The World Cinema Project (WCP) is a non-profit organization devoted to the preservation and restoration of neglected world cinema. Founded in 2007 as the World Cinema Foundation by Martin Scorsese, it was inspired by the work of The Film Foundation in the United States, a similar venture which Scorsese founded with George Lucas, Stanley Kubrick, Steven Spielberg and Clint Eastwood in 1990. The World Cinema Foundation is backed by an advisory board "Filmmaker Council" which includes Martin Scorsese, Fatih Akin, Souleymane Cissé, Guillermo Del Toro, Stephen Frears, Alejandro González Iñárritu, Wong Kar-Wai, Abbas Kiarostami, Deepa Mehta, Ermanno Olmi, Raoul Peck, Cristi Puiu, Walter Salles, Abderrahmane Sissako, Elia Suleiman, Bertrand Tavernier, Wim Wenders, and Tian Zhuangzhuang.
Introduction
World Cinema Project
World Cinema Project | Introduction
2007 2007. 2007. In 2007
i'm just a girl by no doubt
user
"Just a Girl" is a song by American band No Doubt.
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has anyone sang a cover of it?
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Yes, American country duo Bomshel,  Japanese singer-songwriter Kaela Kimura
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when was the original song released?
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September 21, 1995
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who are the members of the afore-mentioned band?
user
The band consists of vocalist Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young.
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what was the vocalists debut album or song?
user
Her debut studio album was "Love. Angel. Music. Baby."
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what are some places that she has toured in?
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Sorry. I cannot find the answer based on the context.
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has she acted in any movies?
user
She made her film debut playing Jean Harlow in Martin Scorsese's "The Aviator"
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who is the second person mentioned here?
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Martin Charles Scorsese  is an American film director, producer, screenwriter, and actor.
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are there any frame and motion techniques that he made popular?
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Yes, he is known for his frequent use of slow motion, freeze frames in films
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what are some projects he has started for improving cinema?
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Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history.
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when was this project established?
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In 2007, Scorsese established the World Cinema Project with the mission, to preserve and present marginalized and infrequently screened films from regions generally ill-equipped to preserve their own cinema history. Scorsese's organization has worked with the Criterion Collection to not only preserve the films but to allow them to be released on DVD and Blu-ray boxsets and on streaming services such as The Criterion Channel. Films in the WCP include Ousmane Sembène's "Black Girl" (1966), and Djibril Diop Mambéty's "Touki Bouki" (1973). The Criterion Collection so far has released two Vol. boxsets on DVD and Blu-ray, titled, "Martin Scorsese's World Cinema Project".
Martin Scorsese | The World Cinema Project
The World Cinema Project (WCP) is a non-profit organization devoted to the preservation and restoration of neglected world cinema. Founded in 2007 as the World Cinema Foundation by Martin Scorsese, it was inspired by the work of The Film Foundation in the United States, a similar venture which Scorsese founded with George Lucas, Stanley Kubrick, Steven Spielberg and Clint Eastwood in 1990. The World Cinema Foundation is backed by an advisory board "Filmmaker Council" which includes Martin Scorsese, Fatih Akin, Souleymane Cissé, Guillermo Del Toro, Stephen Frears, Alejandro González Iñárritu, Wong Kar-Wai, Abbas Kiarostami, Deepa Mehta, Ermanno Olmi, Raoul Peck, Cristi Puiu, Walter Salles, Abderrahmane Sissako, Elia Suleiman, Bertrand Tavernier, Wim Wenders, and Tian Zhuangzhuang.
World Cinema Project | Introduction
The first Volume includes 6 titles, "Touki Bouki" (1973), "Redes" (1936), "A River Called Titas" (1973), "Dry Summer" (1964), "Trances" (1981) and "The Housemaid" (1960). The second volume also includes 6 titles, "Insiang" (1976), "Mysterious Object at Noon" (2000), "Revenge" (1989), "Limite" (1931), "Law of the Border" (1967), and "Taipei Story" (1985).
Martin Scorsese | The World Cinema Project
The Centro sperimentale di cinematografia (Experimental Film Centre or Italian National film school) was established in 1935 in Italy and aims to promote the art and technique of cinematography and film. The centre is the oldest film school in Western Europe, founded in the city of Rome in 1935 during the Benito Mussolini era by his head of cinema Luigi Freddi. It was and still is financed by the Italian government and focuses on education, research, publication, and theory.
Centro Sperimentale di Cinematografia | Introduction
The studios were founded in 1937 by Benito Mussolini, his son Vittorio, and his head of cinema Luigi Freddi under the slogan ""Il cinema è l'arma più forte"" ("Cinema is the most powerful weapon"). The purpose was not only for propaganda, but also to support the recovering Italian feature film industry, which had reached its low point in 1931. Mussolini himself inaugurated the studios on 21 April 1937. Post-production units and sets were constructed and heavily used initially. Early films such as "" (1937) and "The Iron Crown" (1941) showcased the technological advancement of the studios. Seven thousand people were involved in the filming of the battle scene from "Scipio Africanus", and live elephants were brought in as a part of the re-enactment of the Battle of Zama.
Cinecittà | History
According to the agreement, the company set up and run the cinema using the licence acquired by the foundation; in return, it paid 8% of its gross revenue to the foundation. In its turn, the foundation was paying 40% of its net gains to three different associations. The cinema opened on 28 December 1929 with a screening of the American sound film romance "White Shadows in the South Seas" which received an Oscar for best cinematography. At the time, the cinema was managed by Rudolf Valenta, and since 1930 by Rudolf Urban. The entrance fee ranged between 3 and 7 Czechoslovak crowns.
University Cinema Scala | Bio Dopz (1929–1935)
The Film Foundation is a US-based non-profit organization dedicated to film preservation and the exhibition of restored and classic cinema. It was founded by director Martin Scorsese and several other leading filmmakers in 1990. The foundation raises funds and awareness for film preservation projects and creates educational programs about film.
The Film Foundation | Introduction
The credit scheme ensured original screen writing for the first time and stories which were copies of Hindi and Tamil were not entitled to receive loans. Thus a professional film production industry was established. The SFC instituted a film distribution system through which all films produced in the country were ensured exhibition according to system of precedence. Quality control of the cinemas was established by a system of inspection and checks on equipment.
