[…]t going on. Yes, this is where I was. And then because we had quite a lot more interview than we'd used I did the bits we used already and with film, archive film, made a film programme called Victorian memory, which went out first on 26th of February 78. And Huw was the narrator didn't initially he[…]
[…]'d love to see that I only saw the rushesMichael Legard 41:09 that the Guardian copy is with Barry Carr, who runs the British strong oils archive, if you ever want to see it.John Hargreaves 41:16 Anyway, it was john Taylor, who's who's spotted this difficult trap actually had[…]
Christine WhittakerHistory Project 1As a rare insight into the wonderfully diverse career Christine Whittaker carved out for herself in the world of archive – and beyond – we re-visit an interview she gave to the History Project eight years ago in Puglia, Italy. Her ‘inquisitors’ were Sue Malden and[…]
[…]. Yes. And I believe it's still in the lending library. Is it? Yes, yes. For as long as the rails got a lot. Yes. Yes. Certainly at the National Film Archive.Edward Williams 18:52 Yeah. Anyway, what it was an interesting see that I did, I'm sure you went to it, because you got to it beca[…]
[…] mobility of the Spacemaster rig. I’m glad to say that prints of Royal Review are still held at the National Film Theatre, and also the National Film Archive, and it's shown at the National Film Theatre from time to time. In America at the time of the Coronation, mid-1953, the 3-D boom was stil[…]
[…] As Adams recalled, Janet McBain (then curator of Scottish Screen Archive) spoke out in a lively post- screening discussion, ‘stating […]
[…] up to 70 Millimetre if you use it, but I mean, the the actual, most films are now shot with a view to a television sale afterwards, even features? They're all shot once inside . So you can sell it to the small box later on. And therefore, I think one of the sadnesses and I think I one I[…]
[…]have been Gerald Beadle, I don't think it was Gerald but it could have been Gerald. Somebody has presented the definitive version of that film to the archive. Because I was doing a little sort of ad hoc thing for them and I was approached by the number one man of the archive, not the director of the[…]
[…]ally watch anenormous amount of the silent classic films that were on 9.5 at that time. MARTIN SHEFFIELD: The strangest thing, talking to some of our archive friends, that a lot of the British musicals from the [nineteen] thirties still only survive on 9.5. Some, even the short ones.NORMAN J. WARREN[…]
