… about film that is :-)

 

The Odeon Cinema in Richmond sports a typical late Modernist/Art Deco architecture. Designed by Leathert and Granger, it opened in 1930 as the Richmond Kinema.

 

The façade is a bit on the heavy side in my opinion, compared to the contemporary O2 Forum in Kentish Town or Odeon in Holloway.

Museu de les Ciències Príncipe Felipe

Valencia, Es

 

En physique, la cinématique (du grec kinêma, le mouvement) est l'étude des mouvements indépendamment des causes qui les produisent, ou, plus exactement, l'étude de tous les mouvements possibles. À côté de la notion d'espace qui est l'objet de la géométrie, la cinématique introduit la notion de temps.

 

Kinematics is a branch of classical mechanics that describes the motion of points, bodies (objects), and systems of bodies (groups of objects) without considering the forces that caused the motion.Kinematics, as a field of study, is often referred to as the "geometry of motion"

 

La cinemática (del griego κινέιν kinéin 'mover, desplazar') es la rama de la física que describe el movimiento de los objetos sólidos sin considerar las causas que lo originan (las fuerzas) y se limita, principalmente, al estudio de la trayectoria en función del tiempo. Para ello utiliza velocidades y aceleraciones, que describen cómo cambia la posición en función del tiempo

( Wikipedia)

Museu de les Ciències Príncipe Felipe y

Puente de l'Assut de l'Or

 

Valencia, Es

 

En physique, la cinématique (du grec kinêma, le mouvement) est l'étude des mouvements indépendamment des causes qui les produisent, ou, plus exactement, l'étude de tous les mouvements possibles. À côté de la notion d'espace qui est l'objet de la géométrie, la cinématique introduit la notion de temps.

 

Kinematics is a branch of classical mechanics that describes the motion of points, bodies (objects), and systems of bodies (groups of objects) without considering the forces that caused the motion.Kinematics, as a field of study, is often referred to as the "geometry of motion"

 

La cinemática (del griego κινέιν kinéin 'mover, desplazar') es la rama de la física que describe el movimiento de los objetos sólidos sin considerar las causas que lo originan (las fuerzas) y se limita, principalmente, al estudio de la trayectoria en función del tiempo. Para ello utiliza velocidades y aceleraciones, que describen cómo cambia la posición en función del tiempo

( Wikipedia)

Became a cinema (see what I did there lol) in 1922.

 

Absolutely lovely inside. And outside!

 

Some hand painted walls, a cinema organ, a piano and what is supposed to be Britain's last remaining rear projection system.

 

Woodhall Spa, Lincolnshire (just near the corrugated metal house).

Interior decor of Kinema in the Woods, Woodhall Spa, Lincolnshire

Could’ve probably been taken any time after 1935 when the lovely Riley car was registered - but the movies are from 2024.

 

This is not just a display - we saw the car parked outside the local Co-Op store later, whilst the owner popped in for a bit of shopping!

 

The Kinema In The Woods, Woodhall Spa, Lincolnshire, England.

This is the lovely 'Kinema in the Woods' in Woodhall Spa, eating from 1922.

We went along this afternoon to see a film of one of my OH's guitar heroes - Eric Clapton recorded at the Royal Albert Hall back in 1990/91.

A tribute to Andreï Tarkovski and his movie "Stalker", my favorite sci-fi movie, a piece of art full of poetry.

 

Entering the Zone...

Ok then, just a bit..not a lot.

 

Suzuki RG250 Gamma in Barry Sheene replica 'Heron' colours. From the early 80s I suppose as the Gammas were doing well in production racing at the time.

 

From the good old days when men used to 'Splash it all over' with Faberge Brut 33 (pssst don't tell anyone, but I still do! :-) Who says advertising doesn't work?

 

This was quite a day. The classic motorcycle event with lots of old two strokes on display was at an airfield in Lincolnshire where a Lancaster bomber and (I think) a Dakota were taxying/taxiing around the field. We went to Woodhall Spa. We found an atmospheric old abandoned petrol station and had a photo opportunity with my Audi TT rag top.

 

Then a Spitfire, Hurricane and a Lancaster flew over, practising for the Kings coronation. We then went in a corrugated house that's now a museum, then to the old Kinema In The Woods where the organist came up through the stage in the interval. Then we went to the pub. Seriously it doesn't take much to make me happy lol.

 

Planes,

Two stroke motorcycles

Bikes

Sunshine

Abandoned properties

Cars

Corrugated buildings

Movies

Beer

=

bliss

 

SPNC - Year 5 - January #2

"Enjoy times when you shoot impulsively and photograph mindlessly. The edit might reveal more than you think." - Jack Simon

This time to view 'Star Wars - The Force Awakens'.

Previously have watched all the Lord of the Rings films, the Hobbit films, War Horse.....

The first film l ever watched here was Mrs Doubtfire, starring Robin Williams.

A delightful cinema :-))

iTunes screenshot of Közi's KHAOS/KINEMA (at April 5h, 2009).

The bus station and cinema building complete with paving but still lacking some road weahering and other small details.

By request I have built two interchangeable versions of the cinema for this model. The Studio 7 one is shown here.

Also visible are the garage interior backscenes shown in the doorways from Kingston garage.

1/76 scale card building kits from the Kingsway Models range.

Cinematography (from ancient Greek κίνημα, kìnema "movement" and γράφειν, gràphein "to write").

 

Cinematography, the art and technology of motion-picture photography. It involves such techniques as the general composition of a scene; the lighting of the set or location; the choice of cameras, lenses, filters, and film stock; the camera angle and movements; and the integration of any special effects. All these concerns may involve a sizeable crew on a feature film, headed by a person variously known as the cinematographer, first cameraman, lighting cameraman, or director of photography, whose responsibility is to achieve the photographic images and effects desired by the director.

 

I have a much smaller "crew".

To celebrate the birthday of Sarah-Jean the Second we ventured to Woodhall Spa (my childhood home) in search of woods, halls & spas. What we found was somewhat different… there was a lot of ice cream at the parlour, plenty of trees in the woods, Italian food at the tea house & Will Smith at the Kinema in the Woods! Worked out pretty good!

 

Loads more photos on my blog.

 

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Back in May I posted a picture of the inside of the Kinema - this is the outside. As you can see, it's nothing like a modern cinema but it has 4 screens, the smallest seating only 20 people, and shows all the latest films as well as a variety of older films and recordings of theatre productions, ballet and music. Over the next week they will be showing 15 different films. Spoilt for choice!

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however we are not in Lettice’s flat. Instead, we are in central London, near the palace of Westminster and the Thames embankment at the very stylish Metropole Hotel*, where Lettice is finally having her first assignation with the eldest son of the Duke of Walmsford, Selwyn Spencely after he telephoned her last week. After she hung up the receiver on the cradle, Lettice was beside herself with joy, causing somewhat of a kerfuffle with her downstairs neighbour, Mrs. Clifford after her jumping up and down caused the lady’s pendant lamps to rattle and sway from the ceiling above. Since then, Lettice has spent hours of her life over the ensuing days going through her wardrobes, trying on outfit after outfit, much to the irritation of her maid, Edith, who has to pick up after her. In a whirl of excitement and nerves, Lettice has gone from deciding to wear pale pink organdie, to navy serge, then to peach and rose carmine satin, to black velvet with white brocade trim. Yet now, as she shrugs her coat from her shoulders into the waiting arms of the liveried cloak room attendant of the Metropole, Lettice knows that her choice of a soft pale blue summery calf length dress with lace inserts accessories by a blue satin sash and her simple double strand of perfectly matched pearls is the perfect choice. The colour suits her creamy skin and blonde chignon, and the outfit is understated elegance, so she appears fashionable and presentable, yet doesn’t appear to be trying to hard to impress. Breathing deeply to keep the butterflies in her stomach at bay she immediately sees her companion for luncheon lounging nonchalantly against a white painted pillar.

 

“Darling Lettice!” Selwyn exclaims as he strides purposefully across the busy lobby of the Metropole. “You look positively ravishing.”

 

Lettice smiles as she sees the glint of delight in his blue eyes as he raises her cream glove clad right hand to his lips and chivalrously kisses it. “Thank you, Selwyn.” she replies, lowering her lids as she feels a slight flush fill her cheeks at the sensation of his lips pressing through the thin, soft kid of her glove. “That’s very kind of you to say so.”

 

“I’ve secured us a discreet table for two, just as you requested, my angel.” He proffers a crooked arm to her. “Shall we?”

 

Lettice smiles at his words, enjoying the sound of his cultured voice call her by a pet name. She carefully winds her own arm though his and the two stroll blithely across the foyer, unaware of the mild interest that she and Selwyn create as a handsome couple.

 

“Good afternoon Miss Chetwynd,” the maître d of the Metropole restaurant says as he looks down the list of reservations for luncheon. “It’s a pleasure to see you again.” Ticking the entry off the reservation list he takes up two menus. “Right this way, Your Grace.”

 

He leads the couple through the busy dining room of the hotel where the gentle burble of voices fills the lofty space and mixes with the sound of silver cutlery against the blue banded gilt hotel crockery, the clink of glasses raised and the strains of popular Edwardian music from the small palm court quartet playing discreetly by a white painted pillar.

 

“Your Grace.” Lettice says in a lofty fashion, giggling as she makes a joking bob curtsey to Selwyn as they follow the maître d.

 

Selwyn scoffs and rolls his eyes up to the ornately plastered ceiling above. “You know it’s only because of Daddy**.”

 

“I know,” Lettice giggles again. “But isn’t it a scream: ‘Your Grace’.”

 

“I’m not ‘Your Grace’ to you, my angel,” he smiles in return. “Just Selwyn will be fine.”

 

“As you wish, Just Selwyn.”

