| A Yankee in a Texas Drive-in
young projectionist and his buddy pay their dues in a dusty Texas town's Drive-in.
Originally published in The
American Reporter and in
| About CinemaScope
2 No. 11
An interesting primer
on the history of the wide screen process that is the father of today's wide screen
systems. Also, a side bar on that most famous of logo themes of all time, the 2oth
Century Fox Fanfare with CinemaScope Extension, composed by Alfred Newman.
Of Shorts and Commercials
Vol. 2 No. 12
What happens when greedy exhibitors not only sell the
seat you are sitting in to you, but sell it to advertisers as well, in
the way of annoying, crass screen commercials before the film.
What a Wonderful Lithograph
No one would consider looking at a Xerox copy of a
Monet painting as anywhere near the kind of experience one would have
seeing the real thing. But watching a movie on TV is just about as
Pass on the Magic Vol. 2 No. 16
As a youngster we were all at one
time or another enthralled by a film. There are sons and daughters, nephews and
nieces, and grandchildren who need to be taken to the great classic movies -- in a
Theatre, not on a TV set -- so we can pass on that same cinema magic.
Wide Screen Scope On TV?
3. No. 3
What terrible thing
happens when a movie image that is twice as wide as it is high is forced into the
television screen ratio that is half that width? Well, it's not pretty. Here
the editor rants long and hard so you make no mistake about what you're not
seeing on the small TV screen.
My Summer Vacation at the Drive-In
3 No. 6
Our director talks
about that mystical of all movie experiences, the Drive-In Theatre and recounts an evening
under the stars while vacationing in the wilds of Michigan this summer.
Fantasia: 50th Anniversary is Something to Celebrate Vol. 3
Still perhaps the crowning
achievement of Walt Disney that was never equaled. This essay leaves no doubt that
the editor thinks it is as important to animation as CITIZEN KANE is to film noir.
New High Definition CinemaScope 55 Lenses Acquired Vol. 4
Lenses created for a
process that was used in only two features films are installed to produce demonstrably
clearer, sharper CinemaScope/Panavision images on the giant screen.
About Cartoon Violence Vol. 4 No. 2
About cartoon violence.
Short Subjects: I've Never Heard of Any of Them Vol. 4 No.
The dirty little secret
about how cinema chains refuse to exhibit all those wonderful shorts that win Academy
Awards every year but that no one has ever heard of, or worse, seen.
And You'll Never Ever Grow Old
An essay on the way animated
features weave their way into childhood memories and help to curb our cynicism and allow
us to open up, at least for a time, to imagination.
Let the Movie Customer Beware
4 No. 13
We are incensed when we find the
gas station has been fixing the pumps or when we've been sold defective merchandise that a
manufacturer knew was faulty. Some exhibitors are showing films in mono sound that
were produced in full stereo with surround; or they don't replace the xenon lamps until
the picture is dark and lifeless, long after the bulb has reached its rated life -- things
we need to know about a theatre before we plunk down $10 to see a movie.
Fire Of The Images Vol. 5 No. 1
The flammability of celluloid as
a symbol of the spark, the excitement that movies can make in our mind's eye.
An editorial written in conjunction with our engagement of CINEMA PARADISO. Movie
Review also included.
| Naw, Me Scared? Vol. 5 No. 2
Screening a film like THE SILENCE
OF THE LAMBS can be a fright for the audience, but does anyone ever consider what happens
to the mind and soul of the poor projectionist isolated and alone up in the shadowy
projection booth? An editorial written in conjunction with the hair-raising THE
SILENCE OF THE LAMBS. Movie Review also included.
| In Short There's Simply Not, A
More Congenial Spot
Vol. 5 No. 3
This essay laments the passing of a
unique cinema experience: the Movie Palace as well as the Spectacular Hollywood
Musical. Also an explanation of the "RoadShow" engagement. An
editorial written in conjunction with our engagement of CAMELOT. Film credits