Cinematograph Films Act 1927 designed to support British film making.
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Boulting v Association of Cinematograph, Television and Allied Technicians [1963] 2 QB 606 is a UK labour law and UK company law case from the Court of Appeal. It covers the issue of what it means to act in the best interests of the company, relevant under section 172 of the Companies Act 2006.
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After the war Montagu worked as a film critic and reviewer. In 1933, Montagu was a founder member of the Association of Cinematograph and Television Technicians, holding various positions in the union until the 1960s. He also held post on the World Council of Peace. In 1934 he was founder of the Progressive Film Institute.
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Randall Williams was born in Liverpool on 17 July 1846. His father, Thomas, came from an extended family of travelling showmen with roots in Warrington. The Williams family toured with amusements from the mid 1840s until the early 1900s. Their various interests included mechanical exhibitions, waxworks exhibits, photography booths, ghost shows, and cinematograph exhibitions.
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The ending of the international version reflects the end that director Kim Jee-woon originally wanted. In the United Kingdom, the British Board of Film Classification ordered five seconds of cuts to the cinema release due to scenes of horse falls judged to be animal cruelty that violated the Cinematograph Films (Animals) Act 1937.
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The periodical was established in London, England, in May 1903 as the Talking Machine News and Record Exchange. After the second edition, its title was changed to Talking Machine News and Cinematograph Chronicle. From October 1905 (the thirtieth edition), it was titled simply Talking Machine News. From issue 157, it became Talking Machine News and Journal of Amusements.
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In this position, he worked to develop film as an educational medium. He left Paris in 1949 to become New Zealand’s fourth Censor of Cinematograph Films, a position he held until 1959. Mirams was the first censor to make liberal use of the R certificate, allowing films to be restricted to specific audiences and age groups.
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Marcus Grill, a Jewish businessman, opened Northern Rhodesia's first open-air cinema in Livingstone in 1917. Two years later he opened Grill's Kinema, housed in a corrugated iron building. The Grill family opened Zambia's first cinema for talking pictures in 1931. Respondents to the Colonial Office in 1927 reported that "natives are not admitted to the European cinematograph displays".
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Cathay Cineplexes Singapore manages Cathay Cineleisure Orchard, The Cathay, Cathay Cineplex Causeway Point, Cathay Cineplex AMK Hub, Cathay Cineplex Downtown East, Cathay Cineplex West Mall, Cathay Cineplex Jem and Cathay Cineplex Parkway Parade. Cathay Cineplexes is not part of the Cinematograph Film Exhibitors Association. On 24 November 2017 Cathay Cineplexes was acquired by mm2 Asia Ltd.
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A Matter of Life and Death was chosen for the first ever Royal Film Performance on 1 November 1946 at the Empire Theatre, in London."Crowds Cheer the King and Queen". The Times (London), 2 November 1946, p. 4. The performance was in aid of the Cinematograph Trade Benevolent Fund and £30,000 (£ in pounds) was raised.
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The Cinematograph Act 1909 is an Act of the Parliament of the United Kingdom (9 Edw. VII c. 30). It was the first primary legislation in the UK which specifically regulated the film industry. It unintentionally provided the legal basis for film censorship, leading to the establishment of the British Board of Film Censors in 1912.
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Cinématographe Lumière at the Institut Lumière, France A cinematograph is a motion picture film camera, which—in combination with different parts—also serves as a film projector and printer. It was developed in the 1890s in Lyon by Auguste and Louis Lumière.This was not the first 'moving picture' device. Louis Le Prince had built early devices in 1886.
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The Broadcasting, Entertainment, Communications and Theatre Union (BECTU), formerly the Broadcasting, Entertainment, Cinematograph and Theatre Union, became a sector of the Prospect trade union in the United Kingdom on 1 January 2017 following the merger of BECTU with Prospect. It has circa 40,000About BECTU home members who work in broadcasting, film, theatre, IT, telecoms, entertainment, leisure and interactive media.
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9 By 1914, Sinden was in financial distress, and a fund was being raised for her."Cinematograph Records by Aeroplane", The Times, 28 April 1914, p. 16 In 1927, after some years away from the stage, she appeared in a production of Dick Whittington at the Elephant and Castle Theatre, south London. She continued working until at least 1930.
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In 1974, following an earlier-than-normal TV screening of the film on BBC TV that broke a gentlemen's agreement allowing a 'window' of theatrical distribution before any TV screening, the UK's Cinematograph Exhibitors' Association (the theatrical distributors' association) recommended its members blacklist all future movies produced by Jules Buck. Embassy Pictures re-released the film in May 1983.
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The Great White Silence is a 1924 English documentary that contains brief cinematograph sequences taken during the Terra Nova Expedition of 1910-1913\. The principal filmmaker was photographer Herbert Ponting. Originally a silent film, the documentary was restored and re-released in 2011 by the British Film Institute with a musical soundtrack by Simon Fisher Turner.
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Ashfield was a director of the Midland Bank, Amalgamated Anthracite Collieries and chairman of Albany Ward Theatres, Associated Provincial Picture Houses, and Provincial Cinematograph Theatres. During World War I, he was Colonel of the Territorial Force Engineer and Railway Staff Corps and was Honorary Colonel of the Royal Artillery's 84th Light Anti Aircraft Regiment during World War II.
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It was reported to be "the first of a series of weekly entertainments for overseas soldiers arranged by Their Majesties the King and Queen." On March 22, 1917, Besley gave his first "cinematograph lecture" to the British public at the Duchess of Rutland's matinee at the Philharmonic Hall in London. Proceeds were to be given to "war charities".
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The Oil Gush in Balakhany () is a film directed by the pioneer of cinema in Azerbaijan, Alexandre Michon, it was filmed on August 4, 1898 in Balakhany, Baku and presented at the International Paris Exhibition.Aydin Kazimzade. "Cinema in Azerbaijan: Pre-Soviet Era", Azerbaijan International, 5(3), Autumn 1997 The film was shot using a 35mm film on a Lumière cinematograph.
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Instead, Tanner became an entertainer and started to perform at the cinematograph Helikon at Kluuvinkatu in Helsinki. There he became good friend with Rafael Ramstedt and Theodor Weissman, with whom he also performed at the capital's restaurants and cafes. Between 1911 and 1926, Tanner recorded 70 songs in Finland, Sweden and Germany. The 1924 recording session was made in Camden, New Jersey.
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Simons (1993), pp. 195–198 In November 1992, the name was changed from Dan Air Services Ltd to British Airways (European Operations at Gatwick) Ltd.Company No. 00519947 at companieshouse.gov.uk (Companies House) John Wingett Davies was also chairman of British Cinematograph Theatres Ltd and in the 1977 New Year Honours was appointed OBE.The London Gazette (Supplement) dated 31 December 1976, p.
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In 1895, other motion picture pioneers entered the market of motion pictures projected on large screens, including Max and Emil Skladanowsky with their Bioscop, and Auguste and Louis Lumière with their cinematograph. Their films were much longer than the Schnellseher picture loops and after 1895 Anschütz' career in motion pictures was diminished to the sales of home model Tachyscopes at his studio.
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Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work.
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The 1930s saw the rise of medical cinematography employed to reach goals of public health. In 1933, the Journal of Communication published an article regarding immunization propaganda in the US: “Dr. Nash has enlisted the cinematograph film. He has noticed that American films illustrating immunization never show the instant of puncture, so that spectators are left to infer something disagreeable.
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Pleograph () was an early type of movie camera constructed in 1894, before those made by the Lumière brothers,Maciej Iłowiecki, "Dzieje nauki polskiej", Wydawnictwo Interpress, Warszawa 1981, , p.202 (Polish). by Polish inventor Kazimierz Prószyński. Frames from Rink in Saxon Garden movie shot on Pleograph in 1902 Similarly to the Lumière brothers cinematograph, Prószyński's pleograph has also been used as a projector.
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The Central Board of Film Certification (CBFC) is a statutory film- certification body in the Ministry of Information and Broadcasting of the Government of India. It is tasked with "regulating the public exhibition of films under the provisions of the Cinematograph Act 1952." Films screened in cinemas and on television may only be publicly exhibited in India after certification by the board.
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Ruiz and Wolcopt may have shown a film called Disputa entre Andracistas y Rojistas, which showed a fight between supporters of that year's political candidates Ignacio Andrade and Juan Pablo Rojas Paúl; the nature of the film suggests a Venezuelan author, but there are few records of it. After the show Wolcopt traveled the country for four months with the Projectoscope before returning to Caracas. Ruiz then hired Gabriel Veyre to show his Cinematograph at the Circo after seeing him project another film at the Fortuna Hall in Caracas. Ruiz and Veyre had a dispute, with Ruiz claiming Veyre was in breach of contract and sent a letter saying so to Veyre's mother; Veyre fled the country to Colombia, but his Cinematograph, which could both record and project film, may have been used to make Ruiz's films.
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The cinema of Bangladesh dates back to 1898 when films began screening at the Crown Theatre in Dhaka. The first bioscope in the subcontinent was established in Dhaka that year. The Dhaka Nawab Family patronized the production of several silent films in the 1920s and 30s. In 1931, the East Bengal Cinematograph Society released the first full-length feature film in Bangladesh, titled the Last Kiss.
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From 20 April 2009 The Wrap was renamed simply as Asian Network Reports and goes out at 12:30pm to 1:00pm and 6:00pm to 6:30pm. (Monday - Friday). In 2011, Sini joined Clive Myrie to discuss their career progression at a Move on Up workshop organised by the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) for black and minority ethnic (BME) media professionals.
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The local Bury Times newspaper carried a report which said many photographers were in evidence and a cinematograph was sited on top of one of the stands. The teams came onto the field separately, Derby first, and the Bury newspaper claimed that the roar of the Bury fans "outclassed" that of the Derby fans. The paper commented that, "strangely", the match kicked off at 3:27 pm.
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6 De Groen had been the conductor at T. J. West's Cinematograph (i.e. cinema) since around 1900, and continued his position in West's new Glaciarium when it opened in 1907.Obituary of De Groen, The Sydney Morning Herald, Thursday 3 April 1919, 8:2. In 1908 he was managing some 80 musicians in Australia and New Zealand, and conducting nightly at three different venues in Sydney.i.e.
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It condemned the age-old custom of animal sacrifice in certain Kali temples in Bengal. The Members of the Indian Cinematograph Committee were wowed by this "excellent and truly Indian film". Its European members recommended that it be sent abroad for screening. Zubeida starred in a string of silent films before Alam Ara proved to be the turning point in her career and was her biggest hit.
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Morton next focussed on East Hull and, as Holderness Hall Ltd built a theatre for cinematograph entertainment, opening 16 November 1912. This work was also designed and carried out by Freeman, Sons,and Gaskell. It cost £12,000, seated 2,000 people and had three cafes. The two large entrance halls on Holderness Road and New Clarence Street meant no more queuing in the cold and rain.
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John Wingett Davies OBE (1908 – 11 September 1992) was a British company director in the fields of ship broking, aviation, and films, whose main interest was as an exhibitor in the world of cinema. He was managing director of Davies Cinemas Ltd and chairman of British Cinematograph Theatres, Deputy Chairman of Davies and Newman, the parent company of Dan-Air, and President of the Cinema Exhibitors' Association.
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Born in Tipperary, Ireland, Morrissey attended the local Christian Brothers school. He began his career as a catering buyer at the BBC, joining the Association of Broadcasting Staff in 1977. He became prominent in the union as it underwent a series of mergers to form the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU). In 1998, he became one of BECTU's two Assistant General Secretaries.
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The Cinema Museum in London currently preserves 65 Norden fiction films. The showmen became self-publicising travelling cinematograph operators. Films taken during the day were shown on the same evening in fairground tents or local meeting halls and music halls with slogans like "see yourselves as others see you". Dramas took a while to catch on and the non-fiction actuality films were more popular.
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The term "grip" is derived from an older term in U.S. theatre where it designated stagehands who moved scenery. U.S. grips typically belong to the International Alliance of Theatrical Stage Employees (IATSE). Canadian grips may also belong to IATSE or to Canada's other professional trade unions including Toronto's Nabet 700, or Vancouver's ACFC. British grips usually belong to BECTU (Broadcasting Entertainment Cinematograph & Theatre Union).
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A 1905 Kinora at Fotomuseum Antwerp The Kinora was an early motion picture device. It was developed by the French inventors Auguste and Louis Lumière in 1895, while simultaneously working on the Cinematograph. It was patented in February 1896. Basically a miniature version of the mutoscope for home use, the Kinora worked very much like a flip book in the shape of a Rolodex.
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The cinema of Bangladesh dates back to 1898, when films began screening at the Crown Theatre in Dhaka. The first bioscope on the subcontinent was established in Dhaka that year. The Dhaka Nawab Family patronised the production of several silent films in the 1920s and 30s. In 1931, the East Bengal Cinematograph Society released the first full-length feature film in Bangladesh, titled the Last Kiss.
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Alexander Mishon (; 5 July 1858, in Kharkiv – 5 July 1921, near Samara) was a Russian photographer and cinematographer. Born to a French family in Kharkiv, he started his career as a photographer and owned a photo studio in his hometown. He later settled in Baku (nowadays capital of Azerbaijan) and lived there for 25 years. Here, in 1898, he shot his first films using a Lumière cinematograph.
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Section 13 of The Copyright Act, 1957 states that a copyright is allowed to exist in the following classes of works - (a) original literary, dramatic, musical and artistic works; (b) cinematograph films; and (c) sound recordings. Section 2(d) of the Act defines the meaning of “author” of the work. According to section 2(d) (ii), the composer shall be the “author” of a musical work. However, sections 2(d)(v) and 2(d)(vi) were added to the Act by virtue of the 1994 amendment, according to which an author shall also be producer of the cinematograph film or sound recording; or “the person who causes the work to be created” when the literary, dramatic, musical or artistic work is computer-generated. Section 17 deems the author of a work to be the “first owner” of the underlying copyright, subject to certain exceptions.
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In 1974 he was Director of F.I.D.O."DAVIES, JOHN WINGETT, Exhibitor" in British Film and Television Year Book, Vols. 29-30 (Peter Noble, 1974), p. 100 After his father's death in 1936, Davies was a major shareholder in Davies and Newman and took a seat on the board. By 1971, he was Deputy Chairman, under the chairmanship of Frederick Newman. In that year, 1971, the Davies and Newman Group was floated on the London Stock Exchange, having become more important thanks to the success of its subsidiary Dan-Air.Letter to Hambros Bank from Mr. F. E. F. Newman, M.C., Chairman and Managing Director of Davies and Newman, dated 30 September 1971, published in The Financial Times dated 4 October 1971 Davies was also chairman of British Cinematograph Theatres Ltd, and in the 1977 New Year Honours he was appointed OBE for services to the Cinematograph Films Council.
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A product he sold (the 1894 oxyéthérique "securitas" lamp), after initially being a great success in the first cinematograph films of 1897, was involved in a disastrous fire. During the Bazar de la Charité event, one of these lamps was brought in for the spectacles. Fatally, during the show, the projectionist pulled open the lamp, to access the ether. At the same time, the assistant leaned over and struck a match.
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Veyre graduated in pharmacy from Lyon University. In 1896, he traveled along with Claude Ferdinand Bon Bernard to Latin America, in order of show the early films made by the Lumière Brothers and to exploit the cinematograph. Between 1896 and 1897, he directed and produced 35 films in Mexico, with Von Bernard as the camera operator. Many of those films feature the Mexican president Porfirio Díaz in daily activities.
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The Lumière brothers made their first film, Workers Leaving the Lumière Factory (Sortie de l'usine Lumière de Lyon), that same year. The first commercial, public screening of cinematographic films happened on 28 December 1895 at Salon Indien du Grand Café in Paris and was organised by the Lumière brothers.Louis Lumière, The Lumière Cinematograph. In: This history-making presentation featured ten short films, including their first film, Workers Leaving the Lumiere Factory.
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It started with 3 faculties and 12 departments, covering the subjects of Sanskrit, Bengali, English, Education, History, Arabic, Islamic Studies, Persian, Urdu, Philosophy, Economics, Politics, Physics, Chemistry, Mathematics, and Law. The East Bengal Cinematograph Company produced the first full-length silent movies in Dhaka during the 1920s, including Sukumari and The Last Kiss. DEVCO, a subsidiary of the Occtavian Steel Company, began wide scale power distribution in 1930.
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James Curtis adapted his own novel, They Drive by Night to provide the screenplay for the film. The female victims of the book were prostitutes and to prevent censorship this aspect was watered down. Additionally, the book featured scenes of police brutality that were excised altogether. The film was made by Warner Brothers at the recently purchased Teddington Studios as a quota film under the "Cinematograph Films Act 1927".