 

The crisply uniformed maître d stops before a small table for two surrounded by tables of suited politicians and a smattering of older, rather tweedy women. He withdraws a dainty Chippendale style chair from the table and Lettice takes a seat. The older man expertly pushes the chair in with her as she settles before the crisp white linen covered table.

 

“Does this table suit you, Lettice darling?” Selwyn asks a little nervously. “Discreet enough for you?”

 

“Oh yes, thank you Selwyn.” Lettice replies as she observes all the diners around them, busily involved in their own discussions with never a thought for the two of them, although she does notice an older couple at a table a short distance away observing them discreetly. The woman turns to her husband, indicating something about Lettice’s wide brimmed pale blue hat, judging by her gesticulation and his withering glance in response.

 

“Could that be one of your mother’s spies?” Selwyn asks, breaking into her quiet thoughts.

 

“What?” Lettice gasps. “Where?”

 

“There.” Selwyn gestures towards a potted palm, the fronds trembling with the movement of a passing waiter carrying two plates of roast beef to a nearby table scurrying past.

 

“Oh Selwyn!” Lettice slaps his hand kittenishly. “You are awful! Don’t be a tease and startle me like that.” She smiles as she returns to perusing her menu. “You know my mother’s spies are everywhere.”

 

“As are Lady Zinnia’s.” he replies.

 

Selwyn looks around the room taking in the Georgian revival furnishings, the restrained Regency stripe wallpaper, the watercolours of stately British homes in gilt frames as much as his architect’s eye pays close attention to the restrained fluted columns, ornately plastered ceilings and general layout of the room. “It’s so thoroughly English, don’t you think?” he concludes as he picks up the menu to peruse it.

 

“Oh,” Lettice says a little deflated as she lowers her menu. “You’d prefer something a little more, European? Should we have dined at a French restaurant?”

 

“Oh no Lettice darling,” he assures her with a defending hand. “I was just remarking. As I think I told you on the telephone, I haven’t been here since before the war, and I think the décor is much improved. It’s so much lighter and free of that ghastly old Victorian look.”

 

“I was saying the same thing to Miss Wanetta Ward the last time I came here.” Lettice remarks.

 

“Wanetta Ward? Isn’t she the moving picture star?” Selwyn looks over the top of his menu at his luncheon companion.

 

“The very one!” Lettice elucidates. “Do you ever go?”

 

“To the kinema***? No.” He shakes his head vehemently. “Do you?”

 

“No, I don’t either, but Miss Ward insists that I must experience it some day. Not that Mater or Pater would approve if I ever worked up the gumption to go.”

 

“Surely you don’t need to tell them if you do go.”

 

“Are you encouraging me to be devious, Selwyn?”

 

“No,” Selwyn laughs, his eyebrows lifting over his sparking blue eyes. “I’m simply suggesting that you are of age, and your own person with your own life in London, whilst they live their lives in far away Wiltshire. You can go to kinema if you wish. No-one need see you. In saying that, my parents feel the same about it, especially Mummy. She is very much against what she calls ‘painted women who are a poor and cheap copy of great art, moving about overdramatically on screen’.”

 

“I’ll be sure not to tell Miss Ward your mother’s opinion of her the next time I see her.”

 

“My mother’s opinion is entirely uneducated, Lettice, I assure you. After all, like both you and I, she has never actually seen a moving picture before.”

 

“Well, considering that both my maid and my charwoman*** go to the pictures, I very much doubt that I ever will.” Lettice concludes. “How would it be if I sat next to them? Besides, I have heard picture theatres called fleapits***** before, which sounds none too promising when compared with a lovely evening at Covent Garden.”

 

“Well, I don’t know about you,” Selwyn announces, changing the subject. “But I rather like the look of the roast beef with Yorkshire pudding for luncheon. What will you have?”

 

Lettice looks disappointedly at her menu. “When I came here with Miss Ward, we shared a rather magnificent selection of savories and little deadlies******, but I suppose they must reserve them for afternoon tea, here.”

 

“Fear not!” Selwyn says, giving Lettice a beaming smile. He carefully catches the eye of the maître d and summons him with an almost imperceptible nod of his head.

 

“How may I serve Your Grace?” the maître d asks with a respectful bow as he approaches the table.

 

“Look here, my companion Miss Chetwynd had some sweet and savoury petit fours when she last came here and speaks very highly of them. I’d taken a fancy to trying them for myself, so might we have a selection for two, please?”

 

“Well Your Grace,” the maître d begins apologetically. “They are from our afternoon tea menu.”

 

“Oh, I’m sure you could have word to your chefs, especially to please such a charming guest.” He gestures with an open hand to Lettice as she sits rather awkwardly holding her menu, her eyes wide as she listens to Selwyn direct the manager of the restaurant. “It would please her,” He then plays his trump card with a polite, yet firm and businesslike smile that forms across his lips like a darkened crease. “Both of us really, if you could perhaps see about furnishing us with a selection from your afternoon tea menu.”

 

“Well I…” stammers the maître d, but catching the slight shift in Selwyn’s eyes and the twitch at the corner of his mouth he swallows what he was going to say. “Certainly, Your Grace.”

 

“Good man!” Selwyn replies, his eyes and his smile brightening. “And some tea I think, wouldn’t you agree, Lettice my dear?”

 

“Oh, oh… yes.” Lettice agrees with an awkward smile of her own.

 

As the uniformed manager scuttles away, shoulders hunched, with Selwyn’s request, Lettice says, “Oh you shouldn’t have done that, Selwyn. Poor man.”

 

“What? Are you telling me that you are displeased that you are getting what you desire for luncheon, even though it doesn’t appear on the menu?”

 

“Well, no.” Lettice admits sheepishly.

 

“See, there are advantages to having luncheon with a ‘Your Grace’.” He gives her a conspiratorial smile.

 

“You do enjoy getting your way, don’t you Selwyn?”

 

He doesn’t reply but continues to smile enigmatically back at her.

 

Soon a splendid selection of sweet petit fours and large and fluffy fruit scones with butter, jam and cream has been presented to them on a fluted glass cake stand by a the maître d along with a pot of piping hot tea in a blue and gilt edged banded teapot.

 

“So,” Selwyn says as he drops a large dollop of thick white cream onto half a fruit scone. “At the Hunt Ball we spent a lot of time talking about our childhoods and what has happened to me over the ensuing years,” He shakes a last drop off the silver spoon. “Yet I feel that you are at an unfair advantage, as you shared barely anything about yourself al evening.”

 

“Aahh,” Lettice replies as she spreads some raspberry jam on her two halves of fruit scones with her knife. “My mother taught me the finer points about being a gracious hostess. She told me that I must never bore my guests with trifling talk about myself. What I have to say or what I do is of little or no consequence. The best way to keep a gentleman happy is to occupy him with talk about himself.”

 

“You don’t believe that do, my angel?”

 

“Not at all, but I found it to be a very useful tactic at the Hunt Ball when I was paraded before and forced to dance with a seemingly endless array of eligible young men. It saved me having to do most of the talking.”

 

“I hope you didn’t feel forced to dance with me, Lettice darling.” Selwyn picks up his teacup and takes a sip of tea. “After all you did dance quite a bit with me.”

 

“You know I didn’t mind, Selwyn.” She pauses, her knife in mid-air. “Or I hope you didn’t think that.”

 

“I suppose a healthy level of scepticism helps when you are an eligible bachelor who happens to be the heir to a duchy and a sizeable private income. Such things can make a man attractive to many a woman.”

 

“Not me, Selwyn. I am after all a woman of independent means, and I have my own successful interior design business.”

 

“Ah, now that is interesting.” he remarks. “How is it that the daughter of a viscount with her own private income, a girl from a good family, can have her own business? It surely isn’t the done thing.”

 

“Well, I think if circumstances were different, I shouldn’t be able to.”

 

“Circumstances?”

 

“Well for a start, I am the youngest daughter. My elder sister, Lallage, is married and has thankfully done her bit for her husband’s family by producing an heir, and given our parents the welcome distraction of grandchildren, thus alleviating me of such a burden.”

 

“She and Lanchenbury just had another child recently didn’t they?”

 

“My, you are well informed. Yes, Lally and Charles had another son in February, so now my sister has provided not only an heir, but a spare as well.” She pauses for a moment before continuing. “Secondly, and perhaps what works most in my favour is that I am my father’s favourite child. If it were up to my mother, I should have been married and dispatched off by the end of the first Season after the war. But Pater enjoys indulging his little girl, and I know just how to keep him continuing to do so, and keeping Mater and her ideas at bay just enough.”

 

“And how do you achieve this miracle, my angel?”

 

“I decorate mostly for the great and the good of this fair isle,”

 

“I don’t think I’d call a moving picture star a member of the great and good!” laughs Selwyn heartily.

 

“Yes, well…” Lettice blushes and casts her eyes down into her lap sheepishly. “I did rather get in trouble for that, but only because my mother’s awful cousin Gwendolyn, the Duchess of Whitby, told tales behind my back. Anyway, I design and decorate mostly for people my parents approve of, and I play my part socially and pretend to be interested in the things my mother wants for me.”

 

“Like marriage?”

 

“Like marriage.”

 

“So, if you aren’t interested in marriage, why are we having luncheon then, my angel?”

 

“I never said I wouldn’t get married someday, Selwyn,” Lettice defends with a coy smile. “I just want to do it in my own fashion, and I believe that marriage should begin with love. If I am to get married to a man I love, I need to know him first.” She pauses again and stares firmly into her companion’s sparkling blue eyes. “I’m sure you agree.”

 

“I’m quite sure my mother, Lady Zinnia, wouldn’t agree with you and your modern ideas about marriage.”

 

“Any more than my own mother does. When I told her that I wanted to do this my own way, by arranging to meet you myself she told me ‘marriages are made by mothers, you silly girl’.”

 

“And you don’t agree with that?” he asks almost unsurely.

 

“Would I be here if I did, Selwyn?” Lettice takes up the bowl of cream and begins to drop some on her scones.

