Not exact matches
DuPont, which bought one
of the original
celluloid companies in Leominster, released photos in the mid-1930s showing the daily output
of a father - and - son pair
of comb
makers.
Tacita Dean, in the book accompanying her recent Turbine Hall installation at London's Tate Modern [1], essentially campaigns for the preservation
of celluloid film by rallying film
makers, writers and artists to speak out against the immediate threat
of obliteration
of her (and their) medium.
An actor playing an actor while a film -
maker films him for a
celluloid portrait and an audience looks on — that's the intriguing, if slightly perplexing, basis
of an experimental work by the British visual artist Tacita Dean, featuring the British actor Stephen Dillane, to be staged next week as part
of the Sydney Biennale.