John produced all seven editions of the ACOFS 16mm Catalogue (two were in conjunction with the National Library of Australia) and the first Catalogue of the NLA Film Study Collection (with Andrew Pike).
Set in New York during 1953-1957, the film faithfully recreates six lost fetish/bondage 16mm featurettes she did for Irving Klaw (played by Dukey Flyswatter).
The film Between Us (1989, 37 mins, 16mm) played in film festivals throughout Australia, winning 4th Best Film at the St.Kilda Film Festival, and being nominated for Best Short Fiction at the Dendy Awards, Sydney Film Festival.
On February 16, 1954, the Camel News Caravan became the first news program broadcast in color, making use of 16mm color film.
While attending California Institute of the Arts from 1971-76 in the Film (BFA) and Art (MFA) schools, Chris was extremely prolific, in particular producing about forty 16mm and 35mm films, in addition to assisting artists Robert Nelson, John Baldessari, and Jack Goldstein in the production of some of their films.
Using newly developed silent 16mm film cameras he created a new, intimate style of biographical film beginning with Double Concerto in 1966, featuring the collaboration of Vladimir Ashkenazy and Daniel Barenboim.
Though he finished his first 16mm film, Wild Gunman, in 1978, he had explored his (rather Situationist) desires to eradicate the borderlines between fine and popular art, public and private imagery, the political and the purely aesthetic in several film and photo-essay projects, notably Flick Skin (1977), a Super-8 film that Baldwin made while living in the projectionist booth at a porn theater.
As a present for completing the SSC examination, Nihalsinghe's father veteran journalist D.B Dhanapala presented him with a 16mm Bolex cine camera.
The film, entitled Two Headed Cow, was eventually completed using a recovered VHS version of the original 16mm black and white footage, edited together with new interviews with Dexter, detailing his life and career, as well as performances in and around Los Angeles and interviews with Jack White, Exene Cervenka of X, Cat Power and Neko Case.
After law school, he began his career at United Artists, first becoming head of the 16mm nontheatrical film rental division, then working on the formation of United Artists Classics, the first major studio-owned, art house division—and the model for today's Fox Searchlight and Sony Pictures Classics.
He also learned the essentials of filmmaking by shooting 16mm surveillance footage of demonstrations and riots intended for screening to magistrates in court.
Balch asked Michael Gough to base his performance on Bela Lugosi, screening him a 16mm print of The Devil Bat, in which Lugosi plays a mad, perfume manufacturer.
It Wasn't A Dream, It Was A Flood is a 1974 autobiographical, 16mm short film about poet Frank Stanford, made by Stanford and his publisher, Irv Broughton.
Les Palabres de Mboloko were a series of short 16mm color "animated cartoons for Africans" produced in the Belgian Congo by the priest Father Alexandre Van den Heuvel during the 1950s.
Unfortunately, Watt left shortly afterwards, and Grigsby was then offered a job as a studio cameraman, which by his own admission was very dull, but gave him a chance to purchase his own 16mm Bolex camera.
This short film in color, with some parts in just black and white, was originally released in a 16mm format by the British Film Institute Production Board.
The theatrette was initially fitted with 35mm arc projectors, but was later converted to 16mm, initially with two Australian made Harmour & Heath units then later with four Eiki projectors, two complete with CinemaScope anamorphic lenses projecting onto a 3.6 metre screen.
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His first films, none of which survive, were shot in 35mm, but he soon went to 16mm format becoming a dedicated fan of the Swiss made Paillard Bolex cameras.
Pro and Con is a 1993 9 minute 16mm short animated film produced, directed and animated by Joanna Priestley and Joan Gratz using drawings on paper, pixillated hands and object animation.
Despite being rejected from the University of Texas' film school due to poor academic promise of the Arts, Robert Rodriguez created his first 16mm short film Bedhead which opened many doors for him.
Finance was provided almost entirely by tyre dealer Bob Jane and it was shot on 16mm.
Filmed in 16mm on a shoestring budget, the crew included Paul Josephson on camera and lighting, Craig Reynolds and Jay Cassidy on camera, and Jon Duff on sound recording.
The Tree in a Test Tube is L&H's only known surviving color film, shot in Kodachrome on 16mm, and is basically World War II propaganda.
The film was made using a wide variety of equipment and shooting formats, including Super 8, 16mm, 35mm and a video synthesizer which had been donated to the project by Nam June Paik.