 

Selwyn starts chuckling in a relieved fashion, consciously trying to smother his smile with his left hand, a hold and ruby signet ring glinting in the diffused light cast from the chandeliers above. He settles back more comfortably in his seat, observing his female companion as she stops what she is doing and puts down both the spoon and bowl of cream self-consciously.

 

“What? What is it Selwyn? What have I done?”

 

“You haven’t done anything other than be you, my angel, and that is a great blessed relief.”

 

“Relief?” Lettice’s left hand clutches at the two warm strands of creamy pearls at her throat.

 

“Yes,” Selwyn elucidates, sitting forward again and reaching out his hand, encapsulating Lettice’s smaller right hand as it rests on the white linen tablecloth. “You see, I was worried that it was a mixture of champagne and the romance of the Hunt Ball that made you so attractive. You were so naturally charming.”

 

Lettice bursts out laughing, the joyous peal mixing with the vociferous noise around them. “I was dressed as Cinderella in an Eighteenth Century gown and wig. I’d hardly call that natural, Selwyn.”

 

“Aahh, but you were my darling, beneath all that. I must confess that when I suggested luncheon today it was with a little of that healthy scepticism that I came here.”

 

“But I don’t need your income, Selwyn, I have my own.”

 

“But you do have a scheming mother, and many a mother like Lady Sadie want their daughters to marry a fine title, especially one that they may have desired for themselves. A Duchess is a step up from a Countess, I’m sure you agree.”

 

“Oh I don’t care…”

 

“Shh, my angel,” Selwyn squeezes her hand beneath his. “I know. However, that also makes you a rather exceptional girl, so I’m glad that my misgivings were misplaced. I’m pleased to hear that you’re in no rush to get married, and that you have set yourself some expectations and rules as to how you wish to live. Perhaps you were born at just the right time to manage as a woman in this new post-war era.”

 

“Please don’t tell Mater that,” Lettice says, lowering her spare hand from worrying her pearls. “She’ll be fit to be tied.”

 

“I promise I shan’t say a word to Lady Sadie, or my own mother. Both are cut from the same cloth in that respect.” He releases her hand and settles back in his chair. Picking up a scone he takes a bite. After swallowing his mouthful and wiping his mouth with his serviette he continues, “Now, do tell me about your latest piece of interior design. I should like to know more about it.”

 

Lettice sighs as she feels the nervous tickles in her stomach finally start to dissipate as she settles back in her own seat and starts to tell him about ‘Chi an Treth’ the Regency house in Penzance that belongs to her friends, the newly married Dickie and Margot Channon.

 

*Now known as the Corinthia Hotel, the Metropole Hotel is located at the corner of Northumberland Avenue and Whitehall Place in central London on a triangular site between the Thames Embankment and Trafalgar Square. Built in 1883 it functioned as an hotel between 1885 until World War I when, located so close to the Palace of Westminster and Whitehall, it was requisitioned by the government. It reopened after the war with a luxurious new interior and continued to operate until 1936 when the government requisitioned it again whilst they redeveloped buildings at Whitehall Gardens. They kept using it in the lead up to the Second World War. After the war it continued to be used by government departments until 2004. In 2007 it reopened as the luxurious Corinthia Hotel.

 

**The title of Duke sits at the top of the British peerage. A Duke is called “Duke” or “Your Grace” by his social equals, and is called only “Your Grace” by commoners. A Duke’s eldest son bears his courtesy title, whilst any younger children are known as Lords and Ladies.

 

***In the early days of moving pictures, films were known by many names. The word “cinema” derives from “kinema” which was an early Twentieth Century shortened version of “kinematograph”, which was an early apparatus for showing films.

 

****A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.

 

*****Early cinemas were often derisively referred to as “fleapits”, however the name given them was for very good reason. As cheap entertainment for the masses, with entry costing a paltry amount, early moving picture theatres often had problems with fleas infesting themselves on patrons who were free of them from those who had them. This was especially common in poorer areas where scruffier cinemas did not employ cleanliness as a high priority. Even as late as the 1960s, some filthy picture houses employed the spraying of children with DDT when they came en masse to watch the Saturday Morning Westerns!

 

******Little deadlies is an old fashioned term for little sweet cakes like petit fours.

 

An afternoon tea like this would be enough to please anyone, but I suspect that even if you ate each sweet petit four or scone on the cake plate, you would still come away hungry. This is because they, like everything in this scene are 1:12 size miniatures from my miniatures collection.

 

Fun things to look for in this tableau:

 

The sweet petite fours on the lower tier of the cake stand and the scones on the upper tier and on Lettice and Selwyn’s plates have been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. Each petit four is only five millimetres in diameter and between five and eight millimetres in height!

 

The blue banded hotel crockery has been made exclusively for Doll House Suppliers in England. Each piece is fashioned by hand and painted by hand. Made to the highest quality standards each piece of porcelain is very thin and fine. If you look closely, you might even notice the facets cut into the milk jug and the steam hole in the teapot.

 

The fluted glass cake stand, the glass vase on Lettice and Selwyn’s table and the red roses in it were all made by Beautifully Handmade Miniatures in Kettering. The cake stand and the vase have been hand blown and in the case of the stand, hand tinted. The red roses in the vase are also made by Beautifully Handmade Miniatures.

 

The Chippendale dining room chairs are very special pieces. They came from the Petite Elite Miniature Museum, later rededicated as the Carol and Barry Kaye Museum of Miniatures, which ran between 1992 and 2012 on Los Angeles’ bustling Wiltshire Boulevard. One of the chairs still has a sticker under its cushion identifying which room of which dollhouse it came. The Petite Elite Miniature Museum specialised in exquisite and high end 1:12 miniatures. The furnishings are taken from a real Chippendale design.

 

The vases of flowers on the stands in the background are beautifully made by hand by the Doll House Emporium. The three plant stands are made by the high-end miniature furniture maker, Bespaq, whilst the sideboard is made by high-end miniature furniture maker JBM. The paintings come from an online stockist on E-Bay.

Kingston Kinema & Bus Station detailed Kingsway Model

We went to see 1917 tonight at the Cinema in the Woods at Woodhall Spa. In the foyer there are display cases with all sorts of cinema memorabilia - photographs, programmes, posters and projectors.

As I hadn't taken a photo for today, I used my iPhone to take this. Unfortunately there are a lot of reflections in the glass but it couldn't be helped.

thekinemainthewoods.co.uk/KinemaInTheWoods.dll/Page?PageID=3

The Grade II Listed Corn Exchange, Cornhill, Lincoln, Lincolnshire.

 

The new Corn Exchange and fruit and vegetable market was built in 1879 to replace the previous building which was built in 1847. It was built by the Lincoln Corn Exchange and Market Company, designed by architects Bellamy and Hardy, and constructed by contractors Walter and Hensman of Horncastle.

 

Trading was only on Fridays so the hall was used for other purposes such as a roller skating rink, cinema 1910-1956 (Cinematograph Hall, Exchange Kinema), Astoria Roller-skating rink 1957-72, Astoria bingo hall 1972-82 and retail market hall 1990s. Last corn trading took place in 1983. The entrance hall and stairs area were converted to McDonald’s fast food in 1982. The upstairs Astoria Shopping centre opened in 1994. Upper room and parts of ground floor area converted into Co op department store in 1999, after being empty for well over a decade as part of the Cornhill Redevelopment it is now the home to Cosy Club restaurant.

 

Information Source:

www.heritageconnectlincoln.com/character-area/sincil-stre...

 

This Smart Spook recommends The New Double Horror Show Now Plating. Don't Miss the Midnite Horror Show. Doors open 11:15pm. Kinema Theatre

An experiment with LOMOKINO Super35 Cinematic Camera from Lomography.

Check out the filmstrip in Maximum Large Size

 

Still have a lot of work to go through to get something really interesting coming out from this plastic box.

vimeo.com/31840294

Woodhall Spa. Due to the roof trusses in the building, which are too low for an image to be projected from the back of the auditorium, films in Screen One at The Kinema are projected from behind the screen and on to a mirror to flip the image. This is then shown on the back of the screen. The Kinema is believed to be the only full-time cinema in the UK still using rear projection.

The Dancehouse Theatre originally opened as the Twin Regal Kinemas on 20th September 1930. The cinemas, which had separate entrances and foyers, were on the second floor and shared a single projection room. Neither had a balcony and each seated 800. Although now commonplace, these two cinemas often presented the same film albeit at different times. Each had a barrel vaulted ceiling and elaborate Art Deco plasterwork down the side walls depicting folds of cloth.

  

In 1960, they were bought by the Star Cinemas group and renamed Romulus and Remus. This lasted just two years before they became known as Studios 1 & 2. In 1972 a sub-division took place and they became Studios 1-5. Although unconfirmed, it is thought that only the former Studio 1 was split leaving Studio 2 intact. Star Cinemas chain was acquired by the Cannon Group late in 1985 and they were quickly closed, the last films being screened September 25, 1986.

  

The cinemas were left shuttered until Manchester gained the European City of Drama in 1992 and the need for more middle-scale live theatre space identified the closed Studios as ideal for conversion. So, the Dancehouse Theatre was born using one of the auditoria as a very attractive theatre in its restored state. The other is now restored as a rehearsal and studio space for the Northern Ballet School which now shares the premises.

  

The former Twin Regal Kinemas have been awarded Grade II Listed status.

 

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This is a very famous old Cinema in Woodhall Spa Lincolnshire.

