https://cinemaprojectionist.co.uk/files/original/859776a4e88a77ca7ec8f745ed61d248.jpg 7e1a7faa549b7c223f39a355ad8d4ef7 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 Joan and Bill Pearson's scrap book images Description An account of the resource Items selected from scrap books collected and owned by Joan and Bill Pearson Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Joan and Bill Pearson's scrap book Publisher An entity responsible for making the resource available Te University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2017-09-19 Contributor An entity responsible for making contributions to the resource Joan Pearson Bill Pearson Rights Information about rights held in and over the resource Images owned by Joan and Bill Pearson, licensed for use to The Projection Project Language A language of the resource English Type The nature or genre of the resource Scrap book Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1951-1989 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Letter 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 Letter of redeployment Subject The topic of the resource redeployment Description An account of the resource This letter to Mrs Joan Pearson details some of the issues arising from the installation of the super-widescreen Cinerama projection system at the A.B.C. Bristol Cinema, Birmingham. In this instance it was felt that the size and weight of the film prints would present a safety issue for a woman projectionist. Creator An entity primarily responsible for making the resource The Projection Project Source A related resource from which the described resource is derived Joan and Bill Pearson's scrap books 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 2017-09-19 Contributor An entity responsible for making contributions to the resource Joan Pearson Bill Pearson 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 1963 1960s Joan and Bill Pearson Midlands widescreen and 3-D women projectionists https://cinemaprojectionist.co.uk/files/original/0b7d3d50f8c5cbbf952915c406a09a60.mp3 44651dcb1d33c0dbec70a9f88752ceb8 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 Rebecca Harrison Interviewee The person(s) being interviewed Joan Pearson Bill Pearson Date of Interview 2016-07-21 Location The location of the interview Birmingham Transcription Any written text transcribed from a sound The only big spools we had was when I was at the Bristol we showed all the 3-Ds and there were two films simultaneously being shown on two projectors, they were interlocked. It all started really with just one switch. That was good and we showed every 3-D film they made. But that wasn’t simple. They used to bring the copies in and you'd got to make these up, you'd got to double them all up. And if you had to make a joint, then you would have to make a joint in the other one as well so your job was to check the film for the footage all along. Oh ... dear ... headache. We showed House of Wax, the very first one. We always had rehearsals, we never put anything on the screen without a rehearsal. We had this rehearsal this one night, well, it was all out of sync, the whole of the theatre, oh ... it was ... it was a nightmare it really was. Because you knew that every joint that was in that film you had got to check both and if there was nothing wrong with them you’ve still got to take them out until they was actually that many frames in between each number. It was, it was a nightmare. But you weren’t allow to wear the glasses, not projectionist anyway, And you’ve got to keep it racked so that they were dead in line otherwise people would start to get a headache. And at the finish I thought, I, I can't stand these pains at the back of the eyes. So I went to an optician and he said, in those days I don't know whether they do now, use the mirror, you look through a mirror and tell them exactly where the dark lines are and everything. And he said, "I want you to tell me where the dark lines are on that". So I said, "Erm, eleven o’clock". "No," he said, "the dark lines". I said, "Eleven o’clock!" He said, "Are you sure it’s not two o’clock?" I said, "No it's eleven o’clock". So he came behind me looked and said, "No," he said, "two o’clock". He said, "Strange, I've never seen eyes like this before," he said. He said, "Can I ask your occupation?" I said, "I'm a projectionist". "Oh, yes," he said, "And which cinema do you work at?" I said, "The Bristol". "You’ve answered it," he said, "it’s the three dimensional film that's causing all this problem". And even then, even though they knew at work, it was ruining me eyes, to, I mean they wouldn’t do anything about it obviously. Other than get the sack or something, you know. So I had to put up with it. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Group interview Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) PT00H02M41S Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) 320kbps Cinema A.B.C. Bristol Road Cinema, 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 Showing 3-D Films (Joan Pearson) Subject The topic of the resource 3-D films Description An account of the resource Projectionist Joan Pearson describes the process and problems of showing 3-D films. 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 Joan and Bill Pearson Publisher An entity responsible for making the resource available University of Warwick Date A point or period of time associated with an event in the lifecycle of the resource 2017-03-21 Contributor An entity responsible for making contributions to the resource Richard Wallace Rebecca Harrison Joan Pearson Bill Pearson 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 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 1950s 1950s widescreen and 3-D working conditions 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/1929f124cc2ee8fb017d9719f762d686.mp3 27a443d3542d8f69ef150f98b636baf1 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 One of the things I dislike is this modern trend to display projectors, film artefacts, whatever to the public. I don’t think … in the perfect show, in the perfect cinema, they shouldn’t be aware that there's a projectionist showing the film. It’s a magic window on the world and that’s where the picture is, not up there, down there in front of them. So that makes them forget what’s going on behind them, they … one of the greatest things as far as I’m concerned is the stopping of smoking in the cinemas. Because with that beam that you always had, you knew the picture was coming from behind you. Get rid of the smoke, that window on the world is clearer. Really. That’s what it’s all about. Feeding people’s imagination. Not letting them know that you’re feeding them, you think, you let them think that the screen does that for them. No, I think it’s terrible that there’s more and more trend towards showing people what goes on in the box as it were, especially as they’re hell bent on getting rid of these boxes. I think it’s terrible, really awful. You go to cinemas now and the Media Museum have done it, they’ve got a Cinerama projector stood as a, an artefact. I don’t want to see that. I want to walk into a plush cinema, through carpets, through plush walls, into my plush seat and sit and look at a screen. I don’t really want to look at the man behind me otherwise I’m going back to the days when there was a guy turning a handle. Which was most unimaginative. I think we’ve developed far further. No, I don’t think a projectionist should get any applause. He’s doing his job, doing it properly. If he’s doing his job properly they don’t even know he exists. In fact, a little extra on this, when we started showing Todd-AO we were given white dust coats to wear with Todd-AO on the pocket. But Mr Key, the manager, in his wisdom, forbid us from wearing them through the theatre. We had to take them off before leaving the projection suite. And when asked why, he said, “Because I don’t want people to see that we’ve got projectionists.” That’s where it stems from. And it’s right. We don’t want people to know that there are little men winding the handles. We want them to enjoy the film. 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.) PT00H02M28S 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 Invisibility of projectionists (Mike Williams) Subject The topic of the resource invisibility presentation and showmanship Description An account of the resource Projectionist Mike Williams describes the importance for projectionists’ work to be invisible. 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(-353447.20739859 6707022.358291)|15|-353526.0330840|6706795.8090910|osm ABC (Olympia), 67 Queen Street, Cardiff 1950s 1960s Mike Williams presentation and showmanship routine Wales widescreen and 3-D