Cinema of Sri Lanka | Government-instituted development and individual achievement (1971–1979); unprecedented surge in yearly admissions
In 1935 Henri Langlois and Georges Franju founded a film club ("Cercle du cinéma") to show old films from which originated the Cinémathèque Française in 1936. The idea to archive old films was by no means self-evident at the time. Langlois was able to save many films the companies had intended to throw away. In 1933, the British Film Institute was founded in London. In 1938 Henri Storck, André Thirifays and Pierre Vermeylen founded the Cinémathèque Royale de Belgique in Belgium. Also in 1938, the International Federation of Film Archives (FIAF) was founded in Paris.
Cinematheque | History
The infrastructure of the Hungarian cinema scene was built up during the first decade of the 20th century. By 1910, 270 permanent theatres operated in the country, including large capacity film palaces like the Royal Apollo. Film distribution was organized by the end of the decade. The first company to lend the film-shooting apparatus was the Projectograph, founded by Mór Ungerleider in 1908. The company also shot films, offering documentaries and newsreels, thereby making the first steps for the country's film industry. The literary and artistic scene enthusiastically supported the new form of expression. Writers of the Nyugat circle saw filmmaking as a sign of closing up to modern European Literature and became avid movie theatergoers.
Cinema of Hungary | 1901–1920
The tender of Mr. A. F. Little was accepted in November 1937, and building commenced in December. By February 1938, the foundations had been laid and the brickwork of the outside walls commenced. By 18 July 1938 the cinema was virtually complete, with just the seats to be put into position, just in time for the official opening of the cinema. The building cost approximately A£14,000 to erect. The building contractor was Mr A. F. Little of Sydney. Mr H. Knight of Annandale did the painting and decorating and the electrician was Mr. G. H. Marshall, of Scone. The fibrous plasterers were Messrs.
Scone Civic Theatre | Foundation
During World War I, the cinema was used by the Hispano-American Committee, under the auspices of the Red Cross, to deliver food supplies to the region until 31 March 1919. In 1922, the management purchased a projector for 22,915 francs. The union's numbers dropped to about 400 members in 1925, and had to deal with a crisis in the glass industry in 1927. The union eventually recovered, and in 1936, the cinema seating grew to 850. The cinema also faced competition from Royal Cinéma. In May 1940, when the Germans occupied Aniche, the building's ownership was transferred to the town.
L'Idéal Cinéma Jacques Tati | World Wars
He soon added two more, Crown Theatre in Mint and Globe (later called Roxy) in Purasawalkam. Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras, called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors.
Tamil cinema | Early exhibitors
In 1909, T. J. West established the first cinema in the Royal Hall in St. Helier, which became known as West's Cinema in 1923 (demolished 1977). The first talking picture, "The Perfect Alibi", was shown on 30 December 1929 at the Picture House in St. Helier. The Jersey Film Society was founded on 11 December 1947 at the Café Bleu, West's Cinema. The large Art Deco Forum Cinema was opened in 1935 – during the German occupation this was used for German propaganda films. The Odeon Cinema was opened 2 June 1952 and, was later rebranded in the early 21st century as the Forum cinema.
Jersey | Cinema
Martin Charles Scorsese (, ; born November 17, 1942) is an American film director, producer, screenwriter, and actor. One of the major figures of the New Hollywood era, he is widely regarded as one of the most significant and influential directors in film history. Scorsese's body of work explores themes such as Italian-American identity, Catholic concepts of guilt and redemption, faith, machismo, crime and tribalism. Many of his films are known for their depiction of violence, and the liberal use of profanity and rock music. In 1990, he founded The Film Foundation, a nonprofit organization dedicated to film preservation, in 2007 he founded the World Cinema Foundation and in 2017, he introduced the African Film Heritage Project.
Martin Scorsese | Introduction
More than half of all films made before 1950 have been lost, and a mere 10% of those produced in the US prior to 1929 survive. Even more recent films are deteriorating. Because of the risk of deterioration and color fading as films age, Martin Scorsese "began his film preservation crusade in 1980", educating both the industry and the public about the problem. In 1990, Scorsese created The Film Foundation together with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford and Steven Spielberg, who all sat on the foundation's original board of directors.
The Film Foundation | Background
In 2017, Scorsese also introduced The African Film Heritage Project (AFHP), which is a joint initiative between Scorsese's non-profit The Film Foundation, UNESCO, Cineteca di Bologna, and the Pan African Federation of Filmmakers (FEPACI). The project aims to locate and preserve 50 classic African films, some thought lost and others beyond repair, with hopes to make them available to audiences everywhere. In an interview with "Cinema Escapist" in 2018, Scorsese talked about the ambitious collaboration saying, "Our first goal is to launch and conduct a thorough investigation in film archives and laboratories around the world, in order to locate the best surviving elements—original negatives, we hope—for our first 50 titles." He also stated that "Restoration is always the primary goal, of course, but within the initiative, it’s also a starting point of a process that follows through with exhibition and dissemination in Africa and abroad.
Martin Scorsese | The African Film Heritage Project
Scorsese had been at the forefront in film preservation and restoration ever since 1990, when he created The Film Foundation, a non-profit film organization which collaborates with film studios to restore prints of old or damaged films. Scorsese launched the organization with Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg, who all sat on the foundation's original board of directors. In 2006, Paul Thomas Anderson, Wes Anderson, Curtis Hanson, Peter Jackson, Ang Lee and Alexander Payne joined them. In 2015, Christopher Nolan also joined the board. The foundation has restored more than 800 films from around the world and conducts a free educational curriculum for young people on the language and history of film.
Martin Scorsese | The Film Foundation
The facility was originally designed in 2000 by Luc Besson. The project was officially launched in 2004, and required several months of technical specifications and financial structures. The project is now supported by major companies in the film and television production sector (film development, lighting, make-up etc.) This should strengthen the role of cluster-image "Plaine Commune" with its fifty television studios (including the "Plaine Saint-Denis"), and 14 movie sets (in Epinay-sur-Seine, Aubervilliers, Stains and Saint-Ouen). The Cité du Cinéma was originally set to open in May 2012 in accordance with the 2012 Cannes Film Festival. After some minor delays it did finally open its doors on Friday, September 21, 2012 in the presence of many international movie stars and public figures (Dianna Agron, Tarak Ben Ammar, Samuel Benchetrit, Luc Besson, Carole Bouquet, Clotilde Courau, Mireille Darc, Robert De Niro, Jamel Debbouze, Virginie Efira, Pascal Elbé, Mylène Farmer, Marina Foïs, Whoopi Goldberg, Salma Hayek, Jimmy Jean-Louis, Gérard Krawczyk, Christopher Lambert, Jack Lang, Mélanie Laurent, Virginie Ledoyen, Tommy Lee Jones, Gilles Lellouche, Benoît Magimel, Sophie Marceau, Kad Merad, Géraldine Nakache, Michelle Pfeiffer, Jean Reno, Jean-Paul Rouve, Ludivine Sagnier, Marie Sara, Éric Serra, Virginie Silla, Laura Smet, Melissa Theuriau, Jean Todt, Michelle Yeoh, Elsa Zylberstein).