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Isa Bey Hajinski, the honorable benefactor of the Alexander High School, increased his contribution from 800 to 1000 roubles per year and also, in 1913 he spent 1000 roubles for buying a cinematograph for the school. This was a rare phenomenon for schools of that time. He was also the first automobile owner in Baku. In November of the same year, Hajinski bought a summer house in Mineralnye Vody.
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Following his death, Williams' main bioscope was taken over by his daughter Carrie and new husband, Dick Monte (former Haydon and Urry employee). They continued to travel the show as the Randall Williams Cinematograph Show until 1913 when it was destroyed by fire at Thirsk, Yorkshire. Williams' No. 2 show was taken over by his daughter and son-in-law, Annie and Reuben Williams. They travelled with their bioscope until 1906.
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The cinema manager was put on trial for culpable homicide, but found not guilty. Safety regulations were tightened in the wake of the disaster; many municipal authorities made inspections of cinemas compulsory. The Cinematograph Act 1909 was amended to ensure that cinemas had more exits, that doors opened outwards and that they were fitted with push bars. A limitation was also placed on the seating capacity of cinemas.
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To create the short film, the Lumière Brothers used a cinematograph, a new projection device which was beginning to be used at that time. The brothers sent different equipment all over the world in order to film a variety of scenes and images. Two of the main filming locations were France and Spain. This short non-fiction film marked the first time that someone filmed the Spanish Holy Week.
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The British Board of Film Classification (BBFC) was established in 1912 as the British Board of Film Censors by members of the film industry, who would rather manage their own censorship than have national or local government do it for them. It began operating on 1 January 1913. Its legal basis was the Cinematograph Act 1909, which required cinemas to have licences from local authorities. A court rulingLCC v.
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The Oil Gush Fire in Bibiheybat () is an 1898 Azerbaijani silent film. Directed by the pioneer of cinema in Azerbaijan, Alexandre Michon, this 30-second film was shot on August 6, 1898 in Bibiheybət village near Baku and presented at the International Paris Exhibition.Aydin Kazimzade. "Cinema in Azerbaijan: Pre-Soviet Era", Azerbaijan International, 5(3), Autumn 1997 The film was shot using a 35mm film on a Lumière cinematograph.
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Each of these works would be allowed their own separate set of rights (the right of public performance being one of them) under the Copyright Act, regardless of one work being created for another by virtue of an agreement. Therefore, even when a producer has engaged an artist to write a song, the producer’s copyright only extends to the song itself (referred to as a ‘synchronisation right’), and not the underlying lyrics, harmony, melody and rhythm – the rights for which would still vest with the original authors. Section 13(4) of the Copyright Act recognizes the fact that a ‘sound-recording’ incorporated in a cinematograph film can continue to have an individual copyright, separate and distinct from the copyright in the cinematograph film. Similarly, this provision also recognizes that a musical work and literary work incorporated in a ‘sound-recording’ can have individual copyrights that are distinct from the copyright in the sound recording.
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Licensed premises (pubs, clubs, cinemas, theatres) were classed as providing a service, not as shops, and so did not normally fall within the designated groups in the FPA, so some never needed fire certificates. However, the local authority who issued the licence usually asked the fire brigade to inspect plans and carry out inspections, which led to confusion even by fire safety officers. Coupled with all this, materials such as celluloid have been recognised as highly flammable since early days of its usage,HSE Fact Sheets and acts such as the Celluloid and Cinematograph Films Act 1922 and the Cinematograph Act 1952 gave the fire brigade powers to take samples of film and test them for flammability even though they were not the enforcing authority. Other licensing legislation such as the licensing of underground car parks by means of a local act such as the Greater Manchester Act applied where local acts existed so one authority licensed and the next one did not.
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Therefore, the law recognizes each category of works as a separate property right that is protected by itself despite being incorporated into another work. Thus, the composer of a musical work or the author of a literary work can continue to maintain copyright in their works despite licensing the same to the producer for the creation of a ‘sound-recording’. The same stands true for a ‘sound recording’ that is incorporated into a cinematograph film.
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Once the synchronisation rights in the music have been licensed to the producers of the cinematograph film, the authors continue to own the remaining rights such as the public performance rights in the music and lyrics. These remaining rights too could be licensed away by the authors but the authors would be entitled to certain minimum royalties. The 2012 Amendment Act was repealed in January 2018 by the Repealing and Amending (Second) Act, 2017.
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ACTT were highly critical of the film's negative portrayal of trade unionists. In 1969, Elvin was replaced as General Secretary by Alan Sapper. The union repeatedly discussed potential mergers with the Association of Broadcasting Staff (ABS), which represented the equivalent workers at the BBC, but these foundered until in 1991 it merged with the Broadcasting and Entertainment Trades Alliance, the successor to the ABS, to form the Broadcasting, Entertainment, Cinematograph and Theatre Union.
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Marie Gillespie & Alban Webb (2013). Diasporas and Diplomacy: Cosmopolitan contact zones at the BBC World Service 1932–2012, pp. 129–32. Routledge Link " 'when it came to reporting adversely on Mossadeq, for two weeks all Iranian broadcasters disappeared. The BBC had no choice but to bring in English people who spoke Persian because the Iranians had gone on strike' " The documentary Cinematograph aired on 18 August 2011 on the anniversary of the coup.
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He relocated production to Sydney to take advantage of the New South Wales Cinematograph Films (Australian Quota) Act 1935. Efftee was also the first operator of Melbourne radio station 3XY which began broadcasting on 9 September 1935. Thring traveled to Hollywood in March 1936 to look for scriptwriters and actors and returned in June but died soon after. Founder F.W. Thring was the father of the Australian and international actor, Frank Thring.
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1a, p. 399: PEPPER, William C and LEAVER, Annie Brought up by his father as an entertainer, Pepper picked up the banjo from those around him in the White Coons, and he also trained as a cinematograph operator. In the 1930s, he formed the "Kentucky Banjo Team" with Joe Morley and Tarrant Bailey, for a BBC Home Service radio programme called The Kentucky Minstrels.Chris Sands, Tarrant Bailey Jr. Banjo Solos (2011), p.
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Professor Andalib Shadani of the Dhaka University made the Urdu subtitles. The Last Kiss was released in the Mukul Hall of Dhaka. Historian Dr. Romesh Chondro Mojumder started the premier show of the film. The print of the film was taken to the Aurora Company of Calcutta for bigger presentation. The developers of the film wanted to make Dhaka unique in art, literature and cinema and named their production house “Dhaka East Bengal Cinematograph Society”.
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By August 1897, Liebman and Peritz presented the first movies on the Lumiere Cinematograph in Manila. The cinema was set up at Escolta Street at the corner of San Jacinto Street. A test preview was presented to a limited number of guests on August 28 and the inaugural show was presented to the general public the next day, August 29, 1897. Documentary films showing recent events as well as natural calamities in Europe were shown.
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In the United Kingdom, for example, this requirement was introduced in the Cinematograph Act 1909, and effectively prevented the projectionist from also carrying out a public-facing role. The legal right to act as a projectionist in a public movie theater was, and to some extent still is, regulated, to varying degrees in different jurisdictions.Brittenden, p. 81. Some required projectionists to be licensed by local or central government,US Senate, bill no.
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Wolcopt then traveled around the country and Veyre left to Colombia before Carlos Ruiz peleando... was released, but his Cinematograph, which could both record and project film, may have been used to make Ruiz' films. Azuaga García describes Ruiz' choice to hold film showings in a circus as "gaudy", as the previous screenings were held in spectacular theatres and halls, but also suggests it was Ruiz' attempt to "truly bring cinema to the popular classes".
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Auguste Marie Louis Nicolas Lumière (19 October 1862 - 10 April 1954)Dictionary of World Biography was a French engineer, industrialist, biologist, and illusionist. During 1894-1895, he and his brother Louis invented an animated photographic camera and projection device, the cinematograph, which met with worldwide success. Lumière was born in Besançon. He attended the Martinière Technical School and worked as a manager at the photographic company of his father, Claude-Antoine Lumière.
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Later, The Act was modified by the Cinematograph Films Act 1938 and further acts, and eventually quotas (and levy rates) were abolished in the Films Act 1985. In Brazil, quota is defined by a presidential decree every year. Currently, the requirement depends on the number of screens, varying from 28 days (for single screen movie theatres) to 644 (for 20 screens multiplexes). In Greece, minimum days of showing domestic films each year is 28 days.
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Moreover, the 1927 Films Act was up for renewal. The replacement Cinematograph Films Act 1938 provided incentives, via a "quality test", for UK companies to make fewer films, but of higher quality, and to eliminate the "quota quickies". Influenced by world politics, it encouraged American investment and imports. One result was the creation of MGM-British, an English subsidiary of the largest American studio, which produced four films before the war, including Goodbye, Mr. Chips (1939).
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By 1910, the French film companies were starting to make films as long as two, or even three reels, though most were still one reel long. This trend was followed in Italy, Denmark, and Sweden. In Britain, the Cinematograph Act 1909 was the first primary legislation to specifically regulate the film industry. Film exhibitions often took place in temporary venues and the use of highly flammable cellulose nitrate for film, combined with limelight illumination, created a significant fire hazard.
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Marathi cinema refers to Indian films produced in Marathi, the language of the state of Maharashtra, India. Based in old Mumbai, it is the oldest and one of the pioneer film industries of India. The first Marathi film to be released in India was Shree Pundalik by Dadasaheb Torne on 18 May 1912 at Coronation Cinematograph, Mumbai. and a Marathi crew who were performing Marathi and Sanskrit Sangeet natikas (musicals) and plays in Marathi at that period.
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In his spare time, he organised Slum Children's Outings for the East End. He also stood unsuccessfully as a Labour Party candidate in Bath at the 1922 general election, then Watford in 1924, Spen Valley in 1929, and on one further occasion. He was elected to Middlesex County Council. Two of Elvin's children became prominent figures: Lionel became Principal of Ruskin College, and George became General Secretary of the Association of Cinematograph Television and Allied Technicians.
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Neither achieved the success the British sought, in part because of Urban's and Wellington House's refusal to address Urban's German ancestry or that the films were produced by the British government with the intention of winning over American audiences. This stance changed in November 1916, when the British created the War Office Cinematograph Committee (WOCC), under which the film's official intent was to be known. It was absorbed by the Department of Information (DOI) early in 1917.
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Toscano was born in 1872 in Guadalajara, Jalisco. He began studying to become a mining engineer, however changed his career to become a filmmaker. He used a Cinematograph camera and projector which was first introduced in France in 1895. It was introduced into Mexico a year later when the first presentation of film in Mexico was made on 15 August 1896. Toscano opened Mexico's first public movie theatre at 17 Jesús María Street in Mexico City in 1897.
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The first public movie projection in North America occurred in Montreal on June 27, 1896. Frenchman Louis Minier presented a film on a Cinematograph in a Café-Theatre on Saint Lawrence Boulevard. However, it was not be until the 1960s when the National Film Board of Canada was established that a genuine Quebec cinema industry would emerge. The 1970s were a "watershed" moment for Quebec films, when sophisticated themes and techniques were used by filmmakers such as Claude Jutra.
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Proust made his fictional character Charles Swann a member of the Jockey Club as a signal honor, given Swann's Jewish background. On the ground floor beneath the Jockey Club was the fashionable Grand Café. There, on 28 December 1895, a stylish crowd in the Salon Indien attended the public début of the Lumière brothers' invention, the cinematograph. The Jockey Club is directed by an annually-elected committee of a president, four vice-presidents and twenty-five members.
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The catastrophic end of "Scott's Last Expedition" also affected Ponting's later life and career. When the Terra Nova had sailed south in 1910, it had left massive debts behind. It was expected that Scott would return from the South Pole as a celebrity and that he could use moving images from his expedition in a one-man show. Ponting's cinematograph sequences, pieced out with magic lantern slides, were to have been a key element in the expedition's financial payback.
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In 1937 he made the science fiction movie, Weltraumschiff I startet [Space Ship I Launches], a story about a first Moon flight which he dated on 13 June 1963, his 60th birthday. Kutter was awarded two golden medals at the Venice Biennale. Already at age 12, Kutter manufactured his first refracting telescope from lenses taken from a toy cinematograph. Later he became known to Anton Staus (1872-1955) who introduced him to the theory of 's "Brachy" telescopes.
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It was later exhibited in England (at the Empire in Leicester Square), and in Ireland (billed as "Professor Jolly's Cinematograph"). Share of the Société des Phonographes et Cinématographes Lux, issued 5. November 1906 In 1900 Joly entered a three-way partnership with Normandin and his brother Edgar, called "Société du Biophonographe", to exploit a system of synchronizing a motion picture projection with sound from a phonograph. The company filmed and marketed several films, but declared insolvency in 1902.
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For the documentary Hydrospace. Dive to Fly Up the film crew of Roscosmos TV-Studio was awarded with the prize Minor Gold Dolphin on the VI International Festival of Underwater Shooting Gold Dolphin 2007. In December 2007 the documentary film He Could Have Been the First One. Cosmonaut's Nelyubov Drama won in the international contest and obtained a national award “Lavr” (“Laurel”) in the field of documentary cinematograph and television in the nomination for the “best popular-science film”.
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Muybridge's own Zoopraxiscope (1879) was an early moving image projector and one of several inventions made before the breakthrough in 1895. In 1895 Auguste and Louis Lumière were developing the Kinora simultaneously with the cinematograph. While cinema proved to be an enormous success, the Kinora became a popular motion picture viewer for home use. Film, television and video are seen as the prevailing successors of the zoetrope, when regarded as technological steps in the development of motion pictures.
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Screen quotas are a legislated policy that enforces a minimum number of screening days of domestic films in the theater each year to protect the nation's films. The screen quota system is enforced to prevent foreign markets from making inroads into the domestic film market. The screen quota system was started in the United Kingdom in 1927 through the Cinematograph Films Act 1927. Other countries enforcing screen quotas include France, South Korea, Brazil, Pakistan and Italy.
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This tool was utilized to capture a still photograph of an image in real life. The following theory was configuring how to take that still image and transform it into a moving image. The first introduction to motion picture history was through the creation of the kinetoscope invented in 1893 by a man named William Kennedy Dickson, an assistant of famous American inventor Thomas Edison. And through that invention the cinematograph was invented in 1895 by the Lumière brothers.
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October 28, the International Animation Day (IAD) was an international observance proclaimed in 2002 by the ASIFA as the main global event to celebrate the art of animation. This day commemorates the first public performance of Charles-Émile Reynaud's Théâtre Optique at the Grevin Museum in Paris, 1892. In 1895, the Cinematograph of the Lumière brothers outshone Reynaud's invention, driving Émile to bankruptcy. However, his public performance of animation entered the history of optical entertainments as shortly predating the camera-made movies.
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It was built at a cost of £250,000 for Provincial Cinematograph Theatres, backed by the Gaumont British Picture Corporation. In 1950 the complex was renamed the Gaumont, by this time both the Odeon and Gaumont circuits were controlled by Circuits Management Association Ltd., a subsidiary of the Rank Organisation. With the city's Odeon scheduled for re-development by Bradford Corporation, Rank decided to redevelop the Gaumont as a twin cinema and bingo club and on 30 November 1968 it closed for nine months.
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It lays down the exclusive rights of the performer in relation to the performance. However, once the performer consents to the incorporation of his performance in a cinematograph film he will have no right regarding the incorporated performance.Indian Performing Rights Society v Eastern India Motion Pictures 1977 SCR (3) 206 Section 2(q) of the Act which defines a performance states that, in relation to performer's right, a performance must be made 'live'. However, a live performance has not been separately defined.
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Their terms of reference were to enquire into the existing procedure and legislation relating to cinematograph film censorship and to make recommendations with a view to improving the system, including legislation. They were also asked to consider whether the Official Film Censor should continue to be the controller of the British film s quota, and to consider the memorandum of the film trade submitted to the Governor earlier that year."Only Two Have Views in Films." The Straits Times [Singapore] 6 Dec.
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The Alcazar with a poster for The Battle of Waterloo The Alcazar, also known as the Alcazar Cinematograph Theatre, was an entertainment venue in Fore Street, Edmonton in London. The building was destroyed during World War II. The Alcazar opened in 1913 with the film The Battle of Waterloo. In addition to being a cinema, the Alcazar hosted concerts, roller skating, boxing, and wrestling. It could seat 1,700 people and had a separate dance hall and summer and winter gardens.