Rain Man is a 1988 American road comedy-drama film directed by Barry Levinson, from a screenplay written by Barry Morrow and Ronald Bass. It tells the story of abrasive, selfish young wheeler-dealer Charlie Babbitt (Tom Cruise), who discovers that his estranged father has died and bequeathed virtually all of his multimillion dollar estate to his other son, Raymond (Dustin Hoffman), an autistic savant, of whose existence Charlie was unaware. Charlie is left with only his father's beloved vintage car and rosebushes. Valeria Golino also stars as Charlie's girlfriend Susanna. Morrow created the character of Raymond after meeting Kim Peek, a real-life savant; his characterization was based on both Peek and Bill Sackter, a good friend of Morrow who was the subject of Bill (1981), an earlier film that Morrow wrote.[3]

 

Rain Man premiered at the 39th Berlin International Film Festival, where it won the Golden Bear, the festival's highest prize.[4] It was theatrically released by MGM/UA Communications Co. in the United States on December 16, 1988, to critical and commercial success, grossing $354.8 million, on a $25 million budget, becoming the highest-grossing film of 1988, and received a leading eight nominations at the 61st Academy Awards, winning four (more than any other film nominated); Best Picture, Best Director, Best Actor (for Hoffman), and Best Original Screenplay.[5]

 

As of 2022, Rain Man is the first and only film to win both Golden Bear and Academy Award for Best Picture. It was also the last MGM title to be nominated for Best Picture until Licorice Pizza (2021) 33 years later.[6]

  

Contents

1Plot

2Cast

3Production

4Release

4.1Box office

4.2Critical reception

5Accolades

6In popular culture

6.1Qantas and airline controversy

6.2The Buick convertible

7See also

8References

9External links

Plot[edit]

Collectibles dealer Charlie Babbitt is in the middle of importing four grey market Lamborghinis to Los Angeles for resale. He needs to deliver the cars to impatient buyers, who have already made down payments, in order to repay the loan he took out to buy them, but the EPA is holding the cars at the port because they have failed emissions tests. Charlie directs an employee to lie to the buyers while he stalls his creditor.

 

When Charlie learns that his estranged father Sanford Babbitt has died, he and his girlfriend Susanna travel to Cincinnati in order to settle the estate. He inherits only a group of rosebushes and a classic 1949 Buick Roadmaster convertible over which he and his father clashed, while the remainder of the $3 million estate is going to an unnamed trustee. He learns that the money is being directed to a local mental institution, where he meets his elder brother, Raymond, of whom he was unaware his whole life.

 

Raymond has autism and savant syndrome and adheres to strict routines. He has superb recall, but he shows little emotional expression except when in distress. Charlie spirits Raymond out of the mental institution and into a hotel for the night. Susanna becomes upset with the way Charlie treats his brother and leaves him. Charlie asks Raymond's doctor, Dr. Gerald Bruner, for half the estate in exchange for Raymond's return, but Bruner refuses. Charlie decides to attempt to gain custody of his brother in order to get control of the money.

 

After Raymond refuses to fly to Los Angeles, he and Charlie resort to driving there instead. They make slow progress because Raymond insists on sticking to his routines, which include watching The People's Court on television every day, getting to bed by 11:00 PM, and refusing to travel when it rains. He also objects to traveling on the interstate after they encounter a car accident. During the course of the journey, Charlie learns more about Raymond, including his ability to instantly perform complex calculations and count hundreds of objects at once, far beyond the normal range of human subitizing abilities. He also realizes Raymond had lived with the family as a child and was the "Rain Man", a comforting figure that Charlie had falsely remembered as an imaginary friend. Raymond had saved an infant Charlie from being scalded by hot bathwater one day, but their father had blamed him for nearly injuring Charlie and committed him to the institution, as he was unable to speak up for himself and correct the misunderstanding.

 

Charlie's creditor repossesses the Lamborghinis, forcing him to refund his buyers' down payments and leaving him deeply in debt. Having passed Las Vegas, he and Raymond return to Caesars Palace on the Strip and devise a plan to win the needed money by playing blackjack and counting cards. Though the casino bosses obtain videotape evidence of the scheme and ask them to leave, Charlie successfully wins $86,000 to cover his debts and reconciles with Susanna, who has rejoined the brothers in Las Vegas.

 

Returning to Los Angeles, Charlie meets with Bruner, who offers him $250,000 to walk away from Raymond. Charlie refuses and says that he is no longer upset about being cut out of his father's will, but he wants to have a relationship with his brother. At a meeting with a court-appointed psychiatrist, Raymond proves unable to decide for himself what he wants. Charlie stops the questioning and tells Raymond he is happy to have him as his brother. As Raymond and Bruner board a train to return to the institution, Charlie promises to visit in two weeks.

 

Cast[edit]

Dustin Hoffman as Raymond "Ray" Babbitt, an autistic savant who is Charlie's elder brother

Tom Cruise as Charles "Charlie" Babbitt

Valeria Golino as Susanna

Jerry Molen as Dr. Gerald Bruner

Ralph Seymour as Lenny

Michael D. Roberts as Vern

Bonnie Hunt as Sally Dibbs

Beth Grant as Mother at Farm House

Lucinda Jenney as Iris

Barry Levinson as Doctor

Production[edit]

 

A now-abandoned gas station and general store in Cogar, Oklahoma was used in a scene from the film. The Colvert sign has since been removed, revealing the full name of the business.

Roger Birnbaum was the first studio executive to give the film a green light; he did so immediately after Barry Morrow pitched the story. Birnbaum received "special thanks" in the film's credits.[citation needed]

 

Real-life brothers Dennis Quaid and Randy Quaid were considered for the roles of Raymond Babbitt and Charles Babbitt.[7] Agents at CAA sent the script to Dustin Hoffman and Bill Murray, envisioning Murray in the title role and Hoffman in the role eventually portrayed by Cruise.[3] Martin Brest, Steven Spielberg and Sydney Pollack were directors also involved in the film.[8] Mickey Rourke was also offered a role but he turned it down.[9]

 

Principal photography included nine weeks of filming on location in Cincinnati and throughout northern Kentucky.[10] Other portions were shot in the desert near Palm Springs, California.[11]: 168–71 

 

Almost all of the principal photography occurred during the 1988 Writers Guild of America strike; one key scene that was affected by the lack of writers was the film's final scene.[3] Bass delivered his last rough cut of the script only hours before the strike started and spent no time on the set.[8]

 

Release[edit]

Box office[edit]

Rain Man debuted on December 16, 1988, and was the second highest-grossing film at the weekend box office (behind Twins), with $7 million.[12] It reached the first spot on the December 30 – January 2 weekend, finishing 1988 with $42 million.[13] The film would end up as the highest-grossing U.S. film of 1988 by earning over $172 million. The film grossed over $354 million worldwide.[2]

 

Critical reception[edit]

On review aggregator website Rotten Tomatoes the film holds an approval rating of 89% based on 79 reviews, with an average rating of 7.9/10. The website's critical consensus states: "This road-trip movie about an autistic savant and his callow brother is far from seamless, but Barry Levinson's direction is impressive, and strong performances from Tom Cruise and Dustin Hoffman add to its appeal."[14] Metacritic assigned the film a weighted average score of 65 out of 100 based on 18 critic, indicating "generally favorable reviews".[15] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[16]

 

Vincent Canby of The New York Times called Rain Man a "becomingly modest, decently thought-out, sometimes funny film"; Hoffman's performance was a "display of sustained virtuosity . . . [which] makes no lasting connections with the emotions. Its end effect depends largely on one's susceptibility to the sight of an actor acting nonstop and extremely well, but to no particularly urgent dramatic purpose."[17] Canby considered the "film's true central character" to be "the confused, economically and emotionally desperate Charlie, beautifully played by Mr. Cruise."[17]

 

Amy Dawes of Variety wrote that "one of the year's most intriguing film premises ... is given uneven, slightly off-target treatment"; she called the road scenes "hastily, loosely written, with much extraneous screen time," but admired the last third of the film, calling it a depiction of "two very isolated beings" who "discover a common history and deep attachment."[18]

 

One of the film's harshest reviews came from New Yorker magazine critic Pauline Kael, who said, "Everything in this movie is fudged ever so humanistically, in a perfunctory, low-pressure way. And the picture has its effectiveness: people are crying at it. Of course they're crying at it—it's a piece of wet kitsch."[19]

 

Roger Ebert gave the film three and a half stars out of four. He wrote, "Hoffman proves again that he almost seems to thrive on impossible acting challenges...I felt a certain love for Raymond, the Hoffman character. I don't know quite how Hoffman got me to do it."[20] Gene Siskel also gave the film three and a half stars out of four, singling out Cruise for praise, "The strength of the film is really that of Cruise's performance...the combination of two superior performances makes the movie worth watching."[21]

 

Rain Man was placed on 39 critics' "ten best" lists in 1988, based on a poll of the nation's top 100 critics.[22]

 

Accolades[edit]

AwardCategoryNominee(s)Result

Academy Awards[5]Best PictureMark JohnsonWon

Best DirectorBarry LevinsonWon

Best ActorDustin HoffmanWon

Best Screenplay – Written Directly for the ScreenRonald Bass and Barry MorrowWon

Best Art DirectionIda Random and Linda DeScennaNominated

Best CinematographyJohn SealeNominated

Best Film EditingStu LinderNominated

Best Original ScoreHans ZimmerNominated

American Cinema Editors AwardsBest Edited Feature FilmStu LinderWon

American Society of Cinematographers Awards[23]Outstanding Achievement in Cinematography in Theatrical ReleasesJohn SealeNominated

Berlin International Film Festival[24]Golden BearBarry LevinsonWon

Berliner Morgenpost Readers' Jury AwardWon

BMI Film & TV AwardsFilm Music AwardHans ZimmerWon

British Academy Film Awards[25]Best Actor in a Leading RoleDustin HoffmanNominated