Cité du Cinéma | History
Founded by John David Ware in 2003, the 168 Film Project started with 13 entries.
168 Film Project | History
Cinematic entertainment began at number 83 Upper Street, Islington when the Pesaresi brothers ran their original animated picture show in the then vacant shop. After success, and gaining financial assistance from Thomas Harrold who ran the "fancy drapery" store next door at number 82, they bought out Stean's Printers, Fosdykes' Confectionery and Vivian Lester's Sign Writers, numbers 84 to 86 respectively. They demolished the old shops and built a new purpose-built electric theatre designed by architects Boreham & Gladding, which opened in October 1913.
The Screen On The Green | Early history and foundation (1910–1913)
Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras, called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors. Full-fledged film studios were built in Salem (Modern Theatres Studio) and Coimbatore (Central Studios, Neptune, and Pakshiraja). Chennai became the hub of studio activity with two more movie studios built in Chennai, Vijaya Vauhini Studios and Gemini Studios.
Cinema of South India | Early beginnings during the "Madras Presidency"
The film club was established in the 1973–74 academic session. Proposal was mooted with the University Grants Commission that film societies be established with the universities in India which was accepted and thus the film club was the outcome of such proposal. In 2013, after having conducted film workshop there, actor Adil Hussain was granted a lifetime membership in the university's film club. A short film festival- "Filmsaaz" was conceived and begun in 2008 by Adil Hossain, Nabeel Rizvi, Hemant Yadav and Faisal Hasan. In 2013, under the secretary-ship of Arif Jwadder the 6th edition of the festival become international in scope.
Filmsaaz | History
He founded the American Cinema Awards Foundation in 1983.
David Gest | Introduction
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). Accordingly, it asked for a new licence on 24 September 1928. After some disputes with the local authorities, the foundation was granted a preliminary licence on 27 December 1929 and a full licence on 6 March 1930. While it was trying to obtain a licence, the premises of the cinema were acquired by the company Kraus a spol. On 20 December 1929, the foundation entered into an agreement with the company valid until the end of 1935.
University Cinema Scala | Bio Dopz (1929–1935)
As the state undersecretary in charge of entertainment in 1949, Andreotti established import limits and screen quotas, and provided loans to Italian production firms. The measures were aimed at preventing American productions from dominating the market against Neorealist films, a genre which exhibitors complained lacked stars and was held in low esteem by the public. As he phrased it, there were to be 'Less rags, more legs'. Raunchy comedies and historical dramas with voluptuous toga-clad actresses became the staple of the Italian film industry. To ensure that state funds were not used to prop up commercially unsustainable films, the screenplays were vetted, thereby creating a form of preproduction censorship.
Giulio Andreotti | Influence on culture
The cinema was the centrepiece of the wider "WOGA" housing complex, designed by Mendelsohn in a New Objectivity-styled urban development ensemble, with a shopping walkway, apartment blocks, lawns, and a tennis court in the back. It possibly was the first Modernist cinema built in the world, as opposed to the Moorish, Egyptian, and baroque styles that predominated. Mendelsohn wrote a short text on his cinema, declaring 'no Baroque palaces for Buster Keaton'. The cinema would become very influential on Streamline Moderne cinema design in the 1930s. Heavily damaged in World War II, it was rebuilt and re-opened and from 1969 served as a dance hall and for musical theatre.
Schaubühne | History
Plans for a national film archive were first proposed in 1967 by the Cultural Bureau of the Ministry of Education. Two years later, drafting of the Film Archive Establishment Act began. However, the Cultural Bureau was shut down in 1973, and the film archive project was placed on hold. Oversight of Taiwanese cinema was delegated to the Government Information Office (GIO). The , which had been established in 1975 with help from the GIO and the Taipei Film Business Association, announced in 1978 that a film library would be funded via the GIO. The Film Library of the Motion Picture Development Foundation opened on 19 January 1979.
Taiwan Film and Audiovisual Institute | History
The cinema was closed in 1977 and the building was demolished in 1993. The "Centre Culturel Claude Berri" was built in 1995; it integrates a new movie theater ( the Idéal Cinéma Jacques Tati).
Movie theater | Early dedicated movie theatres
Although the start of the history of film as an artistic medium is not clearly defined, the commercial, public screening of ten of Lumière brothers' short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected cinematographic motion pictures. There had been earlier cinematographic results and screenings by others, but they lacked either the quality, financial backing, stamina or the luck to find the momentum that propelled the cinématographe Lumière into a worldwide success. Soon film production companies and studios were established all over the world. The first decade of motion picture saw film moving from a novelty to an established mass entertainment industry.
History of film | Introduction
During 1905, electric carbons were used in motion picture projector. During the same year Samikannu Vincent established his first tent cinema at Madras called Edison's Grand Cinemamegaphone on Esplanade. At that time it was a novelty to watch films in this tent theatre. The electrically lit tent drew large crowds. He travelled with his tent cinema to different parts of the world like Malaysia and Singapore. Aware of the advantages of brick and mortar cinema house, he built one in his home town in 1914 called Variety Hall.
Samikannu Vincent | Development
Silent films were also screened as an additional attraction. Swamikannu Vincent, an employee of the South Indian Railways in Coimbatore, purchased a film projector and silent films from the Frenchman Du Pont and set up a business as film exhibitor. He erected tents for screening films. His tent cinema became popular and he travelled throughout the state with his mobile unit. In later years, he produced talkies and also built a cinema in Coimbatore. To celebrate the event of King George V's visit in 1909, a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound.
