https://cinemaprojectionist.co.uk/files/original/4da6ae6c8e3d7fee6b1c36a7eae7d919.jpg 2325a384e54ab31caade4bbf0264a980 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kinematograph Weekly / Ideal Kinema Subject The topic of the resource trade press scans Description An account of the resource Items relating to projectionists from the trade papers Kinematograph Weekly and its supplement The Ideal Kinema. All items used with permission from Screen International. Creator An entity primarily responsible for making the resource Kinematograph Weekly / The Ideal Kinema Source A related resource from which the described resource is derived Kinematograph Weekly / The Ideal Kinema Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2017-10-24 Contributor An entity responsible for making contributions to the resource Screen International Rights Information about rights held in and over the resource All items used with permission from Screen International. Language A language of the resource English Type The nature or genre of the resource Images Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cartoon: Exceeding the Speed Limit (1922) Subject The topic of the resource presentation Description An account of the resource This cartoon, from December 1922, highlights a number of topical issues relating to film projection and good presentation. In the cartoon the projectionist can be seen running a film at a speed far greater than that intended. Before the arrival of sound, which required precise projection speeds, the playback speed of a projector was not standardised. The audience members shielding their eyes relates to debates that were taking place at the time about the effect of projection speeds on people's eyes, with some claiming that projecting at faster speeds caused eye-strain. The warden wearing the KRS helmet is a representative of the Kinematograph Renters' Society, the organisation responsible for distributing film prints. During this period there was significant discussion in the trade press regarding film damage and the poor standards of projection that resulted. High speed projection was just one potential cause of film damage, but here we see the literalisation and personification of the hypothetical 'bad projectionist' and the affected organisation, battling for good projection standards, with the audience as suffering bystanders. Used with permission from Screen International Creator An entity primarily responsible for making the resource Kinematograph Weekly Source A related resource from which the described resource is derived Kinematograph Weekly, 21 December 1922, p. 34 Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2017-11-01 Contributor An entity responsible for making contributions to the resource Kinematograph Weekly Rights Information about rights held in and over the resource Published with permission Format The file format, physical medium, or dimensions of the resource .jpg Language A language of the resource English Type The nature or genre of the resource Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm 1920s 1910s and 1920s audiences presentation and showmanship https://cinemaprojectionist.co.uk/files/original/28271c0a0edf899cd600754a25d0d7f0.mp3 37d68d2882dc6e96f54f447a03c34917 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mick Corfield Date of Interview 2015-08-03 Location The location of the interview Coventry Transcription Any written text transcribed from a sound What we used to do, we used to open... We used to go... And I’ll talk you through it ‘cos it always makes me laugh. And Jack Spittle who was the senior projectionist at the time, the old projectionist. So we used to laugh because we used to go through this routine, we used to go... It used to be like being on a ship. It used to be “House lights to half, Mr Corfield.” “House lights to half, Mr Spittle.” And we used to take... We had little dials, knobs, that we used to take down, so we used to take the house lights to half. “Projector turn on.” “Projector turn on.” So we’d turn the projector on. But then with the take up of the film, because the film would sag, because the take up of the 12,000 foot spool wouldn’t take up quick enough. So while you were doing with one hand various things you’d have to hold the film until it took up. If you didn’t it’d snap the film. So the film would still carry on going through the gate but end up on the floor and then you’d have to stop it really quickly, and when you’d try and stop it before you obviously opened the douser, which is obviously what lets the light on the screen, and then you’d see the film. So obviously we’d open the douser, open the shutter and away we’d go, whilst taking the house lights to half. So you’d got your house lights to half, you’d run your projector, you take your spotlights down, which’d be at the front of the screen which’d be shining on the tabs, the curtains, the tabs. So then obviously what you do then is you press button, button, button, dial, dial, dial, and open it all lovely, so it’d open up with the Cannon cinemas ident as all