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Edison in 1897, they were quickly surpassed by other forms of projector. Ruiz was a showman by trade, and rented the Circo Metropolitano to show zarzuelas and circus variety shows as well as films. In 1897, after the release of the first Venezuelan films in Maracaibo, Ruiz went into business with Ricardo Rouffet to create their own films. He had several contracts with figures including W. O. Wolcopt with a and Gabriel Veyre with a Cinematograph to show films at the Circo.
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And further on: "To Sash, with grateful thanks for another wonderful job – Peter Sellers". During his career Alexander Fisher worked with many movie stars, who gave him presents of dedication, among others Gina Lollobrigida, Elizabeth Taylor. Alexander Fisher was an early member of the trade union The Association of Cine-Technicians, one of the early front runners of the Broadcasting, Entertainment, Cinematograph and Theatre Union. His membership card from 1937 shows him as the 100th member, employed at Pinewood Studios.
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Srimanthudu was released in 2500 screens worldwide. While the Central Board of Film Certification passed the film in India with a 'U/A' certificate without any cuts, the British Board of Film Classification rated it '12A' and suggested a compulsory removal of a four- second long visual of cock-fighting as per the Cinematograph Films (Animals) Act 1937. It was also released in Santiago, the capital of Chile, thus becoming the first Indian film to be screened in a Latin American country.
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10; "Bombay Amusements / Excelsior Cinematograph", The Times of India (Mumbai), February 10, 1912, p. 10. ProQuest Historical Newspapers, Ann Arbor, Michigan; subscription access through The University of North Carolina at Chapel Hill Library, June 5, 2010. It is noteworthy that in marketing The Battle of Trafalgar in France, French distributors changed the film's title to La Mort de l'Amiral Nelson ("The Death of Admiral Nelson")."FILMS EDISON/La Mort de l'Amiral Nelson", Ciné- Journal (Paris), October 21, 1911, p. 15.
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Balidan also called Sacrifice, is a 1927 Indian silent film directed by Naval Gandhi and based on a play by Rabindranath Tagore. It was produced by Orient Pictures Corporation. Balidan is cited as one of the top ten lost films of Indian Cinema by P. K. Nair. Hailed as "an excellent and truly Indian film" by The Indian Cinematograph Committee, 1927–28, it was used by them as one of the films to "show how 'serious' Indian cinema could match Western standards".
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In the 1950s, she founded the Society for the Prevention of Unhealthy Trends in Motion Pictures in Bombay. In 1954, she moved a resolution to prohibit screening of 'undesirable' films and obscene scenes, which was adopted by the House following which the government amended the Cinematograph Act in 1959. Kissing scenes were not uncommon in Indian films till the 1950s; it was largely due to her movement that they vanished. She was a member of erstwhile Bombay Legislative Assembly from 1937 to 1946.
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Holt served his articles of clerkship with the firm of Fink, Best, & Miller. He was admitted to the Victorian Bar in late 1932, and opened his own legal practice the following year. However, clients during the Depression were scarce and frequently underpaid, so Holt lived in a boardinghouse and often relied upon the hospitality of friends. Drawing on his family connections in show business, he eventually accepted an offer to become secretary of the Victorian Cinematograph Exhibitors' Association, a film industry lobby group.
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This is an article about film censorship in the United Kingdom. Early cinema exhibition became subject to the Disorderly Houses Act 1751. The Cinematograph Act 1909 was primarily concerned with introducing annual licensing of premises where films were shown, particularly because of the fire risk of nitrate film. After the Act began to be used by local authorities to control what was shown, the film industry responded by establishing a British Board of Film Censors (BBFC) in 1912, funded by an Incorporated Association of Kinematograph Manufacturers levy.
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Douglas McIntosh in 1959 Douglas Charles McIntosh (23 March 1916 – 25 December 1976) was New Zealand's Chief Film Censor from 1960 until his death. In this role, he applied the Cinematograph Films Act to films; initially this was the 1961 version of the Act, then just before his death it was replaced by the 1976 Act. He was born on 23 March 1916 in Karori, a suburb of Wellington. He married Mable Agnes Mildred Western (Picton) and they had one son and two daughters.
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Phalke completed filming in six months and 27 days producing a film of , about four reels. The film premiered at the Olympia Theatre, Bombay, on 21 April 1913, and had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall, Girgaon. It was a commercial success and laid the foundation for the film industry in the country. The film is partially lost; only the first and last reels of the film are preserved at the National Film Archive of India.
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The BBFC can also advise cuts for a less- restrictive rating. This generally occurs in borderline cases where distributors have requested a certificate and the BBFC has rated the work at a more-restrictive level; however, some cuts are compulsory, such as scenes that violate the Protection of Children Act 1978 or Cinematograph Films (Animals) Act 1937. The final certificate then depends on the distributor's decision on whether or not to make the suggested cuts. Some works are even rejected if the distributor refuses the cut.
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Kinematograph Weekly was founded in 1889 as the monthly publication Optical Magic Lantern and Photographic Enlarger. In 1907 it was renamed Kinematograph Weekly, containing trade news, advertisements, reviews, exhibition advice, and reports of regional and national meetings of trade organisations such as the Cinematograph Exhibitors' Association, and the Kinema Renters' Society. It was first published by pioneering film enthusiast, industrialist and printing entrepreneur, E. T. Heron. In 1914 it published its first annual publication for the film industry, the Kinematograph Yearbook, Program Diary and Directory.
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Barrasford was an early adopter of the new moving pictures invention, creating the Barrascope system for cinematograph projection. Holding a patent with Leeds photographer Owen Brooks, with assistance from an engineer named Borland, they first put the machine into the Leeds Tivoli from 1902. He later adapted a number of his theatres to use it, including the Brighton Coliseum in 1909. By now, Barrasford was suffering from persistent ill health from Bright's Disease, and impresarios in USA and Britain expressed interest in taking over his entire tour.
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Lee trained at the Central School of Speech Training and Dramatic Art at the Royal Albert Hall, and made her debut with a bit part in His Lordship (1932), when she was 19. She played a number of minor, often uncredited, roles in films during the early 1930s. Lee began to get more prominent roles in films to satisfy the Cinematograph Films Act of 1927 (17 & 18 Geo. V), which was an act of the United Kingdom Parliament designed to stimulate the declining British film industry.
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Thomson (1988) pp. 20 On 1 January 1900 Paterson was one of the organisers of New Year Festival celebrating the new century at the Music Hall, under the auspices of the Aberdeen Temperance Society, which included cinematograph work by Lizars.Thomson (1988) pp. 25 In September 1901 he rented the Music Hall for an entire week to present "Madame Llloyd's Grand Music and Scenic Company" a variety show of music, dancing, tableaux vivants, dioramas and cinematographs.Thomson (1988) pp. 28 By 1901 he styled himself as "Elocutionist and Cinematographer".
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His son Leo Paterson assisted him as a cinematograph operator before moving to Glasgow, and a married daughter emigrated to Canada. His widow, Marie Louise Pascoe, who he had married 21 February 1911 and her brother Joseph Pascoe, who was formerly a watch inspector for the Canadian Pacific Railway carried on business at the Coliseum after his death. He was survived by another son, John Innes Paterson (see illness and death, below). Dove Paterson donated a shelter to the golf links in his native Newburgh.
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The Great White Silence's director/cinematographer, Herbert Ponting Filmmaker Herbert Ponting was the first known photographer to bring a cinematograph to the Antarctic continent and to take brief film sequences of the continent's killer whales, Adélie penguins, south polar skuas, Weddell seals and other fauna, as well as the human explorers who were trying to "conquer" it. Scott did not choose cinematographer Ponting to accompany him to the South Pole. Ponting remained on base and survived with his film sequences, eventually returning to England.
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Randall Williams Cinematograph Show, 1902 Williams' last show was at Freeman Street Market in Great Grimsby, Lincolnshire, where he died of typhoid fever on 14 November 1898. He was buried at Weaste Cemetery in Salford on 18 November with the funeral service being conducted by the Reverend Thomas Horne. Williams was survived by his long-term partner, Annie Radford Williams, daughters, Caroline and Annie, and sons, Randall, Thomas, Eddie Albert, and George. He was predeceased by his first wife, Mary Ann Hough, who died in 1884.
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The first performance of a film (using the cinematograph of the Lumière brothers) was performed in February 1897, at the Confiteria Jardin Strasbourg (now Club de la Unión), in Lima, Peru. A month earlier, moving images had been projected with the apparatus called Vitascope invented by Thomas Alva Edison. The early 1900s witnessed a reconstruction of society during the rule of Nicolas De Piérola. As a civic leader in Peruvian history, Piérola emphasized the growth of state activity that also included the cinema industry.
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The federation was established in February 1975 at a conference in London, on the initiative of the Alan Sapper and the British Association of Cinematograph, Television and Allied Technicians. It decided not to affiliate to either the International Confederation of Free Trade Unions (ICFTU) or the World Federation of Trade Unions. As such, it brought together social democratic, communist and non-aligned trade unions from around the world. This put it in competition with the ICFTU-aligned International Secretariat of Entertainment Trade Unions (ISETU).
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Bass was first chairman of Provincial Cinematograph Theatres, which was founded in 1909 with the aim of opening a cinema in every town in the UK with a population of 250,000 or more. He also gave financial support to the London Film Company. However, Sir William (or Billy Bass as he was known) was most noted for his ownership of racehorses. He was a member and steward of the Jockey Club, was on the National Hunt Committee and joint Master of the Royal Hunt .
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In 1927, following the Slump of 1924 and the rapid drop in British film production, the British Parliament passed the Cinematograph Films Act which was designed to protect British filmmaking from foreign competition. It imposed a quota for distributors and exhibitors, who had to show a fixed minimum percentage of British films each year. It meant that cinemas now required an urgent increase in the number of British films. Hagen moved to try and exploit this sudden demand and began by producing The Passing of Mr. Quin, an Agatha Christie adaptation, which he directed himself.
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1895 poster for Bioscop screenings The Bioscop used two loops of 54-mm films without a side perforation. This caused poor control of the film-transport through the projector and might have contributed to the more successful development of the cinematograph by the French brothers Lumiere. Ringkämpfer (1895) The first public performance of the movie scenes using the Bioscop was organized in the restaurant Feldschlößchen in Berlin- Pankow, Berliner Straße 27. Three of the scenes became iconic for early cinematography: Boxing Kangaroo, The Wrestler and The Serpentine Dancer.
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Orochi (Buntarō Futagawa) Roningai (Masahiro Makino) The kinetoscope, first shown commercially by Thomas Edison in the United States in 1894, was first shown in Japan in November 1896. The Vitascope and the Lumière Brothers' Cinematograph were first presented in Japan in early 1897, by businessmen such as Inabata Katsutaro. Lumière cameramen were the first to shoot films in Japan. Moving pictures, however, were not an entirely new experience for the Japanese because of their rich tradition of pre-cinematic devices such as gentō (utsushi-e) or the magic lantern.
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The "quota quickies", as they became known, are often blamed by historians for holding back the development of the industry. However, some British film makers, such as Michael Powell, learnt their craft making such films. The act was modified with the Cinematograph Films Act 1938 assisted the British film industry by specifying only films made by and shot in Great Britain would be included in the quota, an act that severely reduced Canadian and Australian film production. Ironically, the biggest star of the silent era, English comedian Charlie Chaplin, was Hollywood-based.
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I want the best effect, that is all." In December 1912 Kinsila (or Kinsella) claimed to be associated with Goldsoll in the building of the new cinema: :"Berlin's finest and newest cinematograph playhouse, the Nollendorf Theater, which is about to open its doors, is the creation and property of two Americans, the Messrs. Goldsoll and Kinsella. The building, which is like a Greek temple, is architecturally one of the most striking structures in the Kaiser's capital, and does much to beautify the big Nollendorf Platz, on which it stands.
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The struggle for reality must be a > struggle on man's part to transcend the sense-world, escape its bondage. He > must renounce it, and be 're-born' to a higher level of consciousness; > shifting his centre of interest from the natural to the spiritual plane. > According to the thoroughness with which he does this, will be the amount of > real life he enjoys. The initial break with the 'world,' the refusal to > spend one's life communing with one's own cinematograph picture, is > essential if the freedom of the infinite is to be attained.
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He decided to shoot Cries and Whispers in Swedish rather than English (as his previous film, The Touch, had been) and finance it through his production company, Cinematograph. Although he used 750,000 SEK of his savings and borrowed 200,000 SEK, he also asked the Swedish Film Institute for help with the film's 1.5-million SEK budget. This attracted some criticism, since Bergman was not an up-and-coming director in the greatest need of subsidy. To save money, the main actresses and Nykvist returned their salaries as loans and were nominal co-producers.
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The Cinematograph Films (Animals) Act 1937 is an Act of the Parliament of the United Kingdom (1 Edw. 8 & 1 Geo. 6, c. 59). It defines a criminal offence of distributing or exhibiting a film that was "organised or directed in such a way as to involve the cruel infliction of pain or terror on any animal or the cruel goading of any animal to fury"Section 1 of the Act, retrieved 26 May 2012 \- in other words, one in which actual cruelty to animals (as distinct from simulated, e.g.
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Two managing directors of a film company, John and Roy Boulting, applied for a declaration that while they were performing 'management functions' (e.g. producing and directing) they were not eligible for membership of the Association of Cinematograph, Television and Allied Technicians, a trade union (the ACTAT). Until 1950 they had been union members, but then they tore up their cards and paid no further subscriptions. In 1959 the union claimed that they needed to pay up to date for their membership fees, and said they must be members of the union.
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Thiru S. MUTHUSAMY, Minister for Transport-Minister in-charge of Transport, Nationalised Transport, Motor Vehicles Act, Ports and Highways. 9\. Thiru S. THIRUNAVUKKAARASU, Minister for Housing and HandloomsMinister in-charge of Handlooms and Textiles, Housing and Slum Clearance Boards, Town Planning and Accommodation Control. 10\. Thiru V.V. SWAMINATHAN, Minister for Tourism, Prohibition and ElectricityMinister in-charge of Prohibition and Excise, Animal Husbandry, Milk Dairy Development, Registration and Stamp Act, Information and Publicity, Film Technology, Tourism, Tourism Development Corporation, Cinematograph Act, Hindu Religious and Charitable Endowments, Forests, Cinchona, Planning, Archaeology, Passports and Electricity. 11\.
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The film was made at Julius Hagen's Twickenham Studios as part of a long-term contract to provide films for the American major studio RKO enabling it to comply with the terms of the Cinematograph Films Act 1927. Most such films were cheaply made supporting features which became known as "quota quickies". Hagen's Twickenham company developed a reputation as a leading producer of popular quota quickies. The film's director, Bernard Vorhaus, had arrived in Britain from America in 1930 and established himself as a director of quota films in Britain's rapidly growing film industry.
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The building was originally opened as a cinema, having been commissioned by Provincial Cinematograph Theatres. The Regent was one of a number of "Regents" built across the country by the company, including one in Bournemouth, Brighton and Bristol. The building was designed by William E. Trent and opened in 1929 by the Lord Mayor of Stoke-on-Trent, William Leason. The building was not only designed for cinema use, but for cine-variety with the stage being used in its early years to host stage performances in-between films.
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Copies of his films of Scott were shown to soldiers at the front who were, according to an army chaplain, moved by the heroism of Scott and his men. With the conclusion of the war, Ponting's archive drew a nibble of interest. He published The Great White South, the photographic narrative of the expedition, in 1921 which was a popular success, and produced two films based upon his surviving cinematograph sequences, The Great White Silence (1924 - silent) and Ninety Degrees South (1933 - sound). He also lectured extensively on the Antarctic.
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462 Another project as producer during that period included Lewis Gilbert's Cast a Dark Shadow. Charles Allen Oakley mentions in his book that, "The post-war era ended for the British cinematograph industry almost indeterminately during 1952 and 1953."Oakley, 2013, p. 206 John and Julie a comedy produced by Mason in 1955 (two years after the Coronation) was about 2 children wanting to go to see the Coronation of Queen Elizabeth II. It is a moving snapshot of a war weary country coming alive – an unrecognised classic and undiscovered sociological resource.
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His certificate of a completed apprenticeship, written in 1906 by his father Ignác Šechtl, also certifies his studies in the Šechtl & Voseček studios in the period 1892–1895, apparently in parallel with his jobs in Prague and Kolín. At 22, after serving in the army (1898–1899), he started work in the affiliated Šechtl & Voseček studio in Černovice u Tábora, a town near Tábor. At this time his father Ignác was travelling with his cinematograph (motion pictures), and the Tábor studio was run by Ignác's partner Jan Voseček.
