A post of Brian Fretwell about a digital projection of super 8 films on the BFI Imax screen made me look in the British Film Institute programme. Londoners are definitly lucky : they have the cinemamuseum, the 9.5 projections organized by Group 9.5, the Big Screen Time Revival fair, and the BFI. In its cinema, the institution organizes a good number of projections on real films, it seems. I found super 8, 16mm and 35 mm shows. And even, sadly sold out since long time, a presentation (by our forum member Chris Bird) of the 28mm gauge!
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Dominique, there's a lot to be jealous of!
Here is a link to Chris Bird's notes on the 28mm format:
https://www.bfi.org.uk/features/28mm...me-movie-gauge
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Thanks for the plug, Dominique! I didn't post it on here as it sold out so quickly. While it would be nice to be in a bigger venue (I think the Blue Room holds about 80 people), those have sold out shows too, as they're running all sorts of treasures like original nitrate prints. It's funny what difference a mile makes though - this is similar to the 28mm show I put on for the tenth anniversary of the Kennington Bioscope, at the Cinema Museum in September 2023, and there were plenty of seats available then - but being on the south bank, under the banner of the BFI, gives it a higher profile I guess. But it's great that the BFI were up for this - thanks to the efforts of Rosie Taylor, who pushed for this show to go ahead.
Dominique, if you had wanted to come, invite yourself round to my home next time you visit, and I am happy to repeat it for you.
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Here are a few photos from the 28mm event at the BFI last week (photos by John Adderley or myself). (The Super 8 and 16mm projectors were for a different show later that day.) You can see me lacing up the only print in the world on any gauge of episode 30 of THE HAZARDS OF HELEN (1915). The projector is I used was the 1917 Victor upgraded by Brian Giles. I also had three other projectors on display, along with a 28mm camera, and an original KOK screen.
And also photo one from the nitrate screening of UN CHIEN ANDALOU, where I used my 1932 EMG gramophone to provide a live soundtrack based as close as possible to what Luis Bunuel played at the original premiere, also on a gramophone. (Bryony Dixon researched this and introduced the film.)
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