the lights would drop down. This of course making sure the film hasn’t broken and also bringing the sound off so we hadn’t got a bang, ‘cause when a join goes through it bangs. Fading the sound down and fading the sound up. So of course once you’ve done your adverts you have to do the same thing again for your trailers, you’d bring the tabs down. You wouldn’t put your house lights up but you’d bring the tabs down and you’d bring your stage lights up to half, so you’d do that. So it’s called presentation. So we’d do all that and then we’d stop for an ice-cream sale and we’d put a spotlight on and do the ice-cream sale and then we’d start the main feature and away we’d go. So that’s what we’d do. And then we’d have to be down there five minutes from the end. We’d go down periodically and check, we’d stay there and make sure it was in the right ratio, any hair in the gate, anything like that, and you’d have to try and remove it because you couldn’t stop the show – all these little tricks that you learnt over the time. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H01M53S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema Reel Cinema, 12 Hagley Road West, Birmingham Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Starting a performance (Mick Corfield) Subject The topic of the resource team relations starting a film screening Description An account of the resource Projectionist and BECTU representative Mick Corfield describes the process of starting a performance. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mick Corfield Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2015-12-08 Contributor An entity responsible for making contributions to the resource Richard Wallace Mick Corfield Relation A related resource http://cinematreasures.org/theaters/6934 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1989-1992 POINT(-224249.52035759 6884220.4276746)|12|-218932.3695782|6886417.4883802|osm Reel Cinema, 12 Hagley Road West, Birmingham 1990s 2000s audiences Mick Corfield Midlands preparing the print presentation and showmanship running the show sound and music team relations training https://cinemaprojectionist.co.uk/files/original/209f6740fdd6c981f6094b709de80083.mp3 40ae415d0595a23e8d26f039045949db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mick Corfield Date of Interview 2015-08-03 Location The location of the interview Coventry Transcription Any written text transcribed from a sound I used to have to preview films. Bridget Jones’ Diary. So, now I’d never heard of it, didn’t think my wife had ever heard of it. So I went to work and they said, “Oh we’re gonna put Bridget Jones’ Diary on and the press are here.” So I sat and watched it and thought, “Haven’t a clue what that’s about,” you know, “It’s alright, I suppose, women’s film, no problem.” So I went home, like, and my missus said, “What you done today?” and I said, “Ooh not a great deal.” She went, “You’ve got Bridget Jones on tonight, haven’t ya?” I said, “Yes.” She went, “I wouldn’t mind seeing that, we haven’t been out to the cinema for a while, let’s go and see that.” So I said, “Oh okay then.” So we turned up on the night, watched Bridget Jones – packed audience – what a cracking film. Because a film is there to watch it with an audience ‘cause you cry, you laugh, you jump, you’re scared. Your 40 inch TVs, your surround sounds mean absolutely nothing, watching a well projected film on an opening night with a packed audience who are willing to enjoy it as well, you cannot get... And that’s why cinema will survive, because... that’s it, because that is the ultimate, that is. So we sat there and I laughed and it was an absolutely cracking film and I thought, “How bizarre is that, I saw it earlier on today and never rated it all, saw it with you laughing, joking, everybody laughing with it, everyone getting... you know, and thought.. Well that’s just… It just goes to show how strange cinema is, isn’t it? Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H01M05S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema MGM/Virgin/UGC, Arcadian Centre, Birmingham Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cinema as communal experience (Mick Corfield) Subject The topic of the resource cinema-going audiences Description An account of the resource Projectionist and BECTU representative Mick Corfield outlines the difference made to the cinema-going experience by viewing a film with an audience. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mick Corfield Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2015-12-08 Contributor An entity responsible for making contributions to the resource Richard Wallace Mick Corfield Relation A related resource http://cinematreasures.org/theaters/25915 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2001 POINT(-211095.18552292 6886391.3997656)|15|-211147.7359799|6886437.1574788|osm MGM/Virgin/UGC, Arcadian Centre, Birmingham 1990s 2000s audiences Mick Corfield Midlands preparing the print https://cinemaprojectionist.co.uk/files/original/4b1566a3b93a5b3348ec8f8de65dd0dc.mp3 e540e4cd3e2337093e6f4f11c595793f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mike Williams Date of Interview 2015-08-25 Location The location of the interview Cardiff Transcription Any written text transcribed from a sound They had a manager in Merthyr Tydfil who was a nice guy. But rumours had reached head office in Golden Square in London that this man was not what he was supposed to be. He was in fact running the cinema for his own use. He was giving out free tickets everywhere. You could, I mean you’ve seen it in The Smallest Show on Earth but at the Castle Cinema in Merthyr Tydfil you could literally buy a ticket with a pound of butter or a chicken, literally. The man lived off the cinema. He had a unique system where if the district manager was seen getting off the train the station manager used to ring the. And it would take approximately 20 minutes to walk from the cinema to … or from the station to the cinema. For this the station manager used to get two complementaries a week. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H00M45S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema Castle Cinema, High Street, Merthyr Tydfil Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Smallest Show on Earth for real (Mike Williams) Subject The topic of the resource unconventional cinema management Description An account of the resource Projectionist Mike Williams describes a Welsh cinema with unconventional entry policies, comparing it so scenes from the comedy film The Smallest Show on Earth. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mike Williams Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2015-12-04 Contributor An entity responsible for making contributions to the resource Richard Wallace Mike Williams Relation A related resource http://cinematreasures.org/theaters/10210 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956-1964 POINT(-374455.4468883963 6756362.907915154)|14|-375602.0023125|6755153.6502414|osm Castle Cinema, High Street, Merthyr Tydfil 1950s 1960s audiences Mike Williams team relations Wales https://cinemaprojectionist.co.uk/files/original/a3374308507e3d471214ac89c0c08670.mp3 812e4f38b342f0f7ce3ed8f194c1cfb6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mike Williams Date of Interview 2015-08-25 Location The location of the interview Cardiff Transcription Any written text transcribed from a sound There was no formal training at all. Not at all. I literally learned lacing up by standing behind projectionists and watching them. And then I was allowed to do it myself. But where we extolled in my opinion was, we were taught showmanship. How to put a film on the screen. One of Frank Saunders’s … one of the things he drummed into me from the very first day I met him, I think maybe the second day, we stood at the back of the auditorium in the morning and the screen was open. The tabs were open, the skirtings were open. And he said, “Mike,” he said, “you see that down there? It’s the screen,” he said, “and I never want to see that again.” And I sort of looked at him, gone off, and I said, “What do you mean?” He said, “That screen there,” he said, “when the tabs open it’s the punters’ window on the world. They don’t want to see a screen, they want to see a picture on the screen and lose themselves in their imagination.” He said, “That's the job that we do. If you show them the screen, they lose the imagination, it becomes a picture on a screen instead of a picture in its own right.” He said, “I never, ever want to see you open those curtains on a blank screen.” And I only ever done it once and he sent me home. Literally, I thought I’d had the sack. Said, “You don’t do that in my theatre, you go home now and think about it”. Remember in those days visiting the cinema was a night out. So if you could extend the night out for the enjoyment of the audience, that's what showmanship is all about. If people can come out and they’ve been to Brazil and they’ve been to London and they’ve been to Rome and they’ve enjoyed the experience you feel good. You really do feel good. It’s a strange thing. When I … for a short time I was trainee manager, assistant manager, and I used to stand at the back of the audience at night when they were coming out, as the cur… the tabs closed, and stand at the back of the audience and it was good to feel how they felt. ‘Cause it would emanate from them. And you could tell that an audience had been entertained, you could feel it. And at that … it made you feel good, that you knew the performance had been a success. It’s a little like … and it comes from the stage days, you know, you’re only happy with a stage production if the whole production has gone right. We used to feel the same about the cinema. It had to run right, it had to give people entertainment. It had to feel as though they moved into a magic kingdom. That’s what cinema was all about. It should still be all about but it’s not unfortunately. But that's the showmanship, you just felt satisfaction with the job. A lot of cinemas didn’t bother, you had no showmanship in a lot of the