"'It's very significant indeed, it's the world's first natural colour film and the fact that it's a Brit who invented it is fantastic.'
Bryony Dixon, curator of silent film at the British Film Institute (BFI) National Archives, said the 1902 footage was of international significance for the cinema world.
The films were made by Edward Raymond Turner from London who patented his colour process on 22 March, 1899. Some of the footage features Mr Turner's children in the garden of their home in Hounslow."
(12 September 2012, BBC News)
The world's first colour moving pictures dating from 1902 have been found by the National Media Museum in Bradford after lying forgotten in a tin for 110 years.
"Swiss engineer Jacques Piccard and Navy oceanographer Don Walsh descended to the bottom of the Mariana Trench, seven miles below the sea's surface. It's the lowest point on Earth, and deeper than any human had gone before - or since.
Above is a new video chronicling the explorers' journey, weaving animation with audio from an interview granted by Piccard in 2005, three years before his death. The interview was conducted by New York writer Victor Ozols, but went unpublished and eventually ended up on his blog. There it was found by German design student Roman Wolter, who made the film."
(Dave Mosher, 21 January 2011, Wired Science)
"The story of Electronic Music, from the sound experiments of the 1950s through the digital revolution to today, is one of invention and innovation. Developed with a team of electronic musicians, our exhibition charts this history with examples of music making technology spanning more than 50 years. ...
The story begins with the BBC Radiophonic Workshop and Electronic Music Studios (EMS), two organisations that broke musical boundaries in the postwar years. Objects from this era include the EMS VCS3, the first portable synthesiser.
Also on display is the Oramics Machine, a revolutionary music synthesiser that was created in the 1960s by Daphne Oram, founder of the Radiophonic Workshop. Daphne created this visionary machine that could transform drawings into sound, and it was recently acquired by the Science Museum in co-operation with Goldsmiths, University of London."
(The Science Museum, 2011)
Fig.1 "Oramics to Electronica", Directed, Produced, Filmed and Edited by Jen Fearnley & Nick Street, Commissioned by The Science Museum, London.
Fig.2 "Daphne Oram", Mick Grierson, Director of Creative Computing at Goldsmiths, University of London, and Director of the Daphne Oram collection.
"Arts Alliance Media has announced an exclusive digital distribution agreement with Montreal-based DigiScreen Corporation, the Pillar Group and the Royal Opera House. Under the terms of the agreement Opus Arte, the opera's TV and DVD production company, will to bring ballets, operas and dance from the Royal Opera House and other international performing arts companies to cinema screens across Europe. The deal encompasses theatres in the UK and Ireland, France, Spain, Portugal, Italy, Germany, Austria, Switzerland, Benelux and the Nordic territories. Filmed in high definition, the screenings will be both pre-recorded and live, projected in digital cinema, with 5.1 surround sound. The inaugural screenings will include the first cinematic performances of ballet, with The Royal Ballet's award-winning production of Frederick Ashton's Sylvia with Darcey Bussell in the title role, and The Royal Opera's production of Le Nozze Di Figaro directed by David McVicar. Other upcoming titles to be screened from the new series will include Sleeping Beauty, Carmen, Romeo and Juliet as well as Cavalleria Rusticana and Pagliacci from Teatro Real in Madrid. Further ballet and opera performances from the extensive Opus Arte relationships will be announced in due course. AAM will be responsible for cinema exhibitor booking negotiation, digital print services, security and tracking, and live event project management, as well as comprehensive marketing and public relations support, in collaboration with Opus Arte, ROH and DigiScreen. Opera in cinemas has recently proved to be a success in Europe for both The Metropolitan Opera and the Arts Alliance Media-distributed La Scala series, with many saying that the experience is like having the best seat in the house and at a fraction of the cost. Cinema audiences are able to see the performers, the costumes and the sets up close and personal, at their convenience, in their local cinema. The Royal Opera House is embracing this new opportunity as part of its audience engagement strategy, committed to reaching wider and more diverse audiences around the world, as well as opening the minds of people to new creative experiences. The agreement signifies how digital cinema is dramatically changing the cinema-going experience, enabling audiences to enjoy alternative entertainment previously only accessible in live venues. Prior to digital cinema projection technology, the high cost of 35mm prints did not allow this type of content to be seen in cinemas. Now, with affordable digital prints and satellite distribution technology, content can be programmed widely into cinemas. In the UK, Odeon and Cityscreen Picturehouse cinemas have initially signed up to exhibit. The first screening will be Le Nozze Di Figaro later this month in thirteen Odeon cinemas, with Picturehouse showing in up to twenty cinemas in June. Other cinema exhibitors across the UK and Europe will be announced in early summer. Paul Chesney, director of business development for AAM says, 'Digital cinema is enabling cinemas to become vibrant cultural entertainment centres, as well as movie houses. We are delighted to be working with the Royal Opera House, Opus Arte and DigiScreen and thrilled to be bringing these stunning performances to cinema exhibitors across the UK and Europe.' In a joint statement Mark Hooper, CEO of DigiScreen and Michael J. St. Clair, Chairman of The Pillar Group, said, 'We are pleased to be working with Arts Alliance Media, one of Europe's leading specialists in implementing the digital cinema deployment, to bring this great content to the Home Market. AAM's local knowledge will be of significant value to us as we work to fulfill the wishes of the ROH and Opus Arte to bring this content to the farthest corners of the UK. With AAM as our partner, we will bring artistic content and independent film from around the world to the European cinemas. The audience is sure to benefit from this relationship.' Tony Hall, chief executive of the Royal Opera House and executive chairman of Opus Arte, says, 'I am excited by this pioneering new direction for the Royal Opera House at the start of the 21st Century. Being at the forefront of the burgeoning digital platform allows us to bring brilliant ballets and operas from the world renowned Royal Ballet and Royal Opera to cinema screens all over the globe. As Opus Arte film more at the ROH, and at other great opera and dance companies, we will have an unbeatable line-up of cinema entertainment for exhibitors around the world. Having experienced the performances first hand, I cannot emphasize enough what an exhilarating experience these screenings live or recorded are, the high def digital technology coupled with Surround Sound is remarkable.' Hans Petri, managing director of Opus Arte says, 'In order to recreate the excellence of the stage performances in a cinematic environment, we have been highly selective about our choice of partners. DigiScreen, The Pillar Group and Arts Alliance Media are market leaders in providing top quality alternative content to cinema chains. We are confident we can provide audiences with the very best digital experience. There is so much more to look forward to.'"
(Digital Cinema Report, 2008)
"Dziga Vertov's Man With A Movie Camera is considered one of the most innovative and influential films of the silent era. Startlingly modern, this film utilizes a groundbreaking style of rapid editing and incorporates innumerable other cinematic effects to create a work of amazing power and energy. Film pioneer Dziga Vertov uses all the cinematic techniques available at the time - dissolves, split screen, slow motion and freeze frames."
(Moving Image Archive)
Fig.1 Dziga Vertov (1929). 'Man With A Movie Camera', VUFKU (The Ukrainian Photo and Cinema Administration).