Cinema of South India | Early beginnings during the "Madras Presidency"
New Theatres is an Indian film studio. It was formed in Calcutta by producer B. N. Sircar (Birendranath Sircar, the recipient of Dadasaheb Phalke Award of 1970). It was formed on 10 February 1931. Motto of this company was– "Jivatang Jyotiretu Chhayam" (Light infusing shadows with life). Sircar preferred to function roughly analogous to what in USA was known as an executive producer. He built a processing laboratory... and got around him a devoted band of people... Having decided on or approved a story or a subject for a film and the team to make it [Sircar] ensured that adequate funds were provided...
New Theatres | Introduction
The first film society was established in London in 1925 by a group of intellectuals and enthusiasts including Iris Barry, Sidney Bernstein, Adrian Brunel, Hugh Miller, Walter Mycroft, and Ivor Montagu, to show films which had been rejected on commercial grounds, most of them European, and films which had been rejected by the censor, most of them from the Soviet Union. It counted among its sponsors George Bernard Shaw, H. G. Wells, and numerous members of the Bloomsbury group. It was simply called the Film Society, but is often referred to as the London Film Society as it was followed by many others in the next fifteen years.
Film society | United Kingdom
1945-1995", Texas, 1999, or. 1993). More recently he explored the role of cinema in the context of modernity ("Eye of the Century. Film, Experience, Modernity", Columbia, 2008, or. 2005), and the reconfiguration of cinema in a post-medium epoch, comparing this shift with the rise of cinema at the beginning of the 20th century ("The Lumière Galaxy: Seven Key words for the Cinema to Come", Columbia, 2015). His next project is a wide-ranging analysis of the anxieties that cinema raised in the first decades of the 20th Century, compared with the iconophobic tradition in the western culture and with the fears triggered by the contemporary media.
Francesco Casetti | Biography
In 1969 IFDA began taking a stance against imports of foreign films, supporting a tax that would encourage films with smaller budgets and higher quality. In 1978, IFDA campaigned for more movie theatres to be built, working with state governments and National Film Development Corporation of India to open 100 new theatres.
Indian Film &amp; Television Directors' Association | Introduction
The cinema was originally established as a part of the multi-purpose DOPZ Palace building. In the late 1920s, the building consisted of offices, a large conference, dance, and theatre hall on the ground floor, the Biber cafe on the first and second floors and the cinema itself in the basement. The basement location was originally a problem, as the lowest point in the auditorium was more than below the pavement level by the main entrance at Moravské náměstí (then called Lažanského náměstí), while the then-applicable ministerial decree only allowed a depth of . For this reason, the local authorities refused to approve the licence application on 31 October 1928.
University Cinema Scala | Facilities and equipment
President Getúlio Vargas became aware of film's growth and, in 1939, created a decree that guaranteed Brazilian films an exhibition quota in film theaters, a law which still exists, though it is now largely ignored due to lack of proper control. While Vargas' decree may be seen as a positive or nationalistic measure, it has also been interpreted as a means of state control and intervention.
Cinema of Brazil | 1930s and 1940s
In the early 1900s, silent movies were screened in sheds, cafes and other temporary structures. In 1905, Cafe Lorenz opened on Jaffa Road in the new Jewish neighborhood of Neve Tzedek. From 1909, the Lorenz family began screening movies at the cafe. In 1925, the Kessem Cinema was housed there for a short time. In 1953, Cinema Keren, the Negev's first movie theater, opened in Beersheba. It was built by the Histadrut and had seating for 1,200 people. In 1966, 2.6 million Israelis went to the cinema over 50 million times. In 1968, when television broadcasting began, theaters began to close down, first in the periphery, then in major cities.
Cinema of Israel | Movie theaters
The first attempt to create a movie theater in Bahrain was in 1922, on the initiative of Bahraini businessman Mahmood Al Saati. He imported a projector and set up a makeshift cinema at a cottage on the north coast of Manama. The first official cinema was established by Abdulla Al Zayed and associates in Manama, in 1937. The cinema had no air-conditioning or heating system so the cinema was moved to an open-roofed building during the winter season with one of the walls being used as a screen. In 1939, the founder of Saudi Arabia, King Abdul Aziz Al Saud, visited the cinema while on a diplomatic visit with the then-Hakim Hamad ibn Isa Al Khalifa.
Cinema of Bahrain | History
They installed a tiny carousel brought from Manaus, Brazil. In 1902, with the rubber boom and its international impact, Edward Fuller purchased Alhambra. It hence became the first movie theater in town with Lumière brand projectors. In the continuous city growth following the success of the rubber extraction, and its connection with Europe, the bourgeoisie grew in the city. Arnaldo Reategui traveled to France in 1905, and bought a projector with a large collection of movies—in black-and-white and technicolor—from cinema house Pathé Freres and Léon Gaumont. He was affiliated with Luis Pinasco and built a cinema called Jardín Strassburgo, located on the first block of Sargento Lores street.
Cinema of Iquitos | Origins
To subdue film to the goals of propaganda ("Gleichschaltung"), the Nazi Party subordinated the entire film industry and administration under Joseph Goebbels' Ministry of Propaganda, and gradually nationalized film production and distribution. A state-run professional school for politically reliable film-makers ("Deutsche Filmakademie Babelsberg") was founded, and membership of an official professional organization ("Reichsfilmkammer") was made mandatory for all actors, film-makers, distributors, etc. The censorship that had already been established during World War I and the Weimar Republic was increased, with a National Film Dramaturgist ("Reichsfilmdramaturg") pre-censoring all manuscripts and screenplays at the very first stages of production. Film criticism was prohibited and a national film award established.
Nazism and cinema | Measures of the Nazi film policy
In 1935, New York's Museum of Modern Art began one of the earliest institutional attempts to collect and preserve motion pictures, obtaining original negatives of the Biograph and Edison companies and the world's largest collection of D. W. Griffith films. The following year, Henri Langlois founded the Cinémathèque Française in Paris, which would become the world's largest international film collection. For thousands of early silent films stored in the Library of Congress, mostly between 1894 and 1912, the only existing copies were printed on rolls of paper submitted as copyright registrations. For these, an optical printer was used to copy these images onto safety film stock, a project that began in 1947 and continues today.
Film preservation | Advancements
His aim was not to limit the action of Catholics to moral quotations. He wanted a presence "on all fronts". That is why, as early as 1921, he joined a group of Catholics who had founded a distribution agency under the name Brabo-Films. He became one of the leading personalities, as president of OCIC in the 1930s, in the field of cinema. OCIC itself was the result of international politics.
SIGNIS | Catholics and cinema
The Italian film industry struggled against rising foreign competition in the years following World War I. Several major studios, among them Cines and Ambrosio, formed the Unione Cinematografica Italiana to coordinate a national strategy for film production. This effort was largely unsuccessful, however, due to a wide disconnect between production and exhibition (some movies weren't released until several years after they were produced).
Cinema of Italy | Cinema futurista
Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras, called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors.
Tamil Nadu | Film industry
The new Cines Studios were constructed in Rome and functioned as the country's most important film studios until they were destroyed in a fire in 1935. Under the leadership of Carlo Roncoroni it was involved in the state-backed project to build Cinecitta which opened in 1937. Following Roncoroni's death, the company was nationalised under the ENIC umbrella. It was relaunched in 1941 as part as the Fascist government's scheme to boost film production. It survived the fall of Mussolini and continued into the postwar era.
Cines | Introduction
His first film produced was entitled "Dalagang Bukid" (Country Maiden) in 1919. Film showing resumed in 1900 during the American period. Walgrah, a British entrepreneur, opened the "Cine Walgrah at No. 60 Calle Santa Rosa" in Intramuros. It was also during this time that a movie market was formally created in the country along with the arrival of silent movies. These silent films were always accompanied by gramophone, a piano, a quartet, or a 200-man choir. During the Japanese occupation, filmmaking was put on hold. Nonetheless, it was continued on 1930s up until 1945 replacing the Hollywood market with Japanese films but met with little success.
Culture of the Philippines | Cinema and media
In 1945 Sirhan established the "Arab Film Company" production studio together with Ahmad Hilmi al-Kilani. The company launched the feature film "Holiday Eve", which was followed by preparations for the next film "A Storm at Home". The films themselves were lost in 1948, when Sirhan had to flee Jaffa after the town was bombarded.
Cinema of Palestine | The first period: The beginning, 1935–48
It was founded in 1946 by Dino de Laurentiis and has since produced nearly 100 films.
Dino de Laurentiis Cinematografica | Origin and operations
Founded in 1937 by Benito Mussolini, the studios were bombed by the Western Allies during the Second World War. In the 1950s, Cinecittà was the filming location for several large American film productions, and subsequently became the studio most closely associated with Federico Fellini. Today Cinecittà is the only studio in the world with pre-production, production, and full post-production facilities on one lot, allowing directors and producers to walk in with their script and "walk out" with a completed film.
Economy of Rome | Cinema
There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic "Birth of a Nation" that pioneered the worldwide filming vocabulary that still dominates celluloid to this day. In the early 20th century, when the medium was new, many Jewish immigrants found employment in the US film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B.
Cinema of the United States | Rise of Hollywood
The revolutionary enthusiasm organized and energized all the cinematographic and theatrical activities in Barcelona from August 6 to May 1937. The project began by standardizing wages for all job types in the branches of the film industry. Sickness, disability, old age and forced unemployment benefits were established permanently. This whole system employed about 6,000 people and supported 114 cinemas, 12 theaters and 10 music halls during that period. An opera company was even created at the Tivoli theater, in an attempt to bring the genre closer to the general public. It can be said that it was one of the sectors that functioned the best economically, even building some cinemas such as the "Ascaso" (today "Vergara").
Spanish Revolution of 1936 | Film industry
OCIC first meeting was held at St. Mary's Cathedral in Peliyagoda. He was appointed as the first National Director of the OCIC (later known as SIGNIS). Father Poruthota's objective was to establish a system of appreciating the talents of the artists representing the various sectors of local cinema which contributed to the development of good cinema. As a first step, a special ceremony was held to honor the Catholics who contributed to cinema from 1947 to 1972. The ceremony was held on 21 December 1971 with the participation of Cardinal Thomas Cooray, Archbishop of Colombo. In 1973, Ceylon Film and Critics and Writers Association began awarding critical awards to local cinema.
Ernest Poruthota | Work on Cinema
Universities began to implement different forms of cinema related curriculum without, however, the division between the abstract and practical approaches. The "Deutsche Filmakademie Babelsberg" (i.e. German Film Academy Babelsberg) was founded in the Third Reich in 1938. Among the lecturers were e.g. Willi Forst and Heinrich George. To complete the studies at the Academy a student was expected to create his own film.
Film studies | History
A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkaiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court. R. Venkaiah, flush with funds, in 1912 built a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments.
Cinema of South India | Early beginnings during the "Madras Presidency"
The cinema's manager was Eloi Joseph Lanoy, who became mayor of Aniche in 1910. When Splendid Cinéma withdrew in 1911, the management worked with Excelsior-Rehauss and Rex Cinema to continue showing films. On 21 December 1912, the management responded to a decree to separate the projection room from the seating, and to attach the seats to the floor. Louis Pol took over as a manager. The cinema was renamed to L'Idéal Cinéma.
L'Idéal Cinéma Jacques Tati | 1900–1903: Construction and opening
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.
Indian Cinematograph Committee | Background
On 28 January 1991, Mayor and Rene Gumez, the secretary general of the Union des Syndicats CGT des Verriers d'Aniche, signed a lease agreement to build a Cultural Center including a new movie theater. With manager Alain Moret, they commissioned artist and sculptor to design a cultural establishment including a new cinema. On June 3 1995, the Centre culturel Claude-Berri is inaugurated. It's made up of the Ideal Cinema Jacques Tati cinema room and the Louis Pol multipurpose room. On 31 December 2012, the cinema celebrated the arrival of a 3D digital system, as well as new seats and decor.
L'Idéal Cinéma Jacques Tati | 1991–1995: Demolition and construction of a new cinema
Founded in 1937 by Benito Mussolini, the studios were bombed by the Western Allies during the Second World War. In the 1950s, Cinecittà was the filming location for several large American film productions, and subsequently became the studio most closely associated with Federico Fellini. Today, Cinecittà is the only studio in the world with pre-production, production, and full post-production facilities on one lot, allowing directors and producers to walk in with their script and "walkout" with a completed film.