Best Original ScreenplayRonald Bass and Barry MorrowNominated

Best EditingStu LinderNominated

César Awards[26]Best Foreign FilmBarry LevinsonNominated

Chicago Film Critics Association Awards[27]Best ActorDustin HoffmanNominated

David di Donatello AwardsBest Foreign FilmBarry LevinsonWon

Best Foreign DirectorNominated

Best Foreign ActorDustin HoffmanWon

Best Foreign ProducerMark JohnsonNominated

Best Foreign ScreenplayRonald Bass and Barry MorrowNominated

Directors Guild of America Awards[28]Outstanding Directorial Achievement in Motion PicturesBarry LevinsonWon

Golden Globe Awards[29]Best Motion Picture – DramaWon

Best Actor in a Motion Picture – DramaDustin HoffmanWon

Best Director – Motion PictureBarry LevinsonNominated

Best Screenplay – Motion PictureRonald Bass and Barry MorrowNominated

Goldene Kamera (1989)Golden ScreenWon

Goldene Kamera (1991)Golden Screen with 1 StarWon

Heartland FilmTruly Moving Picture AwardBarry LevinsonWon

Japan Academy Film PrizeOutstanding Foreign Language FilmNominated

Jupiter AwardsBest International FilmBarry LevinsonWon

Kansas City Film Critics Circle Awards[30]Best FilmWon

Best DirectorBarry LevinsonWon

Best ActorDustin HoffmanWon

Best Supporting ActorTom CruiseWon[a]

Kinema Junpo AwardsBest Foreign Language FilmBarry LevinsonWon

Mainichi Film AwardsBest Foreign Language FilmWon

MTV Video Music AwardsBest Video from a Film"Iko Iko" – The Belle StarsNominated

Nastro d'ArgentoBest Foreign DirectorBarry LevinsonNominated

Best Supporting ActressValeria GolinoNominated

National Society of Film Critics Awards[31]Best ActorDustin Hoffman3rd Place

New York Film Critics Circle Awards[32]Best Actor2nd Place

Nikkan Sports Film AwardsBest Foreign FilmWon

People's Choice AwardsFavorite Dramatic Motion PictureWon

Turkish Film Critics Association AwardsBest Foreign Film2nd Place

Writers Guild of America Awards[33]Best Screenplay – Written Directly for the ScreenRonald Bass and Barry MorrowNominated

YoGa AwardsWorst Foreign ActorDustin HoffmanWon

The film is recognized by American Film Institute in these lists:

 

2006: AFI's 100 Years...100 Cheers - #63

In popular culture[edit]

Rain Man's portrayal of the main character's condition has been seen as creating the erroneous media stereotype that people on the autism spectrum typically have savant skills, and references to Rain Man, in particular Dustin Hoffman's performance, have become a popular shorthand for autism and savantism. Conversely, Rain Man has also been seen as dispelling a number of other misconceptions about autism, and improving public awareness of the failure of many agencies to accommodate autistic people and make use of the abilities they do have, regardless of whether they have savant skills or not.[34]

 

The film is also known for popularizing the misconception that card counting is illegal in the United States.[35]

 

The Babbitt brothers appear in The Simpsons season 5 episode $pringfield. The film is mentioned in numerous other films such as Miss Congeniality (2000), 21 (2008), Tropic Thunder (2008) (in which Tom Cruise made an appearance), The Hangover (2009), Escape Room (2019), and also in the television series Breaking Bad.

 

Raymond Babbitt was caricatured as a rain cloud in the animated episode of The Nanny, "Oy to the World". During the episode, Fran fixes up CC the Abominable Babcock with the Rain Man. He is portrayed as a cloud of rain mumbling about weather patterns and being an excellent driver.

 

Qantas and airline controversy[edit]

During June 1989, at least fifteen major airlines showed edited versions of Rain Man that omitted a scene involving Raymond's refusal to fly, mentioning the crashes of American Airlines Flight 625, Delta Air Lines Flight 191, and Continental Airlines Flight 1713, except on Australia-based Qantas. Those criticizing this decision included film director Barry Levinson, co-screenwriter Ronald Bass, and George Kirgo (at the time the President of the Writers Guild of America, West). "I think it's a key scene to the entire movie," Levinson said in a telephone interview. "That's why it's in there. It launches their entire odyssey across country – because they couldn't fly." While some of those airlines cited as justification avoiding having airplane passengers feel uncomfortable in sympathy with Raymond during the in-flight entertainment, the scene was shown intact on flights of Qantas, and commentators noted that Raymond mentions it as the only airline whose planes have "never crashed".[36][37] The film is credited with introducing Qantas' safety record to U.S. consumers.[38][39]

 

The Buick convertible[edit]

Two 1949 Roadmaster convertibles were used in the filming, one of which had its rear suspension stiffened to bear the additional load of camera equipment and a cameraman. After filming completed, the unmodified car was acquired by Hoffman, who had it restored, added it to his collection and kept it for 34 years. Hemmings Motor News reported that this car was auctioned in January 2022 by Bonhams at Scottsdale, Arizona and sold for $335,000.[40] The camera-carrying car was similarly acquired by Barry Levinson, who a few years later had it restored by Wayne Carini of the Chasing Classic Cars television series.

A 78 Purchased for £1 in a charity shop. My relatives once lived in New Cross. The New Cross Kinema history… Located in the southeast London district of New Cross. Opened on 7th September 1925 with Betty Balfour in “Squibs”, attended by Betty Balfour in person. The main programme was Carlyle Blackwell in “Two Little Vagabonds” and Betty Compson in “The Fast Set”. It was first known as the New Cross Super Cinema with an original seating capacity of 2,300 and was an imposing building located on the main New Cross Road at the corner of Clifton Rise. Designed for pictures and variety, the stage was 30 feet deep and there were three dresssing rooms. It was equipped with a Wurlitzer organ. The building also contained the Palais de Danse dancehall and a cafe.

 

The name was shortened to New Cross Kinema from 28th February 1927 and it was taken over by Denman/Gaumont in March 1928. In August 1929 a Wurlitzer organ was installed.

 

It was re-named the Kinema from 5th April 1948 and then on 16th May 1950 it was re-named Gaumont.

 

Closed by the Rank Organisation on 27th August 1960 with Charles Chaplin in “The Chaplin Revue” and Harry Dean Stanton in “A Dog’s Best Friend”.

 

The building lay empty and derelict for several years. Eventually the auditorium was demolished and an office block was built on the land. However, the facade and front section of the building remained and was in used first as a supermarket and later as a furniture store on the ground floor, with the Venue Nightclub using the former dancehall and foyer spaces on the upper levels. Today the Venue Nightclub have taken over the entire remains of the building and externally it was restored in 2006, revealing the original glazed tiling which had been painted over in black paint many years ago.

 

New Cross Road 1940 Street Index showing STEMP BROS at 355

 

New Cross road (SE14) (Deptford), continuation of Old Kent road to Deptford broadway

North side

London County council South Eastern Ambulance Station

1 Eppel David, physician & surgeon

... here is Avonley road ...

43 Crown & Anchor, Charles Hickinbottom

43A Harper Sydney, builder

67 Mitchell Charles

67 Mitchell William John, physician & surgeon

79 Levy Isaac & Sons, scrap metal merchants

81 Loparta Miss Hetty, dressmaker

89 Loring Samuel & sons Ltd, dyers

91 Surridge, Dawson & Co Ltd, wholesale newsagents

93 Hill Charles, cycle dealer

... here is Monson road ...

All Saints Church

109 Uden W & Sons Ltd, undertakers

111 & 113 Stern George Hy Frederick, house furnisher

115 Earley Mrs Florence, grocer

117 Wright Hy, oilman

... here is Casella road ...

119 Hemmings A B Ltd, bakers

121 Elliott Sydney Arthur, butcher

123 Giddings Alfred Leonard, confectioner

125 Hamilton Gerald, bookseller

127 Leach Jacob, tailor

129 Goldsmith William Harold, leather goods dealer

131 Turland Mrs Rose, dining rooms

133 Cole Mrs Henrietta Frances, hairdresser

135 Turner George John, greengrocer

141 Hobson John Charles & son, undertakers

... here is Billington road ...

143 Superlamp Ltd, eletrical accessories factors

145 & 147 Harvey & Thompson Ltd, pawnbrokers

147A Martin Albert James, motor engineer

153 & 155 Five Bells, Mrs Gladys & Frank Collins

... here is Hatcham Park road ...

157 London United Grocers Ltd

159 Freemans, butcher

161 Jones & Co (New Cross) Ltd, chemists

163 Tyne Main Coal Co Ltd

163 Charap Leon, watchmaker

165 & 172 Kingston William Ltd, fruiterers

169 East Kent road Car Co Ltd, motor coach station

171 Greenslade Miss Edith Lilian, confectioner

173 Sharp Albert Hy, dining rooms

175 Murray J & Sons (London) Ltd, corn dealers

175 Acme Window cleaning & Insurance Co Ltd

177 Morgans of New Cross gate Ltd, stationers

179 Defew William & Sons, hosiers

181 Wallis John Ltd, bakers

183 Allen Leonard Frank, ham dealer

185 Wild Frank, florist

191 Jacksons Radio Ltd, wireless supplies dealers

193 Carey T J & Co Ltd, tobacconists

195 Clark Fras Dysterre, dentist

195 & 197 Barclays Bank Ltd (branch)

199 Marshall Andrew MB, chB, physician & surgeon

201 Victor Mrs Polly, tailor

207 United Friendly Insurance Co Ltd

209 Cavey & Co, auctioneers

213 Scottish Legal Life Assurance Society

215 Sweatman William, builder

219 Lainson George F T, accountant

229 Martin Norman, ladies tailor

239 Brattle Herbert Thomas, dentist

241 Grudno Hy, MB, chB, physician & surgeon

... here is Nettleton road ..

247 Mikal (The) Foot Clinic

... here is Harts lane ...

253A Wenden William Edward, coffee rooms

257 Champion George, tobacconist

259 Lyons A R & Sons Ltd, decorators

261 Harding James, wardrobe dealer

263 Railway Tavern, William Edward Craigen

263A Barden Leslie Harold, motor car garage

Southern Railway Locomotive & Carriage Department (Entrance)

... here is Brighton grove ...