suburban cinemas, would be lights out, screen open. And that was it. And there was an awful lot of that going on. An awful lot. They used to make us feel a little sick, you know, seeing the way we projected film and seeing the way somebody else, oh, dear me. Really terrible, really terrible and I mean, I, I went not long, not long before I got married, I went as a chief operator to the Capital Cinema in Blackwood. And it was run on a shoestring, literally, absolutely literally. Only two operators there one working, one not working. Simple as that. So you had to do everything including cleaning the toilets, literally. And it was awful, awful. If you film, with the footlights on, the guy that ran the place used to play hell with us. “Do you think I can afford to pay for electricity to have lights on here?” you know, and that's how suburban cinemas were run. It was scandalous really. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H03M43S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema ABC (Olympia) Cinema, 67 Queen Street, Cardiff Capitol Cinema, 8 Hall Street, Blackwood Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Presentation, training and distinction between urban and suburban cinemas (Mike Williams) Subject The topic of the resource presentation and showmanship Description An account of the resource Projectionist Mike Williams provides an overview of presentation and showmanship in cinemas. He outlines how he was trained by the chief to uphold particular aesthetic standards and the impact that this has on the experience of the audience. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mike Williams Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2015-12-04 Contributor An entity responsible for making contributions to the resource Richard Wallace Mike Williams Relation A related resource http://cinematreasures.org/theaters/7970 http://cinematreasures.org/theaters/28108 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956-1964 POINT(-353449.59605573 6707026.7623776)|15|-353451.9847129|6706800.2131776|osm ABC (Olympia), 67 Queen Street, Cardiff POINT(-353447.20739853 6707019.3724694)|POINT(-355503.84119059 6740156.8396557)|15|-355506.2298477|6739858.6307416|osm Capitol Cinema, 8 Hall Street, Blackwood 1950s 1960s audiences chief projectionist Mike Williams presentation and showmanship training Wales https://cinemaprojectionist.co.uk/files/original/f1ac48b25a2b47bb50a9e4fe387db139.mp3 98c8784bb804315eceb8600c5412e565 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mike Williams Date of Interview 2015-08-25 Location The location of the interview Cardiff Transcription Any written text transcribed from a sound There were so many other jobs that a projectionist used to do beside projecting film. Electrical cleaning, all the signage in the cinema would be cleaned by the projectionists, some degree of painting would be done by projectionists, rewiring would be done by projectionists. So it was quite a complex job besides showing film. We even looked after the heating in the cinema. Constant trips down to the boiler room to make sure the boiler was blowing all right, you know. All part of the job, all part of the job. I used to hate cleaning … my favourite hate job really was cleaning house lights where you would have to go up into the ceiling void and take these sheets of glass out looking down at the bottom of the cinema, sort of thing. Dangerous, but we never thought about it. Go up there with buckets of hot water and wash the nicotine, such a filthy job, all part of the job, you know. You’d go in early that morning, get up there and start scrubbing house light fittings and hope you’d be finished by the time the show started. I fell through the ceiling in the cinema once, at the Olympia. Again it wasn’t long after we’d been converted and we’d started working in the morning on reinstalling a microphone run. And we got as far as both sides of the stage, went up to start the show. Now Frank Saunders said to me, trusting guy, he says, “Mike,” he said, “you might as well go down there and put that run in while the show’s on.” He said, “Don’t make too much noise, but run it up over the top, straight across the ceiling, down the other side,” he said, “and we’ll finish it off tomorrow.” “Oh,” I thought, “this is nice, I’m trusted.” So up I climbed, up the cat ladders behind the screen, right up on top of the proc arch that used to be, which was a new, false ceiling. Brand new in fact. And I started to lay the cabling across and I stepped backwards without stepping on a rafter and it was just plasterboard. And I landed on the stage, really, really … it was quite a drop, if you can imagine a Todd-AO screen which is quite a height, you know, and I went right down the front of that, landed on the floor, the hammer went flying out into the audience, luckily there weren’t many people there. But there was one guy in the front clapping. And I was quite upset, I said, “Are you being funny?” “No,” he said, “good effect that!” And we never found the hammer. Never, ever found that hammer. But it was right up until the days I stopped going to that cinema even as a cinema goer it still had a patch in the ceiling, it used to break my heart every time I seen it. It was a round patch in the ceiling where Michael had fallen through, the chief had … he spent a lot of time, Frank, cutting out a piece of plasterboard to fit that hole and getting it up, up there and painting it so people wouldn’t know I’d done it. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H02M58S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema ABC (Olympia) Cinema, 67 Queen Street, Cardiff Time Summary A summary of an interview given for different time stamps throughout the interview 00:00:00-00:01:00: General discussion of jobs done by the projectionist around the cinema. 00:01:00-00:02:58: Account of fallin gthrough the ceiling. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jobs around the cinema (Mike Williams) Subject The topic of the resource projectionist duties accidents cinema conversion Description An account of the resource Projectionist Mike Williams describes the other duties carried out by projectionists outside the projection box including an accident where he fell through the ceiling of the cinema auditorium during a film screening. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mike Williams Publisher An entity responsible for making the resource available The University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2015-12-04 Contributor An entity responsible for making contributions to the resource Richard Wallace Mike Williams Relation A related resource http://cinematreasures.org/theaters/7970 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956-1964 POINT(-353442.43008431 6707029.5242622)|15|-353526.0330840|6706764.7565481|osm ABC (Olympia), 67 Queen Street, Cardiff 1950s 1960s audiences maintenance Mike Williams outside the box routine Wales widescreen and 3-D working conditions https://cinemaprojectionist.co.uk/files/original/8067879cb581c9e0a42abb99907601ce.mp3 a855c578a351a2f9104fff6dcef35f81 https://cinemaprojectionist.co.uk/files/original/7c64ebc6cd0a4d3e517dbe8304efc2d3.PNG e3311de2fa52fb2b1c489f6cfe0f4fd6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Projectionists' Memories Subject The topic of the resource Interviews with projectionists Description An account of the resource Interviews with projectionists Creator An entity primarily responsible for making the resource The Projection Project Publisher An entity responsible for making the resource available University of Warwick Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recordings Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Richard Wallace Interviewee The person(s) being interviewed Mike Williams Location The location of the interview Cardiff Transcription Any written text transcribed from a sound I don’t think it’s the skill, I think it’s loving what they do. It’s not a skill. It’s something embedded in you. And I think you either have it or you don’t have it. And that's a deep love of providing a competent showing for the public. It doesn’t matter what the show is if the public like it and it’s presented properly that's the projectionist’s job. And that’s about it really. It, it’s not a, I felt I could do it when I walked into the projection suite the first day. I felt I’d come home. Nothing was unfamiliar, it felt right. Everything about it. With no training, and they were the first projectors I’d ever seen. But I felt right with my hand on the projector, I felt I was in the right place. And that basically has what a projectionist must feel. He must be competent and able to put on a show. Providing, providing that window on the world. That's what it’s all about. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data One-to-one interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H01M07S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema ABC (Olympia) Cinema, 67 Queen Street, Cardiff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Feeling like a projectionist (Mike Williams) Subject The topic of the resource personal views on being a projectionist Description An account of the resource Projectionist Mike Williams describes the qualities required of a projectionist and the associated feelings that come with the job. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Interview with Mike Williams Publisher An entity responsible for making the resource available The University of Warwick Contributor An entity responsible for making contributions to the resource Richard Wallace Mike Williams Relation A related resource http://cinematreasures.org/theaters/7970 Format The file format, physical medium, or dimensions of the resource .mp3 Language A language of the resource English Type The nature or genre of the resource Sound recording interview extract Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956-1964 POINT(-353451.98471287 6707031.9129194)|15|-353631.1339979|6706714.5947483|osm ABC (Olympia), 67 Queen Street, Cardiff 1950s 1960s audiences Mike Williams presentation and showmanship Wales