Sentences with phrase «mm projector in»

The sound on Islands is not quite as crisp and clear as the rest of the set: in the beginning, it almost sounds like it's playing out of the speaker of an old 16 MM projector in biology class.

There's a scene midway through the film where the Browns gather around an old 16 mm projector in Mr Gruber's shop and Paddington, entranced by the warm glow emanating from it, steps forward and walks straight through the screen into a world far removed from the drab, drizzly place he has come to call home.

Not exact matches

There aren't many bright spots in Lovelace, although one is Amanda Seyfried's intoxicating smile, and another is the retinal insult delivered by a 16 mm projector flaring out at the audience during the movie's opening moments, and which feels like an accusation.

As one would hope, there will definitely be special IMAX 70 mm film showings at the few remaining «real» IMAX theaters, but they will be in 3D with dual projectors, so this will still be pushed as 3D.

In the golden age of the late Sixties, no film commentary of any sort reached most of the households in most of these markets (although faculty members on the local campus knew who Kael was, and huddled over the glow from their 16 mm projectors like monks in the Dark Ages treasuring manuscripts from far landsIn the golden age of the late Sixties, no film commentary of any sort reached most of the households in most of these markets (although faculty members on the local campus knew who Kael was, and huddled over the glow from their 16 mm projectors like monks in the Dark Ages treasuring manuscripts from far landsin most of these markets (although faculty members on the local campus knew who Kael was, and huddled over the glow from their 16 mm projectors like monks in the Dark Ages treasuring manuscripts from far landsin the Dark Ages treasuring manuscripts from far lands).

I first saw the film during a Saturday matinee at my local library, which would show movies for kids on a (somewhat) big screen with a 16 mm projector back in the»70s.

A similar change occurred in the 1960s when Cinerama was adapted from the complex three - camera and projector system to the «Super Cinerama» exhibition format based around a single 70 mm projector.

Their 1937 short Lonesome Ghosts is one of the essential building blocks in my love of cinema: I used to own a silent 8 mm cartridge of it that could be viewed by handcranking a to - the - eye projector, and I unwittingly taught myself persistence of vision through bored frame - by - frame dissections of Mickey tiptoeing across the floor and Donald losing his cool.

Pretty quick, a mysterious box turns up in the attic, packed with an 8 mm projector and cans of home movies with benign - sounding titles like «Pool Party,» «Yard Work,» «Sleepy Time,» «Hanging Out With the Family.»

Like the first educational films, some 75 years earlier, there were not enough videodisc players in schools, and also a paucity of good discs that would encourage schools to purchase them and give up their well - entrenched 16 mm films and projectors.

«Stimulators,» as we pimple - faced, hormone - enraged teenagers called them, were nothing more than cheap, plastic steering wheels mounted to desks in a dark room with a 16 mm movie projector.

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In recoil from the picture quality of early tapes, I called for the development of low - cost 16 mm projectors for the home.

1974 - Nintendo developed an image projection system which used a 16 mm ~ film projector, this was put to use in amusement arcades, they exported these to Europe and the United states.

Amalia Pica «s (b. 1978 in Neuquén, Argentina) work explores the problem of communication by setting everyday objects alongside obsolete technologies such as shutter telegraphs, slide projectors, and 16 mm film.

Stan Douglas's 1995 Der Sandmann, a nine minute, 16 mm black and white film uses two film projectors synchronized to play so that their film tracks repeatedly overlap images of events in the same location taking place at different times.

In these works, everyday objects take on uncanny properties, as in Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstagIn these works, everyday objects take on uncanny properties, as in Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstagin Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstagin plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstagin Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstagin which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstage.

Rolls of film or 16 mm projectors often become compositional elements in kinetic sculptures that project sequences of colored light, focusing attention on the idea of movement and rhythm.

Sonic Acts: Vertical Cinema February 20 — 23, 2014 During four consecutive days, ten large - scale commissioned film works by internationally renowned experimental filmmakers and audiovisual artists will be presented on 35 mm celluloid and projected vertically with a custom - built projector in the monumental staircase of the Stedelijk.

McCall's reemergence is marked by revisiting and further developing what began as his «solid light» films made in the early 1970s: installations of hazy, darkened rooms with slow - moving beams of light from 16 mm projectors.

Developed during a residency at Meantime project space in Cheltenham, Bore Song is a 28second 16 mm film looped from projector to ceiling projecting onto float glass.

Leigh Ledare 00 PH, best known for his own disturbing photography, presents a new 16 mm film called Vokzal, shot in Moscow outside three adjacent train stations and presented in the galleries as three looped 16 mm projections replete with the cranking and buzzing of the anachronistic projectors used to screen the film on the walls.

In his process - based film installations, Mauricio Ancalmo often incorporates found machines of various kinds — 16 mm film projectors, a sewing machine, a word processor, turntables, old medical equipment — and pushes these mechanical instruments to their material limit, so that chance, physical breakdown, and erosion become incorporated into his working method without being the end in and of itselIn his process - based film installations, Mauricio Ancalmo often incorporates found machines of various kinds — 16 mm film projectors, a sewing machine, a word processor, turntables, old medical equipment — and pushes these mechanical instruments to their material limit, so that chance, physical breakdown, and erosion become incorporated into his working method without being the end in and of itselin and of itself.

In the piece, a 16 mm film projector suspended from the ceiling and tethered to a turntable below, spins in a circular motion around the room while casting the projected image across the walls of the darkened spacIn the piece, a 16 mm film projector suspended from the ceiling and tethered to a turntable below, spins in a circular motion around the room while casting the projected image across the walls of the darkened spacin a circular motion around the room while casting the projected image across the walls of the darkened space.

2005 The Rape of the Sabine Women, single channel High Definition Video Cliff House, multi channel installation 2003 89 seconds at Alcazar, single channel video based on Las Meninas 2002 Portman's Looking Glass, a 4 projector installation, 150 ft. 16 mm loop Fly Right, a video triptych of Hasidic girls playing dodge ball 2001 Solace, a short film featuring soprano Kati Agocs 2000 China White - Scenes from an exile, three screen panoramic video installation 1999 Ten Women and a Shark or 15 years in 5:30, a short film 1998 Town Topic, three channel panoramic video installation, shot at Town Topic, Kansas City 1997 How to tell the future from the past, 12 channel surveillance video installation in the Serkeci Train Station, Istanbul, Turkey The Whites were a Mystery, 3 channel video filmed in Lomé, Togo 1996 Imagining Beforehand, 3 channel video, NYC 1995 Die Platzsünde, collaboration w / Ricoh Gerbl & Ivana Mestrovic, Rome / NYC 1993 Real Time, single channel video 1989 New Koke: An Advertisement for Real Life, a short pixal - vision video w / Karen Hatch

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