Esso Motor Spirit Co Service Station

New Cross Gate Station (southern Railway)

Baker Albert & Co (1898) Ltd, tobacconists (New Cross Gate Station)

Premier Shoe Repairing Service Co Ltd

Seymours Surgical Stores

Smith W H & Son Ltd, newsagents (New Cross Gate Station)

Sharland Basil John, tobacconist

Rickett, Smith & Co, coal merchants

Fenner Mrs A, fruiterer

Corrall & Co Ltd, coal merchants

Graham A, hairdresser

267A Heatley William, horse flesh dealer

267 Kiff William, confectioner

269 Dove Shoe Co, boot & shoe dealers

271 Stubbing & Co Ltd, refreshment bar

271 Hudson Albert Arthur, coal merchant

273 Speech & Music Amplifying Co

273 Post, Money Order, Telegraph & telephone Call Office & Savings bank

... here is Goodwood road ...

275 Penistans, fancy drapers

277,279 & 281 Woolworth F W & Co Ltd, bazaar

283,285,287 & 293 Royal Arsenal Co-operative Society Ltd

289 Singer Sewing Machine Co Ltd

291 Horne H Ltd, confectioners

293 & 283,285,287 Royal Arsenal Co-operative Society Ltd

295 United Dairies (London) Ltd

297 Kennedy Andrew John & Sons, fishmongers

299 Home & Colonial Stores Ltd

301 Kennedy Alex Ltd, ham & tongue dealers

303 Dolcis Shoe Co

305 Grey S & Co Ltd, wireless supplies dealers

307 & 160 & 162 Chalk & Cox Ltd, butchers

307 Coulson Harry, loan office

307 Dannan Charles, turf commission agent

309 Rosin M Ltd, bakers

311 Maynards Ltd, confectioners

313 Greig David Ltd, provision dealers

315 Maloneys Ltd, butchers

317 Hitman Harry, toilet requisites

317A Lush & Cook Ltd, dyers & cleaners

319 Bowers Arthu Edmund & Co, tobacconists

321 Hemmings A B Ltd, bakers

323 New Cross inn, Frank Summers

... here is Clifton rise ...

225 New Cross Kinema Cafe

327 New Cross Kinema

327 Reed bros, wine merchants

327 New Cross Palais de Danse

329 Glover Harry Norman, turf commission agent

329 Higgins Thomas R, turf commission agent

329 London & Manchester Assurance Co Ltd

331 Midland Bank Ltd

333 Loraine Confectionery Co Ltd

335 & 337 Express dairy Co Ltd

339 Wakefield Miss C Ann, fancy draper

341 Cohen Nathan, kosher butcher

343 & 345 Wetton George, fruiterer

Methodist Church & Lecture Hall

353 Shimerlager Phillip, clothier

353 & 355 (back of) Searle Thomas James, brass founder

355 Stemp Bros, cycle agents & dealers

357 Phillips Bernard Ltd, chemists

359 Horwood Nathan Bernard, confectioner

361 Kipps W & Sons, pianoforte dealers

363 Conner Edwin Rd, tailor

365 Measure George M, hosier

367 Pocket Hy Truebridge & William, pawnbrokers

369 Robson Rt, grocer

371 Phillips Walter Lionel, woodworkers supplies

373 Cornwall Edwin A, coal merchant

375 Martell Saverio, boot & shoe repairer

377 West Frederick Thomas, hairdresser

379 Nicholson John, beer retailer

381 Fixed Price Light Co Ltd, electric light & power contractors

... here is Pagnell street ...

385 Glassberg Miss Polly, confectioner

387 Wheeler Fredeick George, oilman

387 (rear of) Bridges & Sharp, motor engineers

389 Taylor Charles, baker

391 Fitch Louis E S, dentist

393 & 458 Beau Brummel Ltd, dyers & cleaners

395 Elite Saloon (The), ladies hairdressers

397 Wetsrens fried fish shop

401 Large Walter, drug stores

401 Post, Money Order, Telegraph & Telephone Call Office & Savings bank

403 Burchill Sidney Hy, wireless supplies dealers

405 Gates Mrs Norah, tobacconist

407 South Eastern Distillery, James Wright - Walpole Arms

... here is Railway grove ...

Decorators Suppy Co Ltd, builders merchants

407A Ward William, confectioner

407B Bishop Herbert Charles, snack bar

407C Chappell William John, hairdresser

407D Levy Mrs Annie, tailor

407E Salmon & Gluckstein Ltd, tobacconists

407F & G Prideaux Walter E, dairy

407H Godbehere Miss Joan, florist

New Cross Station (Southern Railway)

Miller Jack Ltd, tobacconists

Smith W H & Son Ltd, newsagents (New Cross Station)

407I Haddon John Leonard James, refreshment bar

407J Harwood Hy Albert, boot repairer

... here is Amersham vale ...

409 Moss M & Sons, furniture dealers

413 Brereton Miss G K A

417 Purvis & Purvis, architects

423 O'Driscoll McCarthy, Physician & surgeon

425 Kehoe Patrick Edward MB, Bch, BAO Irel, Physician & surgeon

427 Carcoski Alfred, tailor

429 Adams Miss Ada, teacher of music

431 Sayers Joseph D, Physician & surgeon

... here is Mornington road ...

433 Wheeler W J & Sons, builders

435 Deptford Labour Party

437 Francis A, estate agent

439 Douthwaite Harold Seymour, dental surgeon

441 Jacob B & Sons Ltd, lightermen

443 Lindsay Sidney S, MB, BS, physician & surgeon

443 Jackson Charles T E, dentist

445 Hall Frederick B & Co Ltd, sign manufacturers

445A Chapple Charles V, shopkeeper

447 to 453 Allum F A Ltd, house furnishers

453A Cohen Isaac, physician & surgeon

455 & 455A & 410 Corbett Lord Stanley, motor cycle dealer

455B Bray & Bray, opticians

457 Royal Arsenal Co-operative society Ltd (funeral furnishing dept)

457A Hinds Arthur, dining rooms

459 to 463 Times Furnishing Co Ltd

465 Mumby F L & Co, tailors

467 Wedderburn F, scale maker

473 Chappell Fras & Sons, undertakers

475 Gray A J, tobacconist

477 Silk Clifford Guy, confectioner

477A East Surrey Laundry

479 Robbins Arnold, baker

481 Bell Thomas Frederick, fried fish shop

... here is Watson street ...

483 to 489 New Cross Empire

487 Newell & Hamlyn, auctioneers

487 Avery & Wolverson, solicitors

489A Sabels Ltd, ladies hairdressers

489A & 482 Pope Hy William & Co, manufacturing ironmongers

491 Gold Hyman, costumier

491A Meesons Ltd, confectioners

191B Marston Claude, fried fish shop

493 Globe Permanent Benefit Building Society

493 King & Co, accountants

495 Harberd Charles, beer retailer - Little Crown

497 Rickman Cecil, ham & beef shop

499 Barnes W H Ltd, pianoforte dealers

503 Admiral Duncan, E J Rose & Co Ltd

... here are the Broadway & Deptford High street ...

 

South side

2A Ehrenzweig Otto, tobacconist

2 Liman John & Sons, waste rubber merchants

4 South London Motor Tyre Works

... here is Pomeroy street ...

24 Freeman Alfred & Son, builders

30 National Animal Clinics

32 New Cross Social Club

34 St Anthonys Residential Club

... here is Kender street ...

46 Halder Ernest Charles, dentist

52 & 54 Hutchinson Motor Transport Co ltd

58 & 60 Waterman J C & Sons Ltd, saw makers

62 Masters Mrs Amelia Sarah Hayman, beer retailer - Fox

62A & 64 Tucker & Richardson Ltd, tin box makers

... here are Evelyn buildings ...

66 & 68 Greatorex Stan Motors Ltd, motor cycle dealers

... here is Briant street ...

92 Williams Walter George, beer retailer - Hatcham Arms

94 Dunsford Mrs Edith, confectioner

98 Reardon Mrs Annie, furniture dealer

100 Clarke John Hy, boot & shoe dealer

102 Walklin Ernest Rt, tobacconist

104 Wright Stanley Wyatt George, builders merchant

106 Eden George Sydney, hairdresser

106 Shead Alex, grocer

108 Oldman Arthur William, builder

116 & 118 Deptford (Borough of) New Cross Public Library

120 Willard Miss Florence Edith, stationer

120 Post, Money Order & Telegraph & Telephone Call Office

122 Randall Thomas, manufacturing confectioner

124 Harvey Arthur Edwin, butcher

126 Parsons Mrs Edith Maysie, fancy draper

128 Powell Mrs Alice harvey, cafe

130A Boeckel Miss A Van, cleaner

130B Clein Simon, BSC, physician & surgeon

132 Marshall Horace & Son Ltd, wholesale newspaper agents

134 Gates Charles, butcher

136 United Footwear Services (1938) Ltd, boot repairers

138 Butcher G, tobacconist

140 Portland Laundry (London) Ltd

142 Simpson Arthur William, coffee rooms

144 Cooper Mrs Violet, wallpaper dealer

146 Taylor Wilfred Hy, hairdresser

148 Geralds, ladies hairdressers

150 Hardy Mrs Dorothy, confectioner

152 Sayer Charles, dining rooms

154 Hawkins Thomas, oilman

156 Morris Alfred, fried fish shop

158 Service Cleaners, valeting services

... here is Besson street ...

160,162 & 307 Chalk & Cox Ltd, butchers

164 Bradfield James, tobacconist

166 parker George & Son, drapers

168 Wood Miss Eliza, confectioner

170 Boots The Chemists

172 & 165 Kingston William Ltd, fruiterers

174 Essex F W & Son Ltd, grocers

176 Rayners, fishmongers

178 Lipton Limited, provision dealers

178A Barnett & Clark, motor car garage

180 General Accident Fire & Life Assurance Corporation Ltd

180 Refuge Assurance Co Ltd

182 New Cross Motor Co, motor car repairers

184 White Hart, John A Davies & John Gilbert Cock

... here is Queens road ...

... here is Pepys road ...

188 Hall Mrs A

190 Gregory Frederick Wright

192 Marriott Miss

194 Cavell Mrs

196 Wandsworth Harold

Fairlawn Mansions :

48 Isaacs S

 

208 LPTB Electric Tram Depot

South-East London synagogue

Fairlawn Mansions

218 Tutching Miss

220 Macguire Misses

... here is Troutbeck road ...

228 Kennedy John

230 Firisen Jacob

232 Crawley John

236 Siebert Mrs

... here is Jerningham road ...

238 Kessel Elias , MB, physician & surgeon

256 Metropolitan Water Board (Deptford Receiving office)

256A Ministry of Health (district office)

256 Stoneman Frank, athletic outfitter

260 Moody Mrs Ada, hairdresser

262 Bedford & Co, chemists

264 Baster Ernest, tobacconist

266 Hardy Arthur Reginald, butcher

268 Seals Percival, grocer

272 Rose inn, Thomas Wilfrid Carroll

Pearce Signs Ltd, sign manufacturers

280 Clamp & Son, auctioneers

252 Sanda (Electrical) Ltd, electrical contractors

... here is St James' ...

282A Green Charles, tailor

282A Deptford (Borough of) ARP Dept

284 Valmency Alx de, dentist

286 Britannic Assurance Co Ltd

286 Dean Rt R Sorrell AMI, MechE, district surveyor (acting) for Camberwell South

288 District Postal Sorting Office

Deptford Town Hall

Deptford Borough of

Church of Christ (Laurie Hall)

302 Wilsons (Brixton) Ltd, motor school

304 Eastman & Son, Dyers & Cleaners

304A Lightfoot Frank, tailor

306 Scott F G, hairdresser

308 Walker W H & Son, estate agents

310 & 312 Russell S C, optician

314 Economic Tyre Co Ltd

... here is Laurie grove ...

316 New Cross House, E J Rose & Co Ltd

318 Trackman Mrs Marie, confectioner

... here is Lewisham High road ...

322 Marquis of Granby, Hy Stonehill

324 Johnsons Ltd, confectioners

326 Martin Leslie, watch maker

328 Cherry Frank, secondhand bookseller

330 Marlborough Press, printers

332 Burroughs George Harold, eel merchant

336 & 336A MVM Ltd, motor car dealers

338 Dean Percy John, cycle maker

344 Povey J, ticket writer

344 Alma Mercantile, debt collecting office

350 New Century Estates Co Ltd

350 Purkis Frederick J, estate agent

352 Windred Edward Hy, hairdresser

360 Chappell Bros, motor car hire

360 Chappell Mrs Alice, dress agency

362 Order of St John & British Red Cross Society Joint council (Emergency Help Fund) (Lewisham Deptford & Greenwich branch)

Borough of Deptford Pension Society

... here is Amersham road ...

388 Amersham Arms, Phillip Rampon & Albert V Ball

390 Deptford Conservative Club Ltd

390 Old Goldsmiths Boxing Club

394 Bench Percy Charles, dentist

410 & 455 & 455A Corbett Lord Stanley, motor cycle dealer

... here is Alpha road ...

416 Nelson Alan Hardy, physician & surgeon

416 Nelson George, physician & surgeon

424 Ballard J & G, accumulator chargers

446 Gaylard & Son, printers

448 Mantella Charles, hairdresser

450 Ferris R H, chemist

454 Sutton G E & Son, ironmongers

456 Automotors, secondhand motor car dealer

458 & 393 Beau Brummel Ltd, dyers & cleaners

... here is Florence road ...

460 Royal Albert, Edwin Charles Stanley Welton

460A Levine Hyman, hairdresser

462 Barham Alfred, house furnisher

464 Nicholas Herbert Leonard, tobacconist

466 Dymond Frank Hy, certified accountant

Zion (Baptist) Chapel

470 New Cross (The) Equitable building Society

472 to 478 Addey & Stanhope Secondary School

480 Post, Money Order & Telegraph & Telephone Call Office & Savings bank

482 & 489A Pope Hy William & Co, manufacturing ironmongers

484 Phyllis, hairdressers

496 Knell Albert Hy, tobacconist

488 Camoccio Antonio & sons, restaurant

... here is Willshaw street ...

490 Ledger Mrs Eliza, beer retailer - Star & Garter

492 & 494 Selman B, outfitter

Broadway Theatre (The)

... here is Deptford broadway ...

The original projector.

Kinema in the Woods, Woodhall Spa. The first film was screened here in 1922 in the largely intact (but much updated) Screen 1. Kinema Too was added in 1994 and both were updated to digital in 2010. Screen 3 opened on 29th June 2019 - both 2 & 3 were built alongside the original which retains it's Compton organ (from the Super Cinema Charing Cross Road) installed here in 1987.

 

Woodhall Spa, Lincolnshire, England - Kinema in the Woods, Coronation Road.

June 2019

Kinema, Katia ♪♫♫

www.francisfrith.com/carnforth/carnforth-kinema-1923_74159

 

cinematreasures.org/theaters/37416

The Grade II Listed Corn Exchange, Cornhill, Lincoln, Lincolnshire.

 

The new Corn Exchange and fruit and vegetable market was built in 1879 to replace the previous building which was built in 1847. It was built by the Lincoln Corn Exchange and Market Company, designed by architects Bellamy and Hardy, and constructed by contractors Walter and Hensman of Horncastle.

 

Trading was only on Fridays so the hall was used for other purposes such as a roller skating rink, cinema 1910-1956 (Cinematograph Hall, Exchange Kinema), Astoria Roller-skating rink 1957-72, Astoria bingo hall 1972-82 and retail market hall 1990s. Last corn trading took place in 1983. The entrance hall and stairs area were converted to McDonald’s fast food in 1982. The upstairs Astoria Shopping centre opened in 1994. Upper room and parts of ground floor area converted into Co op department store in 1999, after being empty for well over a decade as part of the Cornhill Redevelopment it is now the home to Cosy Club restaurant.

 

Information Source:

www.heritageconnectlincoln.com/character-area/sincil-stre...

 

A Slice Of Life in a Totoro show. My Neighbor Totoro (Japanese: となりのトトロ Hepburn: Tonari no Totoro) is a 1988 Japanese animated fantasy film written and directed by Hayao Miyazaki and produced by Studio Ghibli. The film – which stars the voice actors Noriko Hidaka, Chika Sakamoto, and Hitoshi Takagi – tells the story of the two young daughters (Satsuki and Mei) of a professor and their interactions with friendly wood spirits in postwar rural Japan. The film won the Animage Anime Grand Prix prize and the Mainichi Film Award and Kinema Junpo Award for Best Film in 1988. It also received the Special Award at the Blue Ribbon Awards in the same year.

en.wikipedia.org/wiki/My_Neighbor_Totoro

The Grade II Listed former Corn Exchange on Castle Gate in Newark on Trent, Nottinghamshire.

 

The Corn Exchange at Newark had become something of a centre for the trade in wheat and barley in the 1700's, the latter feeding directly into the prosperous local malting industry. Before the Corn Exchange was built agricultural traders had conducted their business in the open air on the town hall steps. As the level of business began to grow, this situation became inappropriate and a group of local businessmen, headed by John Thorpe, owner of a large water-powered flour mill on the Trent (best remembered as Parnham's Mill) got together to form a company to construct a dedicated corn exchange.

 

The building was designed by the London architect Henry Deusbury in Italian Baroque style with the two statues representing commerce and agriculture (standing on the parapet either side of the clock tower) being executed by the noted sculptor John Bell who is perhaps best known for his Crimea Monument at the junction of Pall Mall and Waterloo Place in London.

 

It opened on 27th September 1848 and in addition to the weekly market, presented lectures, meetings and musical entertainments in the 1,500 seat hall. In the early part of the 20th Century it was converted into the Cinematograph Hall, a short lived venture which seemingly closed around the time that the purpose built Kinema opened. In the 1960's the Corn Exchange was used as a dance hall, & subsequent changes of use include a restaurant & bar in the 1990's.

 

Many Thanks To Shilpot www.flickr.com/photos/20909064@N05/14029653626 For The Amazing Photo On The Left...50 Years Plus For This One...Hinds Jewellers On The Extreme Left Doubled For Jordans In The Blue Lamp..In The Centre The Grand Kinema Opened in 1910, Gaumont Took Over In The Twenties It Was Renamed Gaumont Theatre In 1951 Closing In 1961 And Demolished Shortly After For The Marylebone Flyover This Part Opened In 1967...Who Remembers The Coach And Horses Pub???...Capital House In The Rear And Right Of Both Photos Was Complete In 1960 And Has Been Renovated Since...This One Was A Bit Difficult Standing In The Middle Of The Road Opposite The Police Station Shuffling Around Geting My Angles Right..

 

The building that housed the Gem Theater dates back to 1909 when the Kinema Theatre opened its doors. Over the years, the building had several different owners, theater names, and survived multiple fires. In 1986, the building closed as a theater. The Gem Theatre opened in 2011

Kinema in the Woods, Woodhall Spa. Opened as a cinema in 1922 (a conversion of a concert hall) and remaining essentially intact to this day. Believed to be the only rear-projection digital cinema in the UK. A second screen (Kinema Too) was added to one side in 1994 and a third screen on the other side in 2019. In October 2021 a tiny fourth screen opened with 21 seats, but still equipped with tabs, in a space behind Screen 3. Utterly charming.

 

cinematreasures.org/theaters/6373

 

Woodhall Spa, Lincolnshire, England - Kinema-in-the-Woods, Coronation Road

October 2021

thekinemainthewoods.co.uk/KinemaInTheWoods.dll/Page?PageID=3

Mnemosyne is written in Python, which allows for its use on Microsoft Windows, Linux, and Mac OS X. A client program for review on Android devices is also available but needs to be synchronized by the desktop program. Users of the software usually make their own database of cards, although pre-made Mnemosyne databases are available, and it is possible to import SuperMemo collections and text files.Each day, the software displays each card that is scheduled for repetition. The user then grades their recollection of the card's answer on a scale of 0-5. The software then schedules the next repetition of the card in accordance with the user's rating of that particular card and the database of cards as a whole. This produces an active, rather than passive, review process.

Muse...The Muses are the inspirational goddesses of literature, science, and the arts in Greek mythology. They were considered the source of the knowledge embodied in the poetry, lyric songs, and ceramicThe Muses /ˈmjuːzᵻz/ (Ancient Greek: Μοῦσαι, Moũsai; perhaps from the o-grade of the Proto-Indo-European root *men- "to think" or from root *men- "to tower, mountain", since all the most important cult-centres of the Muses were on mountains or hills.The earliest known records of the Nine Muses are from Boeotia, the homeland of Hesiod. Some ancient authorities thought that the Nine Muses were of Thracian origin.[4] There, a tradition persisted that the Muses had once been three in number.[5] In the first century BC, Diodorus Siculus quotes Hesiod to the contrary, observing:Writers similarly disagree also concerning the number of the Muses; for some say that there are three, and others that there are nine, but the number nine has prevailed since it rests upon the authority of the most distinguished men, such as Homer and Hesiod and others like them.Diodorus also states (Book I.18) that Osiris first recruited the nine Muses, along with the Satyrs or male dancers, while passing through Ethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went. According to Hesiod's account (c. 600 BC), generally followed by the writers of antiquity, the Nine Muses were the nine daughters of Zeus and Mnemosyne (i. e. "Memory" personified), figuring as personifications of knowledge and the arts, especially literature, dance and music.The Roman scholar Varro (116–27 BC) relates that there are only three Muses: one born from the movement of water, another who makes sound by striking the air, and a third who is embodied only in the human voice. They were called Melete or "Practice", Mneme or "Memory" and Aoide or "Song". Three ancient Muses were also reported in Plutarch's (46–120 AD) Quaestiones Convivales(9.I4.2–4).However, the classical understanding of the muses tripled their triad, and established a set of nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and mime, writing, traditional music, and dance. It was not until Hellenistic times that the following systematic set of functions was assigned to them, and even then there was some variation in both their names and their attributes: Calliope (epic poetry), Clio (history), Euterpe (flutes and lyric poetry), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry), Polyhymnia (sacred poetry), Urania (astronomy).According to Pausanias in the later second century AD, there were three original Muses, worshiped on Mount Helicon in Boeotia: Aoidḗ ("song" or "tune"), Melétē ("practice" or "occasion"), and Mnḗmē ("memory"). Together, these three form the complete picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names: Nḗtē, Mésē, and Hýpatē, which are assigned as the names of the three cords of the ancient musical instrument, the lyre. Alternatively they later were called Kēphisṓ, Apollōnís, and Borysthenís, which names characterize them as daughters of Apollo. In later tradition, a set of four Muses were recognized: Thelxinóē, Aoidḗ Archē, and Melétē, said to be daughters of Zeus and Plusia or of Uranus.One of the people frequently associated with the Muses was Pierus. By some he was called the father (by a Pimpleian nymph, called Antiope by Cicero) of a total of seven Muses, called Neilṓ (Νειλώ), Tritṓnē (Τριτώνη), Asōpṓ (Ἀσωπώ), Heptápora (Ἑπτάπορα), Achelōís, Tipoplṓ (Τιποπλώ), and Rhodía (Ῥοδία).According to Hesiod's Theogony (seventh century BC), they were daughters of Zeus, the second generation king of the gods, and the offspring of Mnemosyne, goddess of memory. For Alcman and Mimnermus, they were even more primordial, springing from the early deities, Uranus and Gaia. Gaia is Mother Earth, an early mother goddess who was worshipped at Delphi from prehistoric times, long before the site was rededicated to Apollo, possibly indicating a transfer to association with him after that time.

  

Apollo and the Muses on Mount Helicon (1680) by Claude Lorrain

Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and with Pieris. It was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the muses were born.[11] Athena later tamed the horse and presented him to the muses. (Compare the Roman inspiring nymphs of springs, the Camenae, the Völva of Norse Mythology and also the apsaras in the mythology of classical India.Classical writers set Apollo as their leader, Apollon Mousagetēs ("Apollo Muse-leader"). In one myth, the Muses judged a contest between Apollo and Marsyas. They also gathered the pieces of the dead body of Orpheus, son of Calliope, and buried them. In a later myth, Thamyris challenged them to a singing contest. They won and punished Thamyris by blinding him and robbing him of his singing ability.According to a myth from Ovid's Metamorphoses—alluding to the connection of the Muses with Pieria—King Pierus, king of Macedon, had nine daughters he named after the nine Muses, believing that their skills were a great match to the Muses. He thus challenged the Muses to a match, resulting in his daughters, the Pierides, being turned into chattering magpies for their presumption.Pausanias records a tradition of two generations of Muses; the first are the daughters of Uranus and Gaia, the second of Zeus and Mnemosyne. Another, rarer genealogy is that they are daughters of Harmonia (the daughter of Aphrodite and Ares), which contradicts the myth in which they were dancing at the wedding of Harmonia and Cadmus.Some Greek writers give the names of the nine Muses as Kallichore, Helike, Eunike, Thelxinoë, Terpsichore, Euterpe, Eukelade, Dia, and Enope.In Renaissance and Neoclassical art, the dissemination of emblem books such as Cesare Ripa's Iconologia (1593 and many further editions) helped standardize the depiction of the Muses in sculpture and painting, so they could be distinguished by certain props. These props, or emblems, became readily identifiable by the viewer, enabling one immediately to recognize the Muse and the art with which she had become associated. Here again, Calliope (epic poetry) carries a writing tablet; Clio (history) carries a scroll and books; Euterpe (song and elegiac poetry) carries a flute, the aulos; Erato (lyric poetry) is often seen with a lyre and a crown of roses; Melpomene (tragedy) is often seen with a tragic mask; Polyhymnia (sacred poetry) is often seen with a pensive expression; Terpsichore (choral dance and song) is often seen dancing and carrying a lyre; Thalia (comedy) is often seen with a comic mask; and Urania (astronomy) carries a pair of compasses and the celestial globe.Greek mousa is a common noun as well as a type of goddess: it literally means "art" or "poetry". According to Pindar, to "carry a mousa" is "to excel in the arts". The word probably derives from the Indo-European root men-, which is also the source of Greek Mnemosyne, English "mind", "mental" and "memory" and Sanskrit "mantra".The Muses, therefore, were both the embodiments and sponsors of performed metrical speech: mousike (whence the English term "music") was just "one of the arts of the Muses". Others included Science, Geography, Mathematics, Philosophy, and especially Art, Drama, and inspiration. In the archaic period, before the widespread availability of books (scrolls), this included nearly all of learning. The first Greek book on astronomy, by Thales, took the form of dactylic hexameters, as did many works of pre-Socratic philosophy. Both Plato and the Pythagoreans explicitly included philosophy as a sub-species of mousike.[15] The Histories of Herodotus, whose primary medium of delivery was public recitation, were divided by Alexandrian editors into nine books, named after the nine Muses.For poet and "law-giver" Solon,[16] the Muses were "the key to the good life"; since they brought both prosperity and friendship. Solon sought to perpetuate his political reforms by establishing recitations of his poetry—complete with invocations to his practical-minded Muses—by Athenian boys at festivals each year. He believed that the muses would help inspire people to do their best.Ancient authors and their imitators invoke Muses when writing poetry, hymns or epic history. The invocation occurs near the beginning of their work. It asks for help or inspiration from the Muses, or simply invites the Muse to sing directly through the author.Originally, the invocation of the Muse was an indication that the speaker was working inside the poetic tradition, according to the established formulas. For example:Homer, in Book I of The Odyssey:"Sing to me of the man, Muse, the man of twists and turnsdriven time and again off course, once he had plundered the hallowed heights of Troy." (Robert Fagles translation, 1996)Virgil, in Book I of the Aeneid:O Muse! the causes and the crimes relate;What goddess was provok'd, and whence her hate;For what offense the Queen of Heav'n began.To persecute so brave, so just a man; [...](John Dryden translation, 1697)Besides Homer and Virgil, other famous works that included an invocation of the muse are the first of the carmina by Catullus, Ovid's Metamorphoses and Amores, Dante's Inferno (Canto II), Chaucer's Troilus and Criseyde (Book II), Shakespeare's Henry V (Act 1, Prologue), his 38th sonnet, and Milton's Paradise Lost (opening of Book).When Pythagoras arrived at Croton, his first advice to the Crotoniates was to build a shrine to the Muses at the center of the city, to promote civic harmony and learning. Local cults of the Muses often became associated with springs or with fountains. The Muses themselves were sometimes called Aganippids because of their association with a fountain called Aganippe. Other fountains, Hippocrene and Pirene, were also important locations associated with the Muses. Some sources occasionally referred to the Muses as "Corycides" (or "Corycian nymphs") after a cave on Mount Parnassos, called the Corycian Cave. The Muses were venerated especially in Boeotia, in the Valley of the Muses near Helicon, and in Delphi and the Parnassus, where Apollo became known as Mousagetes ("Muse-leader") after the sites were rededicated to his cult.Often Muse-worship was associated with the hero-cults of poets: the tombs of Archilochus on Thasos and of Hesiod and Thamyris in Boeotia all played host to festