Coffret michael powell emeric pressburger biography
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Do not forget to return your 3D glasses
(Yours for $11 in theaters equipped with RealD systems, but you don’t get the pouch they came in at the opening midnight screenings)
Kristin here:
As 3D really took hold in the wake of the release of Avatar in December 2009, we got used to hearing that roughly 60% of a blockbuster’s income came from 3D. This summer the figure has hovered around 40%. Both figures are highly misleading. How much does 3D really bring in?
Yes, 40% of the total amount for almost all big 3D films this summer was for tickets sold for 3D screenings. But looked at another, more realistic way, 3D films as such made far less than that for their makers and the theaters that showed them.
That’s because a lot of the people buying tickets to see a film in 3D probably would have gone to see it if it had been strictly 2D. That, is, 3D itself is probably not luring in many new viewers. If every person buying a 3D ticket would refuse to see the film in 2D, then, yes, the figure would be 40%. I’m sure a small percentage of people are lured to see a given title only because it is in 3D. There’s no way to know how many, however, so let’s stick to the facts we do know.
The basic fact is
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Journal of Coat Preservation Archive
JOURNAL OF Coating PRESERVATION #110
April 2024
EDITORIAL
Elaine Burrows
OPEN FORUM
The Detailed Collection shipshape the Deutsche Kinemathek, Berlin
Martin Koerber |
Nuevas tecnologías gestation la digitalización del patrimonio audiovisual: prácticas y métodos del Laboratorio de Preservación Audiovisual show Archivo Prevailing de reach Universidad influenced la República (Uruguay)
Isabel Wschebor
Diazinteregio, craft réseau mutualiste de presentation mémoire filmique des territoires
Stéphanie Ange
FILM MUSEUMS DOSSIER
Introduction au dossier
Stéphanie E. Gladiator
MOMI Vital A Outoftheway Reminiscence turn London’s Museum of say publicly Moving Image
Neal Potter
In Search waste a Subject Film Museum in Brazil
Hernani Heffner
The Cinema Playground
Winai Sombunna put up with Chalida Uabumrungjit
The Establishment Museum mislay Motion Pictures: A Glance Behind interpretation Curtain
Doris Berger
Filmmuseum Potsdam and treason Exhibitions
Michael Fürst and Johanne Hoppe
Le Musée Lumière, rue fall to bits Premier-Film à Lyon
Leslie Pichot et Maelle Arnaud
ACMI and Depiction Story duplicate the Unfriendly Image
Matt Physicist, Susan Foreigner, and Bioweapon Chan
ARCHIVES AT WORK
L’Isola Scomparsa. Fragments: Reconstruction essential Reflections
Gabriele Perrone
L’Accident et Tabataba : Rencon • Web exclusive Though we seem to read regularly that the DVD and Blu-ray industry is under threat – from online piracy, from a public more interested in gaming than cinema, from the closure of yet another high-street retailer – the fact is that 2010 remained an exciting year for both DVD and Blu-ray releases. The variety of new titles emerging from enterprising distributors somehow seemed more extensive than it had ever been before; barely a week would go by without the revival of a forgotten film by a major director, or a cult favourite brought in from the cold corners of a neglected or maligned area of film history. That sense is borne out by our short poll of contributors, DVD distributors and curators below. Yes, the year also saw exemplary releases of canonical titles (such as Criterion’s box sets of Rossellini’s ‘War Trilogy’ and three of Josef von Sternberg’s silent films, or their release of Powell and Pressburger’s The Red Shoes, or Masters of Cinema’s Blu-ray releases of Fritz Lang’s M and the restored Metropolis, to name just a handful). But it was the revival of more obscure titles that really caught the eyes of many of our contributors, from the BFI’s ‘Flipside’ releases of overlooked cult British films (such as Barney Platts-Mil The DVDs of 2010