Rome | Cinema
Varunny purchased the first projector and a few movies from railway officer Vincent Paul who bought the setup from a French exhibitor, and had the first showcase in Thrissur, under the banner -Jose Bioscope In early 1907. His first exhibition was in Thekkinkadu Maidan a connection with Thrissur Pooram at the same year. And, he used a manual projector and a tent that could fit around hundred people at a time, showcasing videos of blooming flowers, horse races and the life of Christ with unrelated narrations that nevertheless astounded the crowd. He toured all of south India with Jose Bioscope and eventually established the first electrically operated film projection named Jose Electrical Bioscope, with the advent of electricity, in 1913.
Kattukkaran Varunny Joseph | History of film exhibition
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.
Projection booth | History
The cinema was established in the 1990s, to honour the director David Lean, who was born in the town. It was formed as a small, intimate, art house-style cinema to showcase the best of British film and World cinema as well as classic re-releases and recent favourites. It was established in a part of the 19th century Town Hall which had previously been used as a local studies library. It closed as a result of council funding cuts in 2011, although films continued to be shown under the David Lean banner at the Fairfield Halls and the Spread Eagle pub.
David Lean Cinema | History
In Paris, in the Latin Quarter just prior to 1950, "ciné-clubs" (film societies) were gaining prominence. Godard began attending these clubs—the Cinémathèque Française, Ciné-Club du Quartier Latin (CCQL), Work and Culture ciné club, and others—which became his regular haunts. The Cinémathèque had been founded by Henri Langlois and Georges Franju in 1936; Work and Culture was a workers' education group for which André Bazin had organized wartime film screenings and discussions and which had become a model for the film clubs that had risen throughout France after the Liberation; CCQL, founded in about 1947 or 1948, was animated and intellectually led by Maurice Schérer.
Jean-Luc Godard | Film criticism
CICAE was founded in 1956 by the national art house cinema associations of Germany, France, the Netherlands and Switzerland as an international lobby or pressure-group in order to support the art cinema sector and to protect the cinematographic diversity against the supremacy of so-called commercial filmmaking. Since then it unites about 3000 independent as well as already nationally associated art house cinemas, 15 festivals and a certain number of film distributors from approximately 30 countries from all over the world in an international umbrella association. Detlef Rossmann, member of the German art house cinema association "AG Kino - Gilde deutscher Filmkunstkinos e.V.", officiated as CICAE's president from 2002 to 2019.
International Confederation of Art Cinemas | History
Before World War I French cinema had a big share of the world market. Hollywood used the collapse of the French production to establish its hegemony. Ever since it has dominated world film production not only economically but has transformed cinema into a means to disseminate American values. In Germany the Universum Film AG, better known as UFA, was founded to counter the perceived dominance of American propaganda. During the Weimar Republic many films about Frederick II of Prussia had a conservative nationalistic agenda, as Siegfried Kracauer and other film critics noted. Communists like Willi Münzenberg saw the Russian cinema as a model of political cinema.
Political cinema | Cinema, World War I and its aftermath
Apart from the Ufa-owned cinema chain, the cinemas were not nationalized. The majority of the 5,506 cinemas that existed in 1939 within the so-called "Altreich" (the "Old Reich", i.e., Germany without Austria and the Sudetenland) were small companies run by private owners. However, a large number of rules and regulations issued by the "Reichsfilmkammer" limited the entrepreneurial freedom of the cinemas considerably. For instance, it was mandatory to include a documentary and a newsreel in every film programme. By a law of 1933 (the "Gesetz über die Vorführung ausländischer Bildstreifen vom 23. Juni 1933") the government was also entitled to prohibit the presentation of foreign films.
Nazism and cinema | Cinemas
The Volta Electric Theatre (later renamed the Lyceum Picture Theatre) was a film theatre in Dublin and was Ireland's first dedicated cinema. The site at 45 Mary Street was later demolished and is occupied today by a department store. In the early 1900s, demand for moving pictures was fierce and cinemas were springing up all over the world. After visiting Trieste, the writer James Joyce was determined to bring a cinema to Ireland, so after receiving the backing of his Italian friends, he set up the Cinematograph Volta on Mary Street. It opened its doors on 20 December 1909. The opening night featured an eclectic program, with the comedy "Devilled Crab", the mystery "Bewitched Castle", "La Pourponièrre", "The First Paris Orphanage", and "The Tragedy of Beatrice Cency".
Volta Cinematograph | Introduction
SCMS was founded in 1959 as the Society of Cinematologists. It became the Society for Cinema Studies in 1969. It added "media" to its name in 2002 to account for the work of its members outside of the film studies discipline.
Society for Cinema and Media Studies | History
On that day, in the Salon Indien, found in the cellar of the Grand Café in Paris, the Lumière brothers offe¬red the first paid public projection with an instrument of their own invention the cinematograph. From that moment onwards we move into the first years of cinema, beginning with the magician Georges Méliès, who discovered its illusory possibilities through the introduction of image manipulation. The section also looks at the rapid spread of cinema throughout the world, its technological evolution, how it began to create its own language until becoming a new art and a new industry, and, finally, how starting with the 1930s it would be faced with a competitor: television.
Cinema Museum (Girona) | Permanent Exhibition
In 1910, he established "Esplanade Ten House" to exhibit his films. In 1912, he constructed "Gaiety Talkies" on Mount Road, the first Indian-owned cinema theatre in Chennai. He later constructed "Crown Theatre" on Mint Street and "Globe Theatre" (later renamed as Roxcy) in Purasawalkam, Chennai. He also exhibited American and British films. Some of the first movies shown in his theatres were "Million Dollar Mystery", "Mysteries of Meera", "Clutching Hand", "Broken Coin", "Raja's Casket", "Peral fish", and "Great Bard".
Raghupathi Venkaiah Naidu | Theatre owner
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.
Indian Cinematograph Committee | Introduction
Before World War I Italy's cinema was mostly dominating on a national level as a result of outstanding support from exports and the local market. Italian cinema essentially began with the introduction of moving pictures in the late 1890s, in fact, the first Italian film ever was a film produced during 1896 that showcased the Queen and King's visit to Florence. The Avant-garde movement began in 1911 with experimental works and innovations on film and only a few films have been preserved form that time including "The Last Days of Pompeii" (1913) directed by Mario Caserini. During 1914, Italian cinema produced 1027 films, whereas a year after during 1915 only 563 films created, almost half the amount of the year prior.
Cinema of Europe | Pre War and post war
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.
Cinema of Europe | Introduction
Initially, Saudi Arabia did not refute the idea of movie theaters and did allow independent improvised cinemas which functioned outside government interference. Similar to many of the other Arab countries, cinema was introduced into Saudi Arabia by westerners, who were working for oil and gas companies in Saudi Arabia, such as Aramco, at the time. This led to the building of projector screens in residential buildings in the 1930s. The cinemas went on to screen Egyptian films of the golden era and in 1959, almost 70% of the films made in Egypt that year, were exported in 16mm film to Saudi Arabia.
Cinema of the Middle East | History of the Industry
Though the brothers approached many independent filmmakers, none were interested in collaborating on the project. They continued looking for a location in Manhattan for over a year, without success. In 1954 they abandoned the idea of the American Film House and with the money they had borrowed for the project started a film society, which they called the Film Forum. Mekas wrote of the period "We showed films at public schools and at Carl Fischer Hall on 57th Street, wherever we could, until we went bankrupt in the middle of the second film series later in the year just in time to start "Film Culture" magazine, the first issue of which came out in December 1954." "Film Culture" was an outlet for anyone who had something to say about film.
Adolfas Mekas | Early years in the United States
In his introduction to the film's DVD, released in 2005, Scorsese explains that he intended the film as a break from the gritty realism for which he had become famous, and sees it as an homage to the musical films of Classical Hollywood. For this reason, he designed the film's sets and storyline to be deliberately artificial-looking. He acknowledges that it is an experiment that did not please everyone.
New York, New York (1977 film) | Box office
In 1973 a group of film students from the Binghamton University Cinema Department looking to create a contemporary and fertile context for their work found The Collective for Living Cinema, an artist-run cooperative that would serve both as an exhibition venue and a center for production and discourse. Above the first program note was a miniature manifesto stating their intention to “overcome the economic, social and political burdens of an art in chains.” Lasting for 19 years, The Collective came to embody the under-defined moment between the canonized generation of “the essential cinema” and the transfiguration of film as “new media” embraced by the institutional hierarchy of the art world and subject to the theoretical, critical and economic tidal forces therein.
Collective for Living Cinema | Formation
Cinema started in Asturies seven months after its first public presentation in París in 1895. The new invention was taken to Asturias during the summer festival in Gijon. On Saturday 8 August 1896 the first film was projected.
Asturian cinema | First projections
The new cinema "Mir" (translating as "world") was opened on February 28, 1958 as a Kinopanorama cinema. In 1960, it was converted into a larger widescreen cinema with 1,220 seats. In 2006 the cinema was again reconstructed, after which it opened as a concert hall for 923 spectators. The last reconstruction was carried out in 2017, after which the world became a concert and entertainment venue.
The world (concert hall) | History
The club showed silent films from their own collections followed by an informal debate about them amongst members. From "Le Cercle du Cinema", Franju and Langlois founded the Cinématheque Française in 1936. Franju ceased to be closely related with the Cinématheque Française as early as 1938, and only became associated with it strongly again in the 1980s when he was appointed as the honorary artistic director of the Cinématheque. In 1937, Franju and Langlois co-founded another less successful film journal titled "Cinematographe" which had only two issues. In early 1940, Franju and Dominique Johansen co-founded another organization to promote cinema called Circuit Cinématographique des Arts et des Sciences which closed on 31 May 1940.
Georges Franju | Early life
In China, in June 2005, an e-cinema system called "dMs" was established and was used in over 15,000 screens spread across China's 30 provinces. dMs estimated that the system would expand to 40,000 screens in 2009. In 2005 the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll-out was completed in 2006. This was the first mass roll-out in Europe. AccessIT/Christie Digital also started a roll-out in the United States and Canada. By mid 2006, about 400 theaters were equipped with 2K digital projectors with the number increasing every month.
Digital cinema | Worldwide deployment
In 1971, a socialist government which sought to overcome the dominance of screen time in Sri Lanka by Tamil and Hindi films came to power in the country. Foreign film domination had resulted in domestically produced films being relegated to 20% of the screen time while foreign films occupied 80% (60% Tamil, 10% Hindi, 10% English). The government which won power had promised to redress this imbalance. It established the State Film Corporation by Act no 47 of 1971, charged with the promotion of national film and giving and making available a wide variety of films to the public. The State Film Corporation (SFC) established a unique credit scheme for film production.
Cinema of Sri Lanka | Government-instituted development and individual achievement (1971–1979); unprecedented surge in yearly admissions
The General Cinema Corporation was founded as a drive-in theater in 1935 by Philip Smith, who had previously owned a small chain of silent film theaters. Smith had chosen to open the chain after noticing the increasing sales of local Massachusetts theatres, and the introduction of films that were able to accommodate a synchronized sound and voice track into their reels. Originally, Smith planned to open indoor theatres, but had decided to open a small number of outdoor theatres instead, but later decided to open some indoor theatres as well. The company did not see much growth until 1939, when World War II started, due to heavy sales of news printed on film.
General Cinema Corporation | History
In 1939 Hall said that the budgets of Cinesound films were usually between £10,000 and £20,000, and estimated that his first fourteen films had earned £350,000 at the box office.
Cinesound Productions | Establishment
The School of Cinema was founded amid the political activism and artistic experimentation of the 1960s. Originally part of the Broadcast and Electronic Arts Department, Cinema faculty such as Jim Goldner successfully made the case to the university that filmmaking was both an art and industry, and that it needed to be housed in a separate Department. In the 1990s, a new facility was constructed, featuring a 2500 square foot shooting stage, greatly enlarging the department's post-production studios and labs, and beginning the transition from analogue to digital processes. A new screening room, the Coppola Theater (FA 101), equipped for both 16mm and 35mm projection and featuring a Dolby sound system, was named for former Dean of Creative Arts, August Coppola, whose efforts were primarily responsible for funding the new building.
Cinema Department at San Francisco State University | History
The result of his study, "" (1947), traces the birth of Nazism from the cinema of the Weimar Republic and helped lay the foundation of modern film criticism.
Museum of Modern Art | Film
Determined to establish a public film library in Japan, she helped establish the Japan Film Library Council to preserve films as "cultural properties". This enabled the screening of 131 Japanese classical films at the Cinémathèque Française in 1963.
Kashiko Kawakita | Biography
Charles Le Carvennec, known as "Charlot", began his working life as a carpenter. The economic crisis of the 1930s, and the corresponding unemployment, forced him to change careers. Tn 1933, he decided to open a small tavern near Trestel beach. The following year, he added a dance floor. Soon after, a team of projectionists employed by a large German firm arrived for a showing of Children of Paradise. Charlot decided to purchase a projector (utilizing Pathé Nathan 17.5 mm film, the then-popular format). Thus began 30 years of outdoor cinema in the area. After the Liberation, Charlot exchanged his old unit for a 16 mm "Debrie" projector.
Trévou-Tréguignec | Cinema "Charlot"
"Cinema Impero" was the largest movie theater constructed in Asmara during the last period of the Italian colony of Eritrea. It was named after the conquest of Ethiopia by Benito Mussolini and his proclamation of the Italian Empire. The building still houses a cinema today, and it is considered by the experts one of the world's finest examples of Art Déco style building. "Cinema Impero" is still structurally sound after 70 years, escaping damage during the several conflicts that have affected the Horn of Africa over the past century.
Cinema Impero | History
In the next ten years, as movie revenues exploded, independent promoters and movie studios (who owned their own proprietary chains until an antitrust ruling in 1948) raced to build the most lavish, elaborate, attractive theaters. These forms morphed into a unique architectural genre—the movie palace—a unique and extreme architectural genre which boasted a luxurious design, a giant screen, and, beginning in 1953, stereophonic sound. The movie chains were also among the first industries to install air conditioning systems which gave the theaters an additional lure of comfort in the summer period. In 1931, a seat with a pivoted back was designed to allow people to remain seated while other patrons easily passed in front of them.
History of cinema in the United States | Post 1920s: the modern era
Soon after, other cinema theatres in Tehran closed down. Movie theatres sprang up again in 1912 with the help of Ardeshir Khan, an Armenian-Iranian. In 1904, Mirza Ebrahim Khan Sahhafbashi opened the first movie theater in Tehran. The cinematographic camera was introduced to Iran in 1929, as yet another tool of modernization. After Mirza Ebrahim Khan, several others like Russi Khan, Ardeshir Khan, and Ali Vakili tried to establish new movie theaters in Tehran. Until the early 1930s, there were little more than 15 theatres in Tehran and 11 in other provinces. In 1925, Ovanes Ohanian, decided to establish the first film school in Iran.
Cinema of Iran | Early Persian cinema
Soon, he tied up with Path, a well-known pioneering film-producing company, and imported projectors. This helped new cinema houses to sprout across the presidency. In later years, he produced talkies and also built a cinema in Coimbatore. To celebrate the event of King George V's visit in 1909, a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously.
Tamil cinema | Early exhibitors
To remain open, today the theater Dante plays an assiduous work as a movie theater, in order to propose periodically events and other kind of shows ("like operettas, concertos and theatre season, and other live events"). As a movie theater, uses the same policy, trying to offer various types of entertainment for all categories of users. The cinema was one of the first in the province in the 90s install the multi-channel digital audio, offering to the audience the sounds of Dolby Digital and DTS. The digitization process ends in 2011, when it was purchased the professional digital projector, that can offer to the audiences, 3D feature presentation movies and other stereoscopic contents.
Teatro Dante (Sansepolcro) | Recent developments
The term "film club" appears for the first time in April 1907 with the creation of 's "Film club." Located at the 5 Montmartre boulevard in Paris, it is to preserve and place at the disposal of its members all the cinematographic documents and productions existing. It is also equipped with a room of projection. The Italian film theoretician Ricciotto Canudo who had been living in Paris since 1921 founded one of the first film societies. After the first world war the film director and film critic Louis Delluc founded one of the first film societies and the important film magazine "Cinéa."
Film society | France
The influence of films and cinemas on Arabs was due to the effect of the West on the Arab World, therefore, natives were not the owners for the movie theaters that are located in their own lands. The first cinema in Egypt was built by the French company Pathé in 1906 in Cairo, aside from the cinématographe that is owned by the Lumière Brothers in Alexandria and Cairo. In 1908 a cinema was opened in Jerusalem that is called Oracle by the Egyptian Jews. Where in Tunisia they had the Omnia Pathé which did not launch before 1907. In 1908, in some of Algerian cities, the cinemas were built in places depending on the population of Europeans who live in Algeria, like Oran for example.
Arab cinema | Movie theaters in the Arab world
The institute was founded in 1933. Despite its foundation resulting from a recommendation in a report on "Film in National Life", at that time the institute was a private company, though it has received public money throughout its history—from the Privy Council and Treasury until 1965 and the various culture departments since then. The institute was restructured following the Radcliffe Report of 1948 which recommended that it should concentrate on developing the appreciation of filmic art, rather than creating film itself. Thus control of educational film production passed to the National Committee for Visual Aids in Education and the British Film Academy assumed control for promoting production.
British Film Institute | History
Founded in 1937 by Benito Mussolini, the studios were bombed by the Western Allies during the Second World War. In the 1950s, Cinecittà was the filming location for several large American film productions, and subsequently became the studio most closely associated with Federico Fellini. Today Cinecittà is the only studio in the world with pre-production, production, and full post-production facilities on one lot, allowing directors and producers to walk in with their script and "walk out" with a completed film.
Culture of Rome | Cinema
The Center national de la cinematographie was created on October 25, 1946, to help organize and finance the French film industry. The CNC made several efforts to help support the French cinemas, including the tax program introduced in September 1948 (as discussed in the previous section). Franco-Italian agreements were signed to increase coproduction between the two countries. These coproduced films began to flourish after 1946. The Blum-Byrnes loan also awarded the French less than they wanted, and less than the British had received, further complicating Franco-American relations. Overall, the French saw the agreement as a threat to their film industry and acted to mitigate the agreement's effects.
Blum–Byrnes agreement | French reception
In 1925, actors Armand Tallier and Laurence Myrga choose the small rue des Ursulines to establish a cinema to specialize in avant-garde films and catered to art house audiences. Thus, the first avant-garde cinema in France was born, a precursor to the now established system of "Art et Essai." The cinema opened January 21, 1926. Films by André Breton, Man Ray, Fernand Léger, René Clair and Robert Desnos were shown.
Studio des Ursulines | Founding