From Russia with Love 1963
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cinema
Also known as 'The X-Ray Fiend', this comedy by G.A. Smith combines two very recent innovations: Wilhelm Roentgen's discovery of X-rays in 1895, and Georges Méliès' accidental realisation of the special-effects potential of the jump-cut in 1896. The central couple is played by the Brighton comedian Tom Green and Smith's wife Laura Bayley, and we know that they were filmed in October 1897 from Smith's cashbook, now preserved in the BFI National Archive. Michael Brooke
All titles on the BFI Films channel are preserved in the vast collections of the BFI National Archive. To find out more about the Archive visit http://www.bfi.org.uk/archive-collections
Source: https://www.youtube.com/watch?v=3gMCkFRMJQQ
The General
Also known as Le mecano de la Generalin France : [Roaring Rails]
(1926) American
B&W : Eight reels / 7500 feet
Directed by Buster Keaton and Clyde BruckmanCast: Buster Keaton [Johnny Gray], Marian Mack [Annabelle Lee], Glen Cavender [Captain Anderson], Jim Farley [General Thatcher], Frederick Vroom [Southern general], Charles Smith [Annabelle’s father], Frank Barnes [Annabelle’s brother], Joseph Keaton [Union general], Mike Donlin [Union general], Tom Nawn [Union general], Jackie Lowe, Jackie Hanlon, Frank Agney, Ross McCutcheon, Charles Phillips, Jack Dempster, Red Thompson, Anthony Harvey, Ray Hanford, Tom Moran, Bud Fine, Jimmie Bryant, Al Hanson
Buster Keaton Productions, Incorporated, production; distributed by United Artists Corporation. / Produced by Joseph M. Schenck. Scenario by Buster Keaton and Clyde Bruckman, from the adaptation by Al Boasberg and Charles Smith of the short story “The Great Locomotive Chase” by William Pittenger. Costume design by J.K. Pitcairn and Fred C. Ryle. Makeup by Fred C. Ryle. Assistant director, Harry Barnes. Technical direction by Fred Gabourie. Lighting effects by Denver Harmon. Cinematography by J. Devereaux Jennings, Bert Haines and Elmer Ellsworth. Special effects by Jack Little. Edited by J. Sherman Kell and Harry Barnes. Presented by Joseph M. Schenck. / © 22 December 1926 [LP23453]. Premiered 22 December 1926, in Los Angeles, California. Released 5 February 1927. / Standard 35mm spherical 1.33:1 format. /
Exteriors were shot on-location near Cottage Grove, Oregon.
The cinema was introduced into Spain in May 1896 by Alexandre Promio, an agent of the Lumières who had arrived the month before. The programme he presented contained titles shown in Paris on 28 December 1895 and was given in the Hotel de Rusia, 34, Carrera de San Jerónimo, Madrid. This was the first screening for which admission was charged (at one peseta) and it ran continuously from 10 a.m. The date was 14 May, although there had been a private screening for the press the day before, May 13. Both dates are found in official records of the early cinema in Spain, although the one conventionally marked as the anniversary of the first public and commercial screening is May 14.
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1950* 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 | ||
* Source: M. Gyory and G. Glas, Statistics of film industry in Europe, Bruxelles 1992 and MEDIA Salles, European Cinema Yearbook1994, Milano 1994. |
The Jimenos went on putting on shows in their fairground booth in Zaragoza. To provide a crowd-pulling supplementary feature to their usual programme, on 11 October Eduardo Jimeno Correas shot what is officially recognized as Spain's first film, a reportage of the "Exit from the Midday Mass in the Pilar Cathedral in Zaragoza". On the following Sunday, 18 October, he filmed the same sequence again. The film was shot with the same device that projected it some hours afterward, following a rushed development process.
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1970* 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 | ||
* Source: M. Gyory and G. Glas, Statistics of film industry in Europe, Bruxelles 1992 and MEDIA Salles, European Cinema Yearbook1994, Milano 1994. |
Consolidation for filmmaking in Madrid came with Patria Films, founded in 1915 by Julio Rousset. Even the Nobel Prize-winning dramatist Jacinto Benavente was involved in production, as well as directing and providing scripts. 1915 also saw the foundation of the Mutua de Defensa Cinematográfica Española, aimed at solving the conflicts within the fledgling industry.