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Features shown included the cities of Moscow, Omsk, Irkutsk, and Beijing, and the Great Wall of China. The panorama was not fully complete until 1903, years after the Paris Exposition. According to a newspaper article and comments of filmmaker Alice Guy-Blaché, Pyasetsky was also commissioned to make a cinematograph of the trip, which was reportedly shown to Tsar Nikolas II, but the film was not used in the public exhibit. The jury at the Paris Exposition awarded the Railway Panorama a Gold Medal, and Pyasetsky received the Order of the Legion of Honor.
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As a commercial lawyer Finer was involved in several prominent cases, including acting for three of the Beatles: John Lennon, George Harrison, Ringo Starr and Apple Corps Ltd over the management of the Beatles in 1971. He was chairman of the Cinematograph Films Council and a governor and, later, vice chairman of the board of governors of the London School of Economics. In 1967 Finer chaired a committee that included Anthony Lester, Sir Geoffrey Bindman and Michael Zander, for the Society of Labour Lawyers. The resulting report was published as Justice For All in 1968.
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He hired Konrad Arndt, who had worked on the initial excavations, as the site's overseer, and his niece, the enthusiastic amateur spelunker Olga Hirsch, worked as a guide. In 1909 a movie crew toured the cave and the resultant film was screened at the "cinematograph salon" of the Noris Theater in Nürnberg. The site soon became so popular that Bing personally conducted a private tour of the cave for Prince Ludwig of Bavaria. When it was first opened to the public, the Binghöhle originally had a length of about 230 meters.
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Poster for Secreto de confesión, the first Philippine film made in the Spanish language Salón de Pertierra was the first introduced moving picture on January 1, 1897 in the Philippines. All films were all in Spanish since Philippine cinema was first introduced during the final years of the Spanish era of the country. Antonio Ramos was the first known movie producer. He used the Lumiere Cinematograph when he filmed Panorama de Manila (Manila landscape), Fiesta de Quiapo (Quiapo Fiesta), Puente de España (Bridge of Spain), and Escenas Callejeras (Street scenes).
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The Choreutoscope is the first pre-cinema device which employed the same system as the Cinematograph. It was the first projection device to use an intermittent movement, which became the basis of all cine cameras and projectors. It was formed by a sheet of glass on which different drawings were made, and the sheet was mounted on a Maltese cross mechanism, thanks to which the image would move suddenly. The most common drawing was the 'dancing skeleton' in which six sequential images of a skeleton were animated in the viewing pane.
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He was also known for his horsemanship and served as a steward at the Lucknow Race Course. He was posted to various locations in India, including Bahraich (1901), Muzaffarnagar (1905) and Kheri (1907), though he was on leave in England in 1914 when World War I broke out. He worked in army intelligence and worked in France from 1915-1917 placed in charge of controlling and censoring the press and journalists on the front. He was transferred to the General Staff and among other things was Military Director of Cinematograph Operations.
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Gower's career was most noted for his service on behalf of animals. From 1929 until his retirement in 1945, he served as chairman of the Animal Welfare Committee in Parliament. He introduced several measures and laws to protect animals, including the Protection of Animals (Cruelty to Dogs) Act of 1933, the Protection of Animals Act of 1934, the Cinematograph Films (Animals) Act of 1937, and the Dogs Act of 1938. Gower served as chairman of the RSPCA for 23 years, and in 1951 was elected president of the organisation.
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A meme makes use to existing copyright work whether it is a cinematograph still, rage comic, personal photograph or a meme made for the purpose of being a meme. However, since a meme is made for comedic purposes, taken out of context of the original work, they are transforming the work and creating a new work. The purpose of copying factors in the purpose of the meme compared to the purpose of the original work. Under Section 52(1)(a) the purpose is restricted to criticism or review.
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"I'll be there, opposite the Flagship", I told him. Punctually at l2 o'clock there appeared between the leaders of the lines a smother of foam – it was the Turbinia. As she raced past the Flagship, I was waiting in my launch and took a flying shot of her. When I developed the plate I was delighted to find that I had "got her", and the owner was so pleased with the result that he invited me to take a number of photographs and a cinematograph film of his craft on the Tyne.
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The cruise was undertaken by The Prince of Wales (later George V) and his family. Although West wrote proudly in his unpublished autobiography that the event was successful and involved ministers of state and other guests, the Prince of Wales wrote about this occasion on 10 November 1901 saying: "Afterwards West and McGregor showed the cinematograph photographs, taken by the latter, during our tour in the Colonies in the ball room, all the tenants & servants came, they were interesting but not very successful." (Diary Extract reproduced by kind permission of HM The Queen).
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Early printed animation films for optical toys such as the zoetrope predated projected film animation. German toy manufacturer Gebrüder Bing presented a cinematograph at a toy festival in Nuremberg in 1898; soon other toy manufacturers sold similar devices. Live-action films for these devices were expensive to make; possibly as early as 1898 animated films for these devices were on sale, and could be fastened in loops for continuous viewing. Imports of these German devices appeared in Japan at least as early as 1904; films for them likely included animation loops.
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On 27 July 1908, Cooper opened Hertfordshire's first permanent cinema, the Alpha Picture House, on London road. The building designed by Percival Blow contained a restaurant, swimming pool and hairdressing salon as well as the 800 seat cinema, which has been described as the first cinema as we know them today. The cinema failed inspection following the passing of the 1910 Cinematograph Act and was sold through liquidation to George Arthur Dawson the following year. The cinema continued to run as the Poly until 1926 and was destroyed by fire the following year.
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The second shot shows what they do inside. Paul's 'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. One of the first films to use this technique, Georges Méliès's The Four Troublesome Heads from 1898, was produced with Paul's camera. The further development of action continuity in multi-shot films continued in 1899-1900 at the Brighton School in England, where it was definitively established by George Albert Smith and James Williamson.
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Roger William Bolton (7 September 1947, Dublin, Ireland - 18 November 2006, Woking, Surrey) was a British trade unionist. Roger Bolton left Dublin with his family in 1958 when they moved to London. He began his career as a photographic technician at Boots the Chemist before moving to the BBC and became a prominent member of the BBC trade union, the Association of Broadcasting Staff (ABS). In 1979, he began working for the ABS, and remained a union employee though a series of mergers in which it became the Broadcasting and Entertainment Trades Alliance and finally the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU).
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In the Polish television film Przygody dobrego wojaka Szwejka of 1999, Švejk was portrayed by the popular Jerzy Stuhr. In 2009, the British- Ukrainian animated film The Good Soldier Shweik was directed by Robert Crombie. In the Czech version Švejk was voiced by Ladislav Potměšil. In the same year as the British version, a Russian animated version of Svejk appeared. In addition to Švejk, some of Hašek's short stories and humorous stories were filmed: in 1952 Miroslav Hubáček Haškovy povídky ze starého mocnářství (Hašek's Tales from the Old Monarchy) appeared, in 1955 Oldřich Lipský’s film Jaroslav Hasek's Exemplary Cinematograph.
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Particularly telling are the criticisms of Douglas McIntosh, chief censor between 1970 and 1974, whose critics contested that "the law allowed him to do anything he liked" when it came to censorship. This remained the case until 1976 when the Cinematograph Films Act was passed. This act removed this discretionary ability and stated that a film must only be censored if it was "injurious to the public good". The act defined some criteria to use when considering whether a film would be injurious to the public good and, in doing so, provided for a more objective system of film censorship.
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Combined with Hodges' research into the contemporary criminal underworld of Newcastle (in particular the one-armed bandit murder) and the use of hundreds of local bystanders as extras, produced a naturalistic feel in many scenes. The shoot was incident-free and progressed speedily, despite a one-day strike by the Association of Cinematograph, Television and Allied Technicians. The production went from novel to finished film in eight months, with location shooting lasting 40 days. Get Carter suffered in its promotion, firstly from MGM's problems and secondly owing to the declining British film industry of the period, which relied increasingly on US investment.
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The Gallant Hussar () is a 1928 German-British romance film directed by Géza von Bolváry and starring Ivor Novello, Evelyn Holt, and Paul Hörbiger. It was based on a story by the Hungarian writer Arthur Bárdos and Margarete-Maria Langen. The film was a co-production made under an agreement between Gainsborough Pictures and the German studio Felsom-Film and was shot in Berlin. After the passage of the Cinematograph Films Act 1927 by the British Parliament it was classified under the terms of the Act as a foreign film and only received a limited release in Britain.
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The debut was a matinée, with cinematograph images projected between the acts for the entertainment of children in the audience, and patrons were given souvenir copies of Stevenson's novella with their admission. Forepaugh and Fish married in 1899, and they decided to leave the theater to start the Luella Forepaugh-Fish Wild West Show, which opened in St. Louis, Missouri on April 17, 1903. Their adaptation of the Jekyll and Hyde story was published by Samuel French in 1904 under the title Dr. Jekyll and Mr. Hyde, Or a Mis-Spent Life, for use by other stock theater companies.
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Venue History (Official site) Retrieved December 2011 The Empire would be followed in 1910 by its neighbour the Palladium, originally known as the Cinematograph Theatre, which changed hands a number of times but eventually closed in 1981. Today the building survives more or less intact as a pub, owned by the Australasian-themed Walkabout chain.History of the Shepherd's Bush Palladium Retrieved December 2011 In 1904 The Catholic Church of Holy Ghost and St Stephen, built in the Gothic style with a triple- gabled facade of red brick and Portland stone, was completed and opened to the public.Evinson, Denis, p.
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Fred Worden, filmmaker, has been involved in experimental cinema since the 1970s. His work has been screened at The Museum of Modern Art, in the 2002 Whitney Biennial, The Centre Pompidou, in Paris, The Pacific Film Archive, The New York Film Festival, The London Film Festival, The Rotterdam International Film Festival, The Toronto Film Festival, and The Hong Kong International Film Festival. He was an editor for Criss-Cross Art Communications from the '70s through the '80s and his writings have appeared in Cinematograph. His work is included in the Stan Brakhage Collection, the Austrian Museum, The Centre Pompidou and others.
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Thiru (Dr.) V.R. NEDUNCHEZHIYAN- Minister for Finance-Minister in-charge of Finance, Revenue, Legislature Elections, Statistics, Youth Service Corps and ExServicemen. 3\. Thiru S.RAMACHANDRAN-Minister for Electricity- Minister in-charge of Electricity, Iron and Steel Control, News Print Control, Stationery and Printing, Government Press. 4\. Thiru K.A. KRISHNASWAMY-Minister for Labour- Minister in-charge Labour, Animal Husbandry, Milk, Dairy Development, Registration and Stamp Act. 5\. Thiru R.M. VEERAPPAN- Minister for Information and Religious EndowmentsMinister in-charge of Information and Publicity, Film Technology, Tourism, Tourism Development Corporation, Cinematograph Act, Hindu Religious and Charitable Endowments, Forest, Cinchona and grant of Liquor Permits. 6\.
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The discs rotated at different speeds. An "Optical Instrument" was patented in the U.S. in 1869 by O.B. Brown, using a phenakistiscope-like disc with a technique very close to the later cinematograph; with Maltese Cross motion; a star-wheel and pin being used for intermittent motion, and a two-sector shutter. Thomas Ross developed a small transparent phénakisticope system, called Wheel of life, which fitted inside a standard magic lantern slide. A first version, patented in 1869, had a glass disc with eight phases of a movement and a counter-rotating glass shutter disc with eight apertures.
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From 1964 to 1967 he studied politics at the University of York, where he was President of the Student Representative Council. He graduated with an upper-second degree in 1967, then undertook further study at the London School of Economics. Banks then became a trade union official, first for the Amalgamated Union of Engineering Workers, from 1969 to 1975, then as Assistant General Secretary of the Association of Broadcasting Staff, from 1976 to 1983 (it later merged with other unions to form the Broadcasting, Entertainment, Cinematograph and Theatre Union or BECTU). For several years Banks was responsible for freelancers.
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28 mm diacetate film compared to 35 mm nitrate film 28 mm film was introduced by the Pathé Film Company in 1912 under the name Pathé Kok. Geared toward the home market, 28 mm utilized diacetate film stock rather than the flammable nitrate commonly used in 35 mm. The film gauge was deliberately chosen such that it would be uneconomical to slit 35 mm nitrate film. Pathé in France and later Victor in the United States printed reduction prints (usually, although not always, abridged) of popular films for home rental, designed to be used in Pathéscope Cinematograph or Victor Animatograph projectors.
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In the United Kingdom, the distinction between an actor and an extra is defined by agreements between the actors trade unions Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) and Equity, and the various commercial trade and production bodies. These state that once a performer says 13 or more words in any scene, they must become a contracted actor in that production. Minimum pay rates are defined by UK Government minimum wage regulations, and both BECTU and Equity have agreed rates with each body. However, even on non-union productions an extra's pay is an agreed day-rate for ten hours of production time.
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The film had its theatrical release on 3 May 1913 at the Coronation Cinematograph and Variety Hall. The show included a dance by Irene Delmar, a comic act by McClements, foot-juggling by Alexandroff, and Tip-Top comic items followed by the film. The show's duration was one-and-half hours with four shows scheduled a day at 6:00 pm, 8:00 pm, 10:00 pm, and 11:45 pm. An advertisement for the film published in The Bombay Chronicle had a note added at the end that the ticket rates would be double the usual rates.
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Tanner worked for the Customs Department censoring publications for seditious content before becoming Chief Censor William Jolliffe's assistant censor of cinematograph films in 1924. On Jolliffe’s death in 1927, Tanner became New Zealand’s second Chief Censor, a position he held until 1938. Tanner’s tenure straddled the introduction of sound to motion pictures. He wrote that “the more vivid presentations of life made possible by the addition of sound and colour has made it necessary to issue an increased number of certificates recommending films as more suitable for adult audiences.” The introduction of sound also appeared to increase the number of bans.
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The film was a commercial success and was widely pirated in the United States. It was only long, as it was designed to be played with a Kinetoscope, a type of early motion picture exhibition device designed to enable one individual at a time to view a film through a peephole viewer window. However, A Railway Collision proved so popular that it was adopted for the cinematograph, allowing larger audiences to view it. It had a lasting influence, attracting numerous imitators, and the technique of using model trains to represent real ones was used in many subsequent British films.
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The Lumière Brothers established the Cinematograph; which initiated the silent film era, a period where European cinema was a major commercial success. It remained so until the art-hostile environment of World War II. These notable discoveries provide a glimpse of the power of early European cinema and its long-lasting influence on cinema today. Notable European early film movements include German Expressionism (1920s), Soviet Montage (1920s), French Impressionist Cinema (1920s), and Italian neorealism (1940s); it was a period now seen in retrospect as "The Other Hollywood". War has triggered the birth of Art and in this case, the birth of cinema.
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In 1919, his first job in the film industry was as an assistant cinematographer at the Nihon Katsudou Shashin Kabushiki-gaisha (Nihon Cinematograph Company) in Kyoto, which later became better known as Nikkatsu. After serving as a member of the correspondence staff to the military from 1921 to 1923, he joined Ogasaware Productions. He was head cameraman on Hunchback of Enmeiin (Enmeiin no Semushiotoko), and served as assistant cameraman on Teinosuke Kinugasa's ground-breaking 1925 film, Kurutta Ippeiji (A Page of Madness). He joined Shochiku Kyoto Studios in 1926 and became full- time cameraman there in 1927.
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It projected six pictures from a long slide and used a hand-cranked mechanism for intermittent movement of the slide and synchronized shutter action. The mechanism became a key to the development of the movie camera and projector. The Choreutoscope was used at the first professional public demonstration of the Kinetoscope to explain its principles. An "Optical Instrument" was patented in the U.S. in 1869 by O.B. Brown, using a phenakistiscope-like disc with a technique very close to the later cinematograph; with Maltese Cross motion; a star-wheel and pin being used for intermittent motion, and a two-sector shutter.
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Australian actor Chips Rafferty portrays Peter Lalor in the 1949 film Eureka Stockade. Eureka Stockade (1907), directed by Arthur and George Cornwell and produced by the Australasian Cinematograph Company, was the second feature film made in Australia (the first being the 1906 production, The Story of the Kelly Gang). The film was first screened on 19 October 1907 at the Melbourne Athenaeum. The film impressed critics of the time and was found to be a stirring portrayal of the events surrounding the Eureka Stockade, but failed to connect with audiences during the two weeks it was screened.
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Sagwa, the Chinese Siamese Cat is a Chinese-Canadian-American animated television series based on the children's book of the same name by Amy Tan which aired on PBS Kids, produced by Canada-based animation studio CinéGroupe and Sesame Workshop. In the series, which is set , after the cinematograph was patented and during the late Qing Dynasty, Sagwa has fun in her day-to-day life while learning and teaching valuable life lessons. The show is notable for its setting and messages about family obligations and loyalty. The show is also intentionally cross-cultural, with the theme song in both English and Chinese.
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Travelling showmen played an important role in introducing the new medium of moving pictures to the British public in the late 1890s. In fact, the speed at which the cinema took off in Britain was due, in large part, to the combined network of exhibitors (travelling showmen) and performance venues (the fairs and fairgrounds) that was already in place.Royal Agricultural Hall, Islington, London Randall Williams was one of the first showmen to exhibit films on the fairgrounds. The first known reference to a cinematograph exhibition in his show was at Rotherham Statute Fair on 2 November 1896.
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Auguste and Louis Lumière had a film exhibition that toured in Southeast Asia in 1894, and on 9 June 1897, "the wonderful Parisian cinematograph" was screened in Bangkok, and is the first known film screening in Thailand.Anchalee Chaiworaporn, The Birth of Film Screening in Thailand , Thai film foundation That same year, the film of the visit to Europe by King Chulalongkorn was brought back to Thailand, along with camera equipment acquired by the king's brother, Prince Thongthaem Sambassatra. () The prince, considered "the father of Thai cinema", made many films and his work was shown commercially.Prince Sanbassart (Prince Thongthamthawanwong) - The Father of Thai Filmmaking.
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The service produced many promotional documentaries for the railroad and other government agencies and became an important training ground for many filmmakers. One of the early works produced was Sam Poi Luang: Great Celebration in the North (Thai: สามปอยหลวง), a docudrama that became a hit when it was released in 1940. The rise of Thai cinemas (ความรุ่งโรจน์ ของอุตสาหกรรมภาพยนตร์ยุคบุคเบิก) Another of the first Thai films was Nang Sao Suwan, or Miss Suwanna of Siam, a Hollywood co-production with the Topical Film Service that was directed and scripted by Henry MacRae. It premiered on 22 June 1923, in Bangkok at the Phathanakorn Cinematograph.
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This comparison is a little excessive with regard to the invention of the cinematograph, since in reality, Auguste failed in his attempt to manufacture the first machine, and passed it to his brother who made the invention succeed. On the other hand, Louis was the director of all the first animated photographic views of the Lumière Society, which Auguste sometimes attended only as an amateur actor (Le Repas de bébé, La Pêche aux poissons rouges, Démolition d'un mur, etc.). But the contract signed between the two brothers provided that they be systematically associated, both morally and financially, in all their work and discoveries.
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Vinten, then trading as 'W. Vinten Cinematograph Engineers', was formally founded by William Vinten in 1910 and was originally based at 89-91 Wardour Street, London. The company began in 1909 by manufacturing Kinemacolor projectors for Charles Urban. Retrieved 03-2009 In 1914, the company workshops were taken over by the government and Vinten were invited by Sopwith at Kingston upon Thames to work alongside them in their aeroplane factory. This led in 1915 to an invitation by the Royal Flying Corps for William Vinten to design and build a special cine-camera for use in aircraft.
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George Hansom Sale (1857 – 18 August 1954) had been articled to Frederick Josias Robinson in 1874 remaining with him until 1878. The partnership of Naylor and Sale was established in 1887 The practice was involved in many church restorations in the East Midlands, and also worked for the Provincial Cinematograph Theatres Limited, in the erection of at least 14 of their theatres in different cities and towns. John Reginald Naylor was elected an Associate of the Royal Institute of British Architects in 1881 and a fellow in 1894. In 1891 he was elected to Derby Town Council as a representative of Babington Ward.
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19 which was further demonstrated in an article from the Lincoln Gazette, dated 1897, which described a conversazione at the combined school in 1897, during which x-rays, glass-blowing, and a cinematograph were exhibited. Of twelve paragraphs, only one is devoted to the art school.'Conversazione at the School of Science and Art, A Brilliant Success', Lincoln Gazette, 1897 In 1901 the combined school was renamed the City of Lincoln Municipal Technical School,'Centenary Echo, 1893–1993', Lincolnshire Echo, 13 March 1993, Issue No. 4, p. 1 and then the Lincoln Technical College in 1928.
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The film was examined and refused a certificate three times by the British Board of Film Censors, in 1933, 1951, and 1957. The reason for the initial ban was due to scenes of vivisection; it is likely that the Cinematograph Films (Animals) Act 1937, which forbade the portrayal of cruelty to animals in feature films released in Britain, was a significant factor in the BBFC's subsequent rejections. The BBFC also expressed concerns over the film's evolutionary story being "repulsive" and "unnatural". The film was eventually passed after cuts were made with an 'X' certificate on July 9, 1958.
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The W.Tyler bi-unial and the J.H.Steward tri-unial mahogany magic lantern (both c.1880). The Collezione Minici Zotti is a private collection of objects relating to the history of precinema, such as optical devices and other early visual media that eventually led to the birth of cinema. The collection has been gathered by Laura Minici Zotti, Venetian magic lantern enthusiast and Director of the Museum, who has been collecting since the 1970s. The principal subject is the magic lantern - an antique projection device used to entertain and educate audiences before the invention of the cinematograph.
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By the 1923 Convention, states agreed to criminalise the production, possession, importation, exportation, trade, advertisement, or display of "obscene writings, drawings, prints, paintings, printed matter, pictures, posters, emblems, photographs, cinematograph films or any other obscene objects". On 20 October 1947, a Protocol to the Convention was approved by the United Nations General Assembly as resolution 126 (II)2. On 12 November 1947, a United Nations conference at Lake Success, New York approved the Protocol and opened it for signature. One amendment that the Protocol made was dropping the word "International" from the name of the Convention.
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In 1984 Tamblyn moved to San Francisco and began teaching at San Francisco State University as lecturer and coordinator of their graduate program, a position she held until 1996. Over the next few years, she also taught for short periods at the San Francisco Art Institute (1988-1990), University of California, Santa Cruz (1989), Mills College (1990), and the University of California, Berkeley (1990-1993), where she was a visiting assistant professor. While living in the Bay Area, she wrote for several major art publications, including Artweek (as contributing editor), Cinematograph (as editor), and Art News (as correspondent).
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The studio began in the early 20th century as film studios when stockbroker Henry Chinnery, owner of Weir House, Teddington, allowed filmmakers to use his greenhouse as a studio. Dedicated studio facilities were then built in the 1910s. The studio was greatly expanded by a partnership of filmmaker E. G. Norman and actor Henry Edwards, and renamed Teddington Film Studios Limited in 1931. After only one production, Stranglehold (1931), the studio was acquired by Warner Brothers to turn out so-called "quota quickies" – British-made films which fulfilled a legal quota (created by the Cinematograph Films Act 1927) before American-made films could be shown.
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A scene from Louis Lumière's La Sortie des usines Lumière (1895) Les frères Lumière released the first projection with the Cinematograph, in Paris on 28 December 1895. The French film industry in the late 19th century and early 20th century was the world's most important. Auguste and Louis Lumière invented the cinématographe and their L'Arrivée d'un train en gare de La Ciotat in Paris in 1895 is considered by many historians as the official birth of cinematography. The early days of the industry, from 1896 to 1902, saw the dominance of four firms: Pathé Frères, the Gaumont Film Company, the Georges Méliès company, and the Lumières.
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Other German film pioneers included the Berliners Oskar Messter and Max Gliewe, two of several individuals who independently in 1896 first used a Geneva drive (which allows the film to be advanced intermittently one frame at a time) in a projector, and the cinematographer Guido Seeber. In its earliest days, the cinematograph was perceived as an attraction for upper class audiences, but the novelty of moving pictures did not last long. Soon, trivial short films were being shown as fairground attractions aimed at the working class and lower-middle class. The booths in which these films were shown were known in Germany somewhat disparagingly as Kintopps.
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Due to its graphic content, Faces of Death was banned and censored in many countries. In the United Kingdom, the film was prosecuted and added to the "video nasty" list, as it was deemed to violate the Obscene Publications Act 1959. In 2003, the film was allowed to be released on DVD in the UK, however cuts of 2 minutes and 19 seconds were required by the British Board of Film Classification (BBFC) to remove scenes of "fighting dogs and [a] monkey being cruelly beaten to death in accordance with Cinematograph Films (Animals Act) 1937 and BBFC Guidelines." In 1980, Faces of Death was refused classification by the Australian Classification Board.
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Le Queux's novel attracted the attention of the Gaumont Cinematograph Company in 1912, who planned to change the title to The Raid of 1915 and to film two endings, one with Britain as the victor and one with Germany as the victor. The British satirical magazine Punch suggested they show the Britain victorious version in Germany and the other version in Britain. The film was finished in 1913 but its release was delayed by the British Board of Film Censors and when it was finally released in October 1914 (three months after the start of World War I), it had again been retitled, to If England were Invaded.
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She started her career in the Entertainment industry in the early 80s after her training in cinematograph, stage craft, speech and drama. She became the second female independent producer and director in Nigeria with her drama series titled Victims that later became a network productions in the '80s and was aired on Nigerian Television Authority (NTA). In the year 2000, she became the first Chat Show hostess 'Chat with Mabel' on NTA Network Service. She joined NTA in the 1990s as a News Correspondent to the Lagos State house, before working with United Nation and later left UN and joined British Embassy in Poland in the commercial and Visa sections.
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The union was founded by technicians at the Gaumont British Studios in 1933 as the Association of Cine-Technicians, later becoming the Association of Cinematograph Technicians (ACT). By the following year, it was struggling; it had just 88 members, with only a quarter of those paid up, and it was in financial difficulties. George Elvin was appointed as its first General Secretary the following year, establishing a journal and an employment exchange. Within a year, membership was over 600 and the finances were in good shape."Obituary: Mr George Elvin", The Times, 16 February 1984 In 1936, the union affiliated to the Trades Union Congress.
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The NCA came into being in 1985 through the merger of the National Lobby for the Arts (NLA) and British Arts Voice (BRAVO). It was established as a membership organization, receiving no government funding. The NCA was initially funded by six organizations which represent professional artists: the Association of British Orchestras; British Actors' Equity Association; the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU); the Musicians' Union; the Society of West End Theatres and the Theatrical Management Association.title=NCA History NCA is a charity and a company limited by guarantee, established to campaign with and on behalf of the public and the arts sector for more public funding and investment.
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Ossip Iliych Runitsch (; 18896 April 1947) was a Russian silent film actor, producer and stage director. He was one of the biggest stars of Russian silent cinema and one of the first iconic figures of Russian cinematograph. In 1915-1919 he starred in some successful silent films of that time as Molchi, grust... molchi and Posledneiye tango with other film stars as Vera Kholodnaya, Vitold Polonsky and Pyotr Chardynin. Runitsch was a long time admirer of his co-star Kholodnaya and after her death in 1919 during Russian Civil War, he fled Russia and left for Italy where he took part in a number of films.
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On donations of residents of Kaluga and the province, in 1875 the theatre building is erected on Sennaya Square which existed up to the end of 1941. "With direct participation and efforts" of N. D. Tilling-Kruchinin, in 1897, for the first time in Kaluga, in theatre the "Cinematograph Lumiere" has been shown "that has caused a great delight of the audience and local press". During World War I the theatre endures crisis, the constant troupe was absent, on a scene various enterprises went on tour. February and October revolutions in 1917 have led to a radical reorganization of all theatre life of Russia and the city.
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Together with Henry Poston, to whom he was apprenticed, and then his assistant, he was the architect for the Earl of Essex, a Grade II listed public house at 616 Romford Road, Manor Park, London, built in 1902. Having been articled to Henry Poston of Lombard Street, London in 1892, he remained with Poston as his assistant until he started an independent practice in London in 1905. From 1909, Trent specialised in cinema design. This led to his appointment first as the Chief Architect to Provincial Cinematograph Theatres (PCT), and then as architect to the Gaumont British Picture Corporation, which took over PCT in 1929.
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The park is an example of modern garden art and received a local unofficial name Little Switzerland for its picturesque view. Originally the Loga Park occupied an area of 16 hectares, and was subsequently expanded to 22 hectares. There is a false mirror gallery, a 7D cinematograph, a musical fountain, a garden of stones, a water mill, a river, bridges and gazebos, over a hundred sculptures, several ponds with turtles, golden fish and swans, waterfalls, small zoo with deer, squirrels, raccoons, peacocks and many other kinds of birds and animals. In 2015, a new Orthodox church of St. Sergius of Radonezh was erected on the territory of the park.
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However, the film fell into controversy and company faced legal trouble for releasing two different endings of the film, one of them not certified by the Central Board of Film Certification, the board sent notice for violating The Cinematograph Act. Eventually, the unapproved alternate ending (in which Meera gets to marry Hari) was to be pulled off from theatres to settle the issue. In 1999, the company produced the action thriller Olympiyan Anthony Adam directed by Bhadran. Mohanlal played Varghese Antony IPS, a cop who is tasked with investigating a terrorist attack that require him to go undercover as a physical trainer in a boarding school.
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This list became known as the DPP list of "video nasties". The lack of regulation of the domestic video market was in sharp contrast to the regulation of material intended for public screenings. The BBFC had been established in 1912, essentially as an unintended consequence of the Cinematograph Act 1909, and it was their responsibility to pass films intended for the cinema for certification within the United Kingdom (though local councils were the final arbiters). As part of this process the board could recommend, or demand in the more extreme cases, that certain cuts be made to the film in order for it to gain a particular certification.
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Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician." His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work. From 1910 to 1920, the main innovations in special effects were the improvements on the matte shot by Norman Dawn. With the original matte shot, pieces of cardboard were placed to block the exposure of the film, which would be exposed later.
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Mobsby taught decoration and photography at the Brisbane Technical College. He was appointed an artist and photographer with the Department of Agriculture and Stock in 1897 and the Chief Secretary’s Department and the Intelligence and Tourist Bureau in 1907. He became an assistant to Frederick Wills in 1899, who had been charged by the Queensland government to make an early form of motion picture, a cinematograph, celebrating the state’s primary industries and resources. Within six months Wills and Mobsby had produced thirty 1 minute films of excursions they took around Queensland, the Torres Straits, and topical events such as the Boer War departure of Queensland troops.
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In the beginning of 1895, the tobacco shop Tabacaria Neves presented Edison's Kinetoscope (in fact, a copy of said invention, built in London by Robert William Paul, ordered by the Greek George Georgiades, who presented the machine in Lisbon). Unlike preceding inventions, the Kinestoscope allowed individual viewing and a film made up of 1,380 photographs enabling a 20-second projection of 20 seconds. The machine that was used for movies at the Real Colyseu was not the Lumiére brothers' Cinematograph, but a competitor, the Theatrograph, by Robert W. Paul. The machine projected behind the screen, allowing life-size images to appear for about a minute.
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In Australia, freedom of panorama is dealt with in the federal Copyright Act 1968, sections 65 to 68. Section 65 provides: "The copyright in a work ... that is situated, otherwise than temporarily, in a public place, or in premises open to the public, is not infringed by the making of a painting, drawing, engraving or photograph of the work or by the inclusion of the work in a cinematograph film or in a television broadcast". This applies to any "artistic work" as defined in paragraph (c) of section 10: a "work of artistic craftsmanship" (but not a circuit layout). However, "street art" may be protected by copyright.
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In December 1925, it was taken over by Provincial Cinematograph Theatres, who in turn were bought by Gaumont-British in February 1929, and after that by The Rank Organisation in 1941. During the Second World War, the building was used as a base for soldiers evacuated from Dunkirk and as an air raid shelter. The Sound of Music, which ran at the Majestic from April 1965 to September 1967, was the longest movie run ever in Leeds, though South Pacific had a 38-week run from September 1958. From 1961 afternoon bingo started in the basement ballroom, becoming a full-time bingo hall in 1967.
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The collection includes original hand-painted glass projection slides and magic lanterns of many different types, such as the phantasmagoria magic lantern, magic lanterns for projection of dissolving views such as the W. Tyler bi-unial lantern and the mahogany tri-unial triple lantern (c.1880) invented and produced James Henry Steward, an English manufacturer considered to have produced magic lanterns of the finest quality.Encyclopedia of the Magic Lantern. R.Crangle, D.Herbert and D.Robinson, eds. (The Magic Lantern Society, 2001) pp. 308 - 309 The collection also includes several single-lens magic lanterns, the P. Harris & Co. Scientific Lantern, the American “Pettibone” lantern, antique paired lanterns and the Walter Gibbons Cinematograph-Lantern.
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In 1996, the city of St Albans with the British Film Institute, to celebrate 100 years of British films, erected a plaque on a flat building at the corner of Alma Road and London Road, commemorating that Cooper once had on this spot his Alpha Cinematograph Works. Although the picture house that Cooper founded on London Road was destroyed by fire, the site continued to be used as a cinema when a new building was erected in 1931. Known variously as the Regent, the Capitol and the Odeon, the cinema remained in operation until it closed in 1995. The building was restored and re-opened in 2014 as The Odyssey Cinema.
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The committee met under the auspices of the Department of Trade and Industry, which provided the secretariat and facilities. Following the election of the Thatcher government in 1979 it became evident that the idea of a British Film Authority was being dropped, although the IAC was retained as a forum for advice about film- related matters. In the 1984 White Paper on Film Policy,Film Policy (Cmnd 9319), presented to Parliament 19 July 1984 which set about removing the mechanisms of state support for the film industry, it was proposed that the IAC should subsume the role of the Cinematograph Films Council. In 1985 the Interim Action Committee was replaced by The British Screen Advisory Council.
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Advertisement in the Times of India of 25 May 1912 announcing the screening of the first feature film of India, Pundalik, by Dadasaheb Torne Raja Harishchandra Marathi cinema is the oldest form of Indian cinema. The first Marathi movie released in India was Shree Pundalik by Dadasaheb Torne on 18 May 1912 at Coronation Cinematograph, Mumbai. Dadasaheb Phalke is known as the first pioneer and founder of cinema in pre-Independence India. He brought the revolution of moving images to India with his first indigenously made film Raja Harishchandra in 1913, which is considered by IFFI and NIFD as part of Marathi cinema as it used Marathi dialogues while shooting and had a fully Marathi crew.
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In addition, the film earned Bulajic various other awards including the Cannes Film Festival film critics award, the Golden Spike at the Seminci Film Festival (also known as the Valladolid International Film Festival), an award at the Edinburgh International Film Festival., the Golden Nymph at the Monte Carlo Television Festival, and the CIDALC award from the International Committee for the Diffusion of Artistic and Literary Works by the Cinematograph . The Swedish Film Institute listed it as one of the 15 best films made between 1920-1964. In 2012, the International League of Humanists recognized Bulajic as the humanists film director of the 20th century. The recognition was bestowed on Bulajic during Elizabeth Rehn’s presidency of the international league.
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Thiru R.M. VEERAPPAN- Minister for Information and Religious EndowmentsMinister in-charge of Information and Publicity, Film Technology, Tourism, Tourism Development Corporation, Cinematograph Act, Hindu Religious and Charitable Endowments, Forest, Cinchona and grant of Liquor Permits. 6\. Thiru C. ARANGANAYAGAM, Minister for Education: - Minister in-charge of Education, Official Language, Tamil Development and Culture. 7\. Dr. K. KALIMUTHU, Minister for Agriculture- Minister in-charge of Agriculture, Agriculture Refinance, Agricultural Engineering Wing and Agro-Engineering, Agro Service Co-operative Societies, TWAD, Town Planning and Accommodation Control. 8\. Thiru C. PONNAIYAN, Minister for Law-Minister in-charge of Law, Courts, Prisons, Legislation on Weights and Measures, Registration of Companies, Debt Relief including Legislation on Money Lending and Legislation on Chits. 9\.
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In 2001, Sony commenced action in the Federal Court of Australia against Stevens, alleging inter alia that he breached s 116A of the Copyright Act 1968.. The allegation was that the unlawful sale of devices (the ‘mod chips’) circumvented Technological Protection Measures (TPMs). Sony alleged that Steven's ‘mod chips’ circumvented a measure that protected the applicants’ copyright in literary works (computer programs) and cinematograph films. Whether the ‘mod chips’ were a circumvention device depended on whether Sony's RAC system was defined as a TPM within the meaning of s 10(1) of the Act. This was of particular interest to The Australian Competition and Consumer Commission (ACCC), who successfully applied for amicus curiae because of it.
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Sanctioning of cinematograph films for exhibition. :61. Industrial disputes concerning Union employees. :62. The institutions known at the commencement of this Constitution as the National Library, the Indian Museum, the Imperial War Museum, the Victoria Memorial and the Indian War Memorial, and any other like institution financed by the Government of India wholly or in part and declared by Parliament by law to be an institution of national importance. :63. The institutions known at the commencement of this Constitution as the Benares Hindu University, the Aligarh Muslim University and the Delhi University; the University established in pursuance of Article 371-E; any other institution declared by Parliament by law to be an institution of national importance. :64.
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He had a long association directing the early movies of Pauline Frederick such as Audrey (1916), Double Crossed (1917), and The Love That Lives (1917). Vignola is best known for directing Marion Davies in several romantic comedies including Enchantment (1921), Beauty's Worth (1922), and the big-budget epic When Knighthood Was in Flower (1922), which achieved critical and commercial acclaim and established Davies as a movie star.Richard Dyer MacCann, Films of the 1920s, Scarecrow Press, 1996, p.119 In 1920, he was offered the role of director-general for the Kinkikan Cinematograph Company in Japan and was honored as "outstanding director of the year" by Frederick James Smith of the Motion Picture Classic in 1921.
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In 1947 Associated Provincial Picture Houses was granted a licence by the Wednesbury Corporation in Staffordshire to operate a cinema on condition that no children under 15, whether accompanied by an adult or not, were admitted on Sundays. Under the Cinematograph Act 1909, cinemas could be open from Mondays to Saturdays but not on Sundays, and under a Regulation, the commanding officer of military forces in a neighbourhood could apply to the licensing authority to open a cinema on Sunday.Harman v. Butt. The Sunday Entertainments Act 1932 legalised opening cinemas on Sundays by the local licensing authorities "subject to such conditions as the authority may think fit to impose" after a majority vote by the borough.
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This and Marinescu's related films are considered early documentary films. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of "La Semaine Médicale" magazine from Paris, between 1899 and 1902. As photography became the dominant source of accurate depiction of life, art no longer necessarily had to capture life. Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.
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Although a film society was formed by documentary filmmakers in Bombay in 1942, this was the first film society dedicated to feature films. Satyajit Ray then a young aspiring film maker provided film books and magazines, while Chidananda Dasgupta offer a room in his home for the meetings. And despite tough censorship policies, under the "Indian Cinematograph Act 1918" of the British Raj, which still in enforced censorship rule to all gathering for cinema viewing, they survived low membership during the first five years viewing mainly Russian and European films. The society also started a bulletin designed by Ray, and several of his article were later published in the book, Our Films, Their Films (1972).
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The first silent film era movie cameras that could be carried by the cameraman were bulky and not very practical to simultaneously support, aim, and crank by hand, yet they were sometimes used in that way by pioneering filmmakers. In the 1890s, brothers Auguste and Louis Lumière developed the fairly compact Cinematograph which could be mounted on a tripod or carried by the cameraman, and it also served as the film projector. In 1908 with a hand-held Lumière camera, Wilbur Wright was filmed flying his aircraft on the outskirts of Paris. Thomas Edison developed a portable film camera in 1896. Polish inventor Kazimierz Prószyński first demonstrated a hand-held film camera in 1898 but it was not reliable.
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In 1988 Harold Pendleton sold the club to Billy Gaff, the former manager of Rod Stewart. The Wardour Street site was sold for redevelopment (it is now Meza and Floridita with a cigar retail shop, Spanish restaurant and Cuban restaurant and some flats), and the Marquee Club was forced to move again, this time to a larger venue at the former Cambridge Circus Cinematograph Theatre, 105 Charing Cross Road. During this period, American progressive metal band Dream Theater recorded their first live album, Live at the Marquee, at the venue on 23 April 1993. Additionally, American group All Mod Cons: A Tribute to the JAM drew the largest ever crowd at this location in October 1993.
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On September 20, 1870, Fantozzi moves to Porta Pia in Rome, where a cannonade breaches a wall of his house and a platoon of bersaglieri marches through. Fantozzi and Filini, now employed at their characteristic mega-company, take part in a regatta on the river Tiber organised by their director the Earl Duke Modestino Balabam. The race turns out to be a disaster of which Fantozzi and Filini are the only survivors: they end up paddling in the sewers leading to the open sea until, in 1912, they are rescued by the Titanic on its doomed maiden voyage. After the invention of cinematograph, Fantozzi and family are watching the films of the Lumière brothers.
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While living in Madrid, Spain, Engel worked as a volunteer for two years in the local office of Amnesty International while earning a living as a teacher of English. After returning to Britain to work as a Teletext subtitler, Engel joined the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU). She was among the first to join the Organising Academy of the Trade Union Congress, serving with the Graphical, Paper and Media Union; she worked on political fund ballots in persuading trade union members to retain their financial backing for the Labour Party. Engel joined the Labour Party staff as a Trade Union Liaison Officer organising marginal seats campaigning at the 2001 general election.
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During the early cinema period (1895 to the late 1900s approximately), the projector was typically located and operated within the theatre auditorium itself. The move to physically segregated projection booths resulted from the emergence of auditoria specifically designed for the projection of movies, which was caused by a combination of the growing popularity of cinema and increasing concerns over the safety risks of nitrate film. Projection booths that were segregated and equipped with fire prevention, fighting and containment infrastructure gradually became a legal requirement throughout the developed world. A typical example of the regulation that emerged during this period was the fire safety provisions of the Cinematograph Act 1909 in the United Kingdom.
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He was invited to attend a demonstration of the Kinetoscope invented by Thomas Edison, which inspired his and his brother's work on the cinematograph.International Photography Hall of Fame and Museum The brothers screened their first film using this device in December 1895, and following the success of this initial venture opened a number of cinemas worldwide. However, Auguste was skeptical of the potential of the device, remarking "My invention can be exploited... as a scientific curiosity, but apart from that it has no commercial value whatsoever".Life and times of Auguste Lumière After his work on the cinematograph Lumière began focusing on the biomedical field, becoming a pioneer in the use of X-rays to examine fractures.
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Gale has been married three times: firstly to Wendy Dawn Bowman in 1964 (marriage dissolved in 1967), without issue; secondly to Susan Linda Sampson in 1971 (marriage dissolved in 1980), by whom he has a daughter; thirdly to Susan Gabrielle Marks, by whom he has two sons. He is a member of three trade unions: the National Union of Journalists, Equity and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU). He has actively supported the Conservative Trade Unionists organisation, being a long serving president of the Greater London branch. He has travelled widely, including to: Norway, United States of America, The Gambia, Sierra Leone, Malawi, Cuba, Cyprus, Zambia, Mongolia, South Africa, Mozambique, Ghana, Kenya, Macedonia, and Botswana.
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The United Kingdom is the first country to enforce screen quotas under the Cinematograph Films Act 1927. It introduced a requirement for British cinemas to show a quota of British films for a duration of 10 years. The Act's supporters believed that this would promote the emergence of a vertically integrated film industry, in which production, distribution and exhibition infrastructure are controlled by the same companies. The vertically integrated American film industry saw rapid growth in the years immediately following the end of World War I. The idea, therefore, was to try and counter Hollywood's perceived economic and cultural dominance by promoting similar business practices among British studios, distributors and cinema chains.
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However, uncut pornographic films were often smuggled into the UK, where they were sold "under the counter" or (sometimes) shown in "members only" cinema clubs. Hardcore films could be screened in British cinemas if they were run on a "Membership Only" club basis. Membership Only cinemas worked on the principle that the premises had to be privately owned, and that customers had to sign a form which instantly made them members. On account of this legal loophole in the Cinematograph Act 1952, these cinemas were free to show material without it first being passed by the BBFC or local council, and would also be immune to prosecution under the obscene publications act.
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Hagen steadily built his business up during the early years of sound. His major breakthrough as a producer came in 1929 when he secured a contract with one of the Hollywood Majors, Warner Brothers, to provide them with a supply of British 'quota quickie'Brian McFarlane (ed) The Encyclopedia of British Film, London: Methuen, BFI, 2003, p,279 films which they needed in order to meet the requirements of the Cinematograph Films Act 1927 in order to exhibit their American-made films in Britain – their most important foreign market at the time. Despite their relatively low budgets, Hagen's films were disproportionately popular with audiences, and frequently received large numbers of bookings. Although generally designed as supporting features, many Twickenham films were instead screened as main attractions.
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A Farewell to Arms Since the invention of the cinematograph, simple title cards were used to begin and end silent film presentations in order to identify both the film and the production company involved, and to act as a signal to viewers that the film had started and then finished. In silent cinema, title cards or intertitles were used throughout to convey dialogue and plot, and it is in some of these early short films that we see the first examples of title sequences themselves, being quite literally a series of title cards shown at the beginning of a film. With the arrival of sound, the sequence was usually accompanied by a musical prelude or overture. Slowly, title sequences evolved to become more elaborate pieces of film.
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Section 15(1) states: > "15(1) The copyright in an artistic work shall not be infringed by its > inclusion in a cinematograph film or a television broadcast or transmission > in a diffusion service, if such inclusion is merely by way of background, or > incidental, to the principal matters represented in the film, broadcast or > transmission." This right is limited to the capture of “an artistic work” in certain other works. Section 1 of the Act defines “artistic work” narrowly, as including “(a) paintings, sculptures, drawings, engravings and photographs; (b) works of architecture, being either buildings or models of buildings; or (c) works of craftsmanship […]”. Thus, the incidental use right would permit the filming of a building or sculpture in the background of a scene.
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The crux of these exceptions is that whenever an author creates a work during the course of employment of another, the employer (and not the author) will own the copyright unless there is a contract to the contrary. Section 14 of the Act accords certain rights in respect of owners of copyrighted works – the right of public performance (or communication to the public) being one of them. Section 14(a)(iii) allows the a literary, dramatic or musical work to be performed in public, or communicated to the public. Section 14(c)(ii) confers a similar right of communication to the public for artistic works, while sections 14(d)(iii) and 14(e)(iii) confer this right on cinematograph films and sound recordings respectively.
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The Court ignored the idea contained in section 13(4), that authors of musical works retain an independent right of public performance even after licensing the same for incorporation in a film. The Court merely relied on the text of section 17, holding that in the absence of a contract to the contrary, the film producers would be exclusive owners of the copyrighted works which were incorporated into their films. The Legislature sought to negate the effect of the Court's judgement by enacting the Copyright (Amendment) Act 2012. As a result of this amendment, the authors would own their rights in the music and lyrics even if they were created for the purpose of a cinematograph film, regardless of anything mentioned in section 17.
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The quota quickies were mostly low-cost, low-quality, quickly-accomplished films commissioned by American distributors active in the UK or by British cinema owners purely to satisfy the quota requirements. In recent years, an alternative view has arisen among film historians such as Lawrence Napper, who have argued that the quota quickie has been too casually dismissed and is of particular cultural and historical value because it recorded performances unique to British popular culture (such as music hall and variety acts), which would not have been filmed under normal economic circumstances. The act was modified by the Cinematograph Films Act 1938, removing films shot by nations in the British Empire from the quota and further acts, and it was eventually repealed by the Films Act 1960.
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Example of a BBFC certificate The Cinematograph Exhibitors Association sought to have the BBFC film certification recognised over local decision-making. The case of Mills v London City Council in 1925 (1 KB 213) established that a Council could make its licensing conditional on the exhibitor complying with the BBFC certification. Local Councils did continue to refuse showing of particular films which had been certificated by the BBFC: examples are the bans on The Devils and Life of Brian in Glasgow. Section 4 of the :Video Recordings Act 1984 required that videos for sale in the UK should be certified by an authority and the BBFC (by this time renamed as British Board of Film Classification) became that designated authority in 1985.
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The town became his main base and residence. He built up one of the largest circuits of cinemas in the country, owning 29 cinemas by 1914, mostly in small towns in the west of England and south Wales.Film Distributors' Association, "The origins of UK film distribution". Retrieved 10 November 2013 In some cases, as at Exeter, Warminster and Monmouth, he took over and refurbished existing theatres; Exeter Memories, Palladium Cinema. Retrieved 10 November 2013 Athenaeum (Warminster), TheatresTrust.org.uk. Retrieved 10 November 2013Keith Kissack, Monmouth and its Buildings, Logaston Press, 2003, , pp.142–144 elsewhere, as at Chepstow, he had a new theatre built. Cinema Treasures, Palace Theatre, Chepstow. Retrieved 10 November 2013 He sold his cinema and theatre chain to Provincial Cinematograph Theatres Ltd.
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The High Court accepted this. The High Court found that although Mr. Nabarro's evidence established that “specific parts of that game console” are transmitted to, and embodied in, the GPU at no point did the “specific parts” form an “aggregate of the visual image.” The majority of the High Court held “ At no point in the process through which the game code is downloaded into the RAM and eventually transmitted to the television is a “cinematograph film” copied into any of the PlayStation console's articles or things.” All Judges in both the Full Court of the Federal Court and the High Court of Australia, with the exception of Finkelstein J (Full Court), unanimously agreed with the ruling of Sackville J in declining Sony’s “Cinematographic Film” argument.
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In the following year, the owner of the London Bridge Picture Palace and Cinematograph Theatre, in South London, was prosecuted under Section 2 of the Act after he defied a condition of the licence issued by the local authority, the London County Council, by opening on a Sunday (27 February 1910). In the appeal hearing which resulted,LCC v. Bermondsey Bioscope Co., [1911] 1 K.B. 445 the cinema owner argued that the intention of the 1909 Act was simply to ensure health and safety, and that authorities had no legal power to attach unrelated conditions to cinemas' licences. The LCC won the appeal, which established the precedent that the purpose of restrictions on a cinema licence did not have to be restricted to fire prevention.
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BECTU was founded in 1991 with the merger of the Association of Cinematograph Television and Allied Technicians and the Broadcasting and Entertainment Trades Alliance, the history of which can be traced back to 1890. In July 1995, the Film Artistes' Association (FAA), founded in 1927 as a trade union for film extras merged to become a sub-division of BECTU. BECTU's affiliations included the Trades Union Congress, the Scottish Trades Union Congress, Union Network International, the General Federation of Trade Unions, the Federation of Entertainment Unions and the Labour Party. Gerry Morrissey was elected General Secretary in February 2007, after the position had been left vacant due to the death of Roger Bolton, who died from cancer in November 2006.
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Concerns about the visual impact of sex shops on the High Street resulted in the Cinematograph and Indecent Displays Bill in 1973, which failed to become law due to the change of government in 1974. In 1978, David Sullivan opened his chain of Private Shops across Britain. However, the introduction of the Indecent Displays Act 1981 required licensed sex shops to clearly show a warning sign at the entrance to the shop and prevented them from displaying their wares in their shop windows. The Local Government (Miscellaneous Provisions) Act 1982 provided new and tighter licensing controls for sex shops and, along with the purges of the police force that took place during the 1980s, reduced the number of unlicensed premises.
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Zita, Stockholm's oldest movie theater, in service since 1913Gunnar Asplund's masterpiece The first attempts at building permanent movie theatersThe term "movie theater" defines in this article a room with the permit required to show films to the populace and which is permanently used solely for this purpose, according to its definition by Kurt Berglund in "Stockholms alla biografer" p. 9 in Stockholm were made in the end of the 1890s as a result of the demonstration of the cinematograph at the General Art and Industrial Exposition of Stockholm in 1897. Prior to the demonstration, only travelling entertainers had demonstrated the concept of the movie theater. In 1905, the city had ten movie theaters, and by the end of 1909 the number had risen to 25 permanent movie theaters.
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207 His most controversial action during this period was writing an open letter to the Jewish insurgents in May 1947 which openly praised underground violence against the British. It included the highly controversial passage: Six months after the establishment of Israel, the Bergson Group was dissolved, followed by a dinner in New York City where former Irgun commander Menachem Begin appeared, saying, Thanks to his fund- raising, speeches, and jawboning, Sternlicht writes, In October 1948, the Cinematograph Exhibitors' Association, a trade union representing about 4,700 British film theaters, announced a ban on all films in which Hecht had a role in. This was a result of "his intemperate utterances on the Palestine problem", according to one source. As a result, filmmakers, concerned with jeopardizing the British market, became more reluctant to hire Hecht.
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Importantly, with the subsequent passing of the 2006 Copyright Amendment Act, ASDA and the Australian Writers Guild, now working together, managed to achieve protection for their members from contractual pressures to waive their moral rights – a waiver which is permitted and widely exercised in some other jurisdictions, notably in the United States. In 1994, ASDA President Stephen Wallace, at the invitation of the late John Juliani the DGC (Directors Guild of Canada), met in Toronto with the DGA (Directors Guild of America) and BECTU (Britain's Broadcasting, Entertainment, Cinematograph and Theatre Union), thus beginning a process of achieving closer relationships with overseas guilds.ASDA Newsletters Aug/Sept 1994 and presidents Report 1998-99 Subsequently, ASDA regularly participated in the annual International Directors' Guild Forum, an event which it hosted in Sydney in 1998.
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In the early 1930s the Gymnasium was lined with silky-oak and walnut milled and installed by students. In 1935 this building was extended in length, new dressing rooms were constructed either side of the re-erected stage, and the interior was lined to match the existing hall. Used variously as a gymnasium, theatre, cinema (a cinematograph projector was installed in 1927, and replaced by a Movietown Sound Projector in 1931), assembly hall, recreation hall, chapel, and currently as a lecture room, the building was re-located in 1978 to a site between the inner and outer ring roads on the western edge of the campus. In 1935 College Siding was renamed Lawes Siding in honour of Sir John Bennett Lawes, who had endowed the world's first agricultural research station in England.
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When Jon left his position as general manager in late 2013, this was replaced by a new show called Live at the Essoldo Cinema Podcast, named after a defunct Brighton cinema, which Breames co-hosts with marketing manager Toby King.Live At the Essoldo Cinema Podcast, In December 2012, despite becoming part of Cineworld, the general manager Jon Barrenechea promised it would remain an arthouse cinema.John Keenan, Brighton Cinema will stay true to arthouse roots, The Argus, 7 December 2012 That same month, a sister venue called Dukes at Komedia was opened across town in the North Laine, above the Komedia comedy club. In March 2015 a campaign was started with the goal of gaining official recognition of the trade union BECTU, the Broadcasting, Entertainment, Cinematograph and Theatre Union from Picturehouse.
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FOJTŮ, Martina. The foundation asked for a licence to operate a cinematograph as early as on 11 July 1922, and on 28 December 1923 it was granted a licence to operate the Bristol cinema in Křenová street valid until the end of 1926. However, the foundation found it difficult to acquire the premises needed to run a cinema and so it kept looking at other places – such as the cinema Universum in Lidická (then called Nová) street or a hall in the new Nový domov building in Gorkého (Folkensteinerova) street – until the licence expired. The foundation was promised a new licence in April 1927 and in June 1928, it was offered by DOPZ to run a cinema in its building (DOPZ Palace) located between two squares – Moravské náměstí and Jakubské náměstí (Jacobian Square).
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The Central Board of Film Certification (CBFC) or the Censor Board, which is tasked with regulating the public exhibition of films under the provisions of the "Cinematograph Act, 1952", has been accused of moral policing by some filmmakers. Director Anurag Kashyap has argued that it is infeasible to have a single body for a large and diverse country like India. Director Prakash Jha has pointed out that even if a film is certified by the Board, it is often not allowed a release in some states due to protests from local political parties or moral police. He has also said that the Board should be scrapped and each film-maker should simply state the type of content in the film because the society is mature enough to understand it.
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The centre is housed in the former Maida Vale Picture House, a 1,001-seat cinema designed by Edward A. Stone (one of his earliest works) which opened as the Picture Palace on 27 January 1913. The building has two copper-topped towers and a central dome; the auditorium, with oak walls decorated with gilded plaster, originally had a small circle with curtained boxes, and an entrance vestibule with a marble floor and an open fire, with a tearoom above it. Provincial Cinematograph Theatres acquired it in 1920 and renamed it the Picture House in 1923. It was in turn acquired in 1927 by Associated Provincial Picture Houses, who reopened it that September with a new organ, and in 1929 by Gaumont British Theatres, who closed it in November 1940 because of the Second World War.
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Despite the success of Reynaud's films, it took some time before animation was adapted in the film industry that came about after the introduction of Lumiere's Cinematograph in 1895. Georges Méliès' early fantasy and trick films (released between 1896 and 1913) occasionally came close to including animation with stop trick effects, painted props or painted creatures that were moved in front of painted backgrounds (mostly using wires), and film colorization by hand. Méliès also popularized the stop trick, with a single change made to the scene in between shots, that had already been used in Edison's The Execution of Mary Stuart in 1895 and probably led to the development of stop-motion animation some years later. It seems to have lasted until 1906 before proper animated films' appearance in cinemas.
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Smart found work in Britain with Anthony Asquith and later alongside the film director Michael Powell, whom he assisted with 'quota quickies': low-budget B-pictures to meet a legal commitment to the British film industry under the Cinematograph Films Act 1927. During the Second World War, Smart joined the Royal Australian Air Force in 1942 and served until 1945.War records of Ralph Smart Afterward he worked for the Rank Organisation and Ealing Studios, returning to Australia to direct several films beginning with The Overlanders and including Bitter Springs (1950), addressing the mistreatment of young Aborigines. Back again in Britain, he became an influential figure in ITC television, producing, directing or writing a number of television series and films, including the 1950s series The Adventures of Robin Hood and The Invisible Man.
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Cine film literally means "moving" film; deriving from the Greek "kine" for motion; it also has roots in the Anglo-French word cinematograph, meaning moving picture. Although there had been earlier attempts, typically employing larger formats, the introduction of the 9.5 mm and 16 mm formats in the early 1920s finally succeeded in introducing the practice of showing rented "play-at-home" copies of professionally made films, which, in the case of feature-length films, were usually much shortened from the originals. More significantly, these new cine film gauges were the first truly practical formats for making casual amateur "home movies" of vacation trips, family gatherings, and important events such as weddings. Amateur dramas and comedies were sometimes filmed, usually just for fun and without any aspiration to artistic merit.
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The Screen On The Green at night The Screen On The Green is a single screen cinema facing Islington Green in the London Borough of Islington, London. The current building was opened in 1913 and it is one of the oldest continuously running cinemas in the UK. It is an example of the many purpose-built cinemas that followed the regulations set by the Cinematograph Act 1909. It is distinctive in the local area due to its façade outlined in red neon, along with a large canopy used for advertising current and upcoming films and events. Since 2008, the cinema has been operated by Everyman Cinemas Group, who have expanded their interests into a unique premium cinemas across London (including the original Everyman Cinema in Hampstead), Surrey and Hampshire.
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For cinematograph still, only a small portion of the entire film is copied whereas for rage comics and personal photographs, the entire portion has been used to create the meme. Despite this, all categories of memes would be considered to be falling under fair use because the text that is added to those images adds value, without which it would just be picture. Moreover, the heart of the work is not affected because the still/picture is taken out of context and portrays something entirely different from what the image originally wanted to depict. Lastly, the effect on the market offers court analysis on whether the meme would cause harm to the actual market of the original copyright work and also the harm it could cause to the potential market.
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Other rival cinemas followed suit, notably the Cineclub 24 in Tottenham Court Road, the Compton Cinema Club, and the Exxon Cinema Club run by David Waterfield in Danbury Street, Islington. Membership Only hardcore film clubs remained legal until the passing of the Cinematograph Act 1982. The end of the 1960s saw the appearance of British sexploitation films in public cinemas, such as Her Private Hell (1968) and The Wife Swappers (1969). Changes to the British cinema certification system in 1970 replaced the previous X rating at 16 with a AA category for those over 14 and a new age for X-films at 18. British sex comedy films appeared in the 1970s, such as Confessions of a Window Cleaner (1974), Eskimo Nell (1975) and I'm Not Feeling Myself Tonight (1976).
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In July 1900, while he visited the Paris Exposition and saw the giant Lumière film exhibit, he recorded in his journal: "They erected a very large screen in the centre of the hall, turned off all electric lights and projected the picture of cinematograph on that large screen. Muzaffar Al-din Shah instructed Akkas Bashi to purchase all kinds of it and to bring it to Tehran so that he can make some there". Court photographer Akkas Bashi duly purchased the necessary equipment for the taking and projecting of film, and just one month later he was taking his first films, of the Festival of Flowers in Belgium, on the Shah's visit there. On the Shah's return to Tehran the films were shown to his inner circle of family, ministers and court servants.
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Thiru S. MUTHUSAMY, Minister for Transport-Minister in-charge of Transport, Nationalised Transport, Motor Vehicles Act, Ports and Highways, Public District Revenue Officers, Rural Industries including, Cottage and Small Industries, Water Supply and Drainage Board's, Public Works, Irrigation Minor Irrigation. 6\. Thiru V.V. SWAMINATHAN, Minister for Tourism, Prohibition and ElectricityMinister in-charge of Prohibition and Excise, Animal Husbandry, Milk Dairy Development, Registration and Stamp Act, Information and Publicity, Film Technology, Tourism, Tourism Development Corporation, Cinematograph Act, Hindu Religious and Charitable Endowments, Forests, Cinchona, Planning, Archaeology, Passports and Electricity and Wakf. 7\. Thiru T. RAMASAMY, Minister for Commercial Taxes-Minister in-charge of Commercial Taxes, Nutritious Meals, Khadi, Bhoodan and Gramdhan. 8\. Thiru A.ARUNACHALAM, Minister for Adi Dravidar Welfare-Minister in-charge of Adi Dravidar Welfare, Hill Tribes and Bonded Labour, Social Welfare including Women and Children's welfare, Beggars' Home, Orphanages, Correctional Administrative.
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On 28 December 1895, Méliès attended a special private demonstration of the Lumière brothers' cinematograph, given for owners of Parisian houses of spectacle. Méliès immediately offered the Lumières 10,000 for one of their machines; the Lumières refused, anxious to keep a close control on their invention and to emphasize the scientific nature of the device. (For the same reasons, they refused the Musée Grévin's 20,000 bid and the Folies Bergère's 50,000 bid the same night.) Méliès, intent on finding a film projector for the Théâtre Robert-Houdin, turned elsewhere; numerous other inventors in Europe and America were experimenting with machines similar to the Lumières' invention, albeit at a less technically sophisticated level. Possibly acting on a tip from Jehanne d'Alcy, who may have seen Robert W. Paul's Animatograph film projector while on tour in England, Méliès traveled to London.
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This was the result of a deal with American Loew's Incorporated, that the Tivoli would present exclusive runs of their films (from Metro Pictures and MGM) concurrent with their American release. The second Tivoli Theatre during the premiere of the 1928 film The Trail of '98 In 1925, the cinema was taken over by MGM/Loew's and was their showcase theatre in London for a few years, until they opened their new Empire Theatre in Leicester Square in November 1928. Tivoli was then sold to Provincial Cinematograph Cinemas (PCT), which soon became part of Gaumont British. During its most popular period, the Tivoli was the big premier cinema in London, showing the very first sound short films in 1925, as well as the epic Ben Hur starring Ramon Novarro, which showed twice daily to a total of 1.2 million spectators.
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National College Creative Industries, formally the National College for the Creative and Cultural Industries, is a college providing technical skills for the creative industries, based in Thurrock, Essex, England. It was established in 2016. It is supported by a group of employers including the BBC, the National Theatre, Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) and the Association of British Theatre Technicians (ABTT). Its stated vision is: It is one of a group of five new colleges announced by the British government in May 2016, the others being the National College for Digital Skills (opened September 2016); the National College for High Speed Rail based in Birmingham and Doncaster;National College for High Speed Rail, accessed 14 August 2018 the National College for Nuclear ("under development" ); and the National College for Onshore Oil and Gas (reportedly "stalled" pending discussion of fracking).
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Founded in 1987 by Roy Fowler, the History Project started as an independent volunteer project by members of the industry trade union, ACTT, who wanted to preserve the stories and memories of the lives of the men and women who had been working in the various film and television industries. The organisation was originally called the ACTT History Project, reflecting the fact that though it was an entirely separate project run by volunteers, it was nevertheless supported by the ACTT union. In 1991, the ACTT merged with the Broadcasting and Entertainment Trades Alliance, to form BECTU (Broadcasting, Entertainment, Cinematograph and Theatre Union) and the ACTT History Project became known as the BECTU History Project. In 2016, it was officially registered as a company limited by guarantee, as an independent, non-profit, voluntary organisation, and renamed the British Entertainment History Project.
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Grierson opened the new primary school at Cambusbarron on 10 October 1967, his sister Dorothy attended the day with him. The BBC expressed their wishes to make a programme about Grierson in the year of his seventieth birthday which he turned down three times In the year of his seventieth birthday, Grierson received many tributes from across the globe, he was made an honorary member of the Association of Cinematograph, Television and Allied Technicians which he pressed for the ceremony to be held in Glasgow. He also received the Golden Thistle Award for Outstanding Achievement in the Art of Cinema at the Edinburgh Film Festival. In January 1969, Grierson left for Canada to lecture at McGill University, enrollment for his classes grew to around seven hundred students, he also lectured at Carleton University once a fortnight.
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Some of their early films include four written by A. A. Milne including The Bump, starring C. Aubrey Smith; Twice Two; Five Pound Reward; and Bookworms. By the mid-1920s the British film industry was losing out to heavy competition from the United States, which was helped by its much larger home market – in 1914 25% of films shown in the UK were British, but by 1926 this had fallen to 5%. The Slump of 1924 caused many British film studios to close, resulting in the passage of the Cinematograph Films Act 1927 to boost local production, requiring that cinemas show a certain percentage of British films. The act was technically a success, with audiences for British films becoming larger than the quota required, but it had the effect of creating a market for poor quality, low cost films, made to satisfy the quota.
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In it, BBC admitted for the first time to the role of BBC Persian radio as the propaganda arm of the British government in Iran. The Cinematograph narrator said: The documentary quoted a 21 July 1951 classified document in which a Foreign Office official thanked the British ambassador for his proposals that were precisely followed by the BBC Persian radio to strengthen its propaganda against Mosaddegh: The document further stressed that the Foreign Office "shall be grateful for [the ambassador's] comments on the propaganda line we have proposed". An early account of the CIA's role in the coup appeared in The Saturday Evening Post in late 1954, purporting to explain how "the strategic little nation of Iran was rescued from the closing clutch of Moscow." The report was approved by the CIA, and its authors may have been assisted by Kermit Roosevelt Jr., who had written for the Post before.
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George Green, an apprentice watch-maker, the son of a cabinet-maker, came into ownership of a fairground carousel; from that solitary carousel he developed a number of travelling fairground shows. It is widely believed that along with Randall Williams, he was one of the original pioneers of the cinematograph on the fairgrounds in the UK. He had travelled to London in 1896 and purchased a theatrograph from Robert W. Paul, making its first appearance on the fairgrounds in 1898. Although Green travelled with several large shows, the most extravagant was the Theatre Unique, purchased in 1911 from George 'President' Kemp, who had previously purchased it from Orton & Spooners in 1908. The Theatre Unique was centred on a 104-key Marenghi fairground organ, housed in a truck chassis which opened out to form a stage, complete with two carved gilded staircases flanked by four tall columns.
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Our New Errand Boy is a 1905 British short silent comedy film, directed by James Williamson, about a new errand boy, engaged by a grocer who soon regrets the appointment. This "relatively unambitious" chase comedy, according to Michael Brooke of BFI Screenonline, "is one of a number of Williamson films featuring a mischievous child, played by the director's son Tom." "Although essentially a series of sketches," this film, according to David Fisher, "demonstrates the extent to which Williamson had developed film technique For a start, the film has a title frame, which includes the logo of the Williamson Cinematograph Company," and, "the chase section anticipates the American comedies of the next decade." The film stars the director's son, Tom Williamson, one of the first professional child actors, featured in several films, generally directed by his father (who is also an interpreter of the film here).
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That same year, Paterson opened his how film theatre, the Beach Bijou, on the sea front, a little south of the Bathing Station. It was constructed of wood and canvas and seated an audience of 200.Thomson (1988) pp. 44 Tickets were 1d for children and 2d for adults.Thomson (1988) pp. 46 In late 1911 and 1912 the Music Hall was running Saturday Night Cinema Concerts with cinematographs by Dove Paterson. When other bookings took precedence these concerts would be transferred to either the Albert Hall, Huntly Street or the YMCA on Union Street.Thomson (1988) pp. 57 By September 1912 Paterson was running cinematograph concerts on Wednesday nights at the Music Hall with "smartly-dressed girls as chocolate sellers." Thomson (1988) pp. 67 By summer 1913 the lease taken by J J Bennell on the Coliseum (now Belmont Filmhouse, Aberdeen), was coming to an end.
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One of the scientists who attended, phonograph enthusiast and fellow of the Meteorological Society Douglas Archibald, mentioned Ella in his account: > I hope I may be permitted to remark that Mr. Pilcher has been, fortunately, > blessed with the possession of a sister, who not only acted as the presiding > goddess of the tea-table on the present occasion, but actually made most of > the wing surfaces with her own hands. The demonstration also saw a (possibly unplanned) flight by Dorothy Rose Pilcher, Ella's cousin, who was given a tow by Percy but then crashed into the cinematograph camera which had been set up to take stills of the glider in flight. Neither the aviator nor the apparatus was damaged. While it did not yield an investor, the demonstration was impressive enough for Percy to start up a company with a colleague, Walter Gordon Wilson.
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The waif is located in the lodge or the gardener's cottage, > and during his stay the rich child devotes so much time every day to play > with the town streetling, and in this way the rich and the poor children get > to understand one another. The activities included a rural meet in the south-east organised for a thousand East End children, a London tea with music and a cinematograph exhibition for 1500 poor children, a Christmas party at St Mark's Hall in the East End for three hundred children (which featured a fifteen-foot tree), and large picnics including competitive sports held for the members and their London counterparts, the first of which was held in the grounds of the Earl's semi-ruined ancestral home, Kirby Hall, Northamptonshire. At this picnic, attended by 300-400 children, 'a grand investiture' of the Order was led by Lady Winchilsea. The railway companies assisted the work of the Order by carrying the London children at greatly reduced fares.
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Real film continuity, involving action moving from one sequence into another, is attributed to British film pioneer Robert W. Paul's Come Along, Do!, made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside. Paul's 'Cinematograph Camera No. 1' of 1895 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. This technique was first used in his 1901 film Scrooge, or, Marley's Ghost. The further development of action continuity in multi-shot films continued in 1899 at the Brighton School in England. In the latter part of that year, George Albert Smith made The Kiss in the Tunnel.
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The US right lists a similar set of purposes preceded by the opening clause "such as." Section 12(1) of the Act states: > "12.- (1) Copyright shall not be infringed by any fair dealing with a > literary or musical work- ::(a) for the purposes of research or private > study by, or the personal or private use of, the person using the work; > ::(b) for the purposes of criticism or review of that work or of another > work; or ::(c) for the purpose of reporting current events- :::(i) in a > newspaper, magazine or similar periodical; or :::(ii) by means of > broadcasting or in a cinematograph film: Provided that, in the case of > paragraphs (b) and (c)(i), the source shall be mentioned, as well as the > name of the author if it appears on the work." The fair dealing right is a flexible standard that turns on a balancing test to determine what is a "fair" dealing.
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In 1926, the Studio was purchased by Archibald Nettlefold, and renamed as Nettlefold Studios, and began producing comedy silent films, until it was upgraded to sound production with the advent of sound film in the early 1930s. The 1930s saw the Studio mainly producing what were known in the industry as Quota Quickies, an inadvertent consequence of the provisions in the Cinematograph Films Act 1927 to try to protect England's cinematic production industry from the commercial threat of Hollywood films. During World War II the Studio's buildings were requisitioned and used as a storage facility for the war-effort by the Government, and the Vickers- Armstrong Aircraft Company built two new aircraft construction hangars on the site, to reinforce and disperse its production capacity after damage by enemy bombing attacks at its factory site at Brooklands, Weybridge on 4 September 1940. Archibald Nettlefold died in 1944, and when the Studio reopened post-war it was sold in 1947 to Ernest G. Roy.
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Under Section 2(c) of the Indian Copyright Act, 1957, a meme could be classified as an 'artistic work' which states that an artistic work includes painting, sculpture, drawing (including a diagram, map, chart or plan), an engraving or a photograph, whether or not any such work possesses artistic quality. The section uses the phrase "whether or not possessing artistic quality", the memes that are rage comics or those such as Keyboard Cat would enjoy protection as they are original creations in the form a painting, drawing, photograph or short video clip, despite not having artistic quality. Memes that made from cinematograph still or photographs, the original image in the background for the meme would also be protected as the picture or the still from the series/movie is an 'artistic work'. These meme are a modification of that already existing artistic work with some little amount of creativity and therefore, they would also enjoy copyright protection.
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The visit was scheduled to open the new Federal Parliament in Melbourne, Australia, but the royal party also visited Gibraltar, Malta, Ceylon, the Straits Settlements, New Zealand, South Africa, Canada, and Colony of Newfoundland. The Admiralty provided crew for the tour, while the engine-room staff came from the Orient Company´s own engineers. Canadian souvenir photo of Ophir in 1902, with inset portraits of the Duke and Duchess of York A petty officer named Harry Price was with the tour from February to November 1901, and made a careful record, later published as The Royal Tour 1901, or the Cruise of H.M.S. Ophir; Being a Lower Deck Account of their Royal Highnesses, The Duke and Duchess of Cornwall and York's Voyage Around the British Empire. The 1901 cruise was also filmed by CPO McGregor working for AJ West's 'Our Navy' company and cinematograph film and lantern slides of the cruise were shown to the British Royal Family and staff at Sandringham on 9 November 1901.
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Finally, the right allows the incidental capture only of specified works. The work using the right must be "a cinematograph film or a television broadcast or transmission in a diffusion service." A diffusion service is defined in section 1(1) as > "a telecommunication service of transmissions consisting of sounds, images, > signs or signals, which takes place over wires or other paths provided by > material substance and intended for reception by specific members of the > public; and diffusion shall not be deemed to constitute a performance or a > broadcast or as causing sounds, images, signs or signals to be seen or > heard; and where sounds, images, signs or signals are displayed or emitted > by any receiving apparatus to which they are conveyed by diffusion in such > manner as to constitute a performance or a causing of sounds, images, signs > or signals to be seen or heard in public, this shall be deemed to be > effected by the operation of the receiving apparatus." The definition of works using the right does not include photographs.
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A contemporary report of the fire In 1897, the Bazar was located in the 8th arrondissement of Paris at 17 Rue Jean- Goujon, inside a large wooden warehouse which the organisers had reconstituted a medieval street using painted wood, cardboard, cloth, and papier-mache. One of the key attractions of the Bazar, scheduled for the 3rd to the 6th of May, was to be a cinematograph installation which functioned with ether lamps. On the afternoon of the 4th of May, the projectionist's equipment caught fire,Richard Abel, The Ciné Goes to Town: French Cinema, 1896–1914 (University of California Press, 1994), p. 17. and 126 people—mostly aristocratic women—died as a result of the following blaze and the panic of the crowd in attendance. Over 200 others sustained additional injuries, and the disaster—noted for improperly marked exitsMichèle Fontana, "Faits divers et politique: l'incendie du Bazar de la Charité (1897)", in Regards populaires sur la violence, edited by Mireille Piarotas (Publications de l'Université de Saint-Étienne, 2000), pp. 101–107.
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The Applicant (Collectively described as “Sony”) manufacture and distribute the Sony PlayStation computer game console and computer games on CD-ROMs for use with the Sony PlayStation console. Sony owns copyright of the computer programs embodied in the CD-ROMs of the games (as literary works under Part III of the Copyright Act 1968) and in the cinematograph films (as subject-matter other than works in Part IV of the Copyright Act 1968).. In the manufacturing process, Sony embedded access control technology in the form of RAC's into all Sony's games. This worked in the way that once a Sony PlayStation game was inserted into a Sony PlayStation console, the console would only play Sony games with the corresponding regional code. If the ROM chip in the game console did not read a RAC or the RAC did not correspond with the console, then it would not play the disk. This worked to block out illegally copied games, as when a game was conventionally copied to another CD (‘burnt’) it would not copy the RAC.
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In this respect, although Japón focuses on the inner problems of a single individual, and the protagonist's relation both with the old woman and with the rustic surrounding where the story takes place, in its core it "reveals the potential that cinema has to be truly cosmopolitan, to the extent that it gives us structures for developing empathy towards the foreign and the unfamiliar, and for understanding more deeply the divide between self and other.". Japón contains a number of scenes of real animal cruelty and the British Board of Film Classification demanded cuts for its UK release in accordance with the Cinematograph Films (Animals) Act 1937. The excised scenes are described as an unsuccessful attempt to strangle a bird which then stumbles around injured on the ground and a dog being forced to 'sing along' to a song through the application of a painful stimulus.Japon - Alejandro Ferretis, Magdalena Flores, Yolanda Villa The film also includes an unsimulated scene of a bird being shot down and then killed by having its head torn off, and the (off camera) slaughter of a pig.
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In early 1897, Haydon and Urry were in the process of developing their own film projector. The company had recently moved their offices and showroom to 353 Upper Street, Islington Era, 19 December 1896, p. 28 locating them just across the street from the Royal Agricultural Hall where Williams was exhibiting. Williams was already acquainted with one of the firm’s employees, James Monte (their chief film maker and manager of their cinematographic department), having met him a year earlier at a showman’s annual supper committee meeting.Era, 12 January 1895, p. 22Monte testified for Haydon and Urry after two men were charged for breaking into the firm’s premises and stealing films and cinematographic equipment in February 1898. An article in the Bury and Norwich Post on March 8, 1898 (p. 6) noted that George Haydon and “the manager of the cinematograph department” (presumably Monte) had caught the two men trying to sell some of the stolen items. The indictment on April 5, 1898 indicated that the witnesses for Haydon and Urry were George Haydon, James Monte, and George Monte (James’s younger brother).
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Especially, he believes that the mysterious blond vampire girl from Mörkrets makter/Makt myrkranna is based on the Countess Dolingen of Gratz, and on the blonde vampire bride from Dracula. He further argues that the ornate, flowery style of Dracula's Guest, written in 1892, resembles more closely the style of Mörkrets makter than that of Dracula. He concludes that Mörkrets makter was based upon a draft Stoker may have written in the early 1890s, and sent to Sweden The argument of a "flowery style," however, might well apply to the rather verbose Dagen version, but does not fit the shortened Halfvecko-Upplaga variant. Berghhorn further proposes that "A-e" modified Stoker's text as he or she translated it, and notes that Stoker picked the names for his main characters already between 1890–92; the same names, with minimal variations, appear in Mörkrets makter. Berghorn also notes that in the account of the black mass and human sacrifice performed by Draculitz in Mörkrets makter, the scene is described as being lit by flames similar to the flickering lights of a cinematograph, the first film projector only invented in 1895 and not used commercially until 1896.
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Cooper wanted to establish a film theatre to present his productions to the paying public, and acquired a public hall building on London Road that had originally been designed for a social institute in 1903 by the local architect Percival Blow (1873–1939). On 27 July 1908, Cooper opened the Alpha Picture House, Hertfordshire's first permanent cinema. The building was fitted out with a restaurant, swimming pool and hairdressing salon as well as the 800 seat cinema. The cinema failed inspection following the passing of the 1910 Cinematograph Act and was sold through liquidation to George Arthur Dawson the following year. The cinema continued to run as the Poly until 1926 and was destroyed by fire the following year. In 1911, Cooper sold his studios and the London Road cinema. It changed hands several times, taking on different names. In 1918, it became the Poly Picture Palace. In 1923, the cinema underwent another refurbishment by Percival Blow, which involved the installation of a balcony with boxes and a cinema organ, and a dance hall and workshop in the basement. From 1926 it was known as The Regent Picture House. On 15 December 1927 The Regent was gutted by a large fire caused by a dropped cigarette.
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In the 1920s, just as the early twilight of the British Empire was approaching, a slightly familiar battle was fought, in a slightly unusual terrain, Cinema. The American film industry had by the twenties already started to dominate the global film market, with American films eclipsing English films in most parts of the British Empire. In response to a number of demands being made by the British film industry for the setting up of quotas in favour of Empire films in the colonies, and as a result of increasing anxiety about the spread of the new technology of cinema in the colonies, the colonial government put together a high level committee, the Indian Cinematograph Committee (“ICC”) to enquire into the working of cinema and censorship in India. The report, and the evidence of the ICC which ran into five volumes, and thousands of pages of oral and written testimonies makes for a fascinating document, which has unfortunately been ignored in most debates on film censorship. At the British Imperial conference held in England in 1926, a number of the delegates raised questions about the adequacy of film censorship to deal with the problems posed by the exhibition of American films.
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In 1930, Thring sold his interests in Hoyts to Fox Film Corporation and went into film production, establishing Efftee Studios (based on his initials). Over the next five years, Efftee produced nine features, over 80 shorts and several stage productions, including the Australian musicals Collits' Inn and The Cedar Tree. Notable collaborators include C. J. Dennis, George Wallace and Frank Harvey. Thring visited Britain in 1932–33, where he sold Efftee's entire output: seven features, nine shorts and a series about the Great Barrier Reef made with Noel Monkman. In 1932 Thring became the leader of a campaign for a quota for Australian films. In 1934, he suspended Efftee's operations, announcing that resumption would depend upon the introduction of an effective quota system in Victoria. In 1935, Efftee obtained licence to broadcast from the then-new broadcasting station 3XY which was owned by the United Australia Party (and later the Liberal Party). 3XY originally broadcast from studios in the former ballroom at the top of the Princess Theatre, Melbourne. After New South Wales passed its Cinematograph Films (Australian Quota) Act in September 1935, Thring resumed production in February 1936, in Sydney, becoming chairman of directors of Mastercraft Film Corporation Ltd while remaining managing director of Efftee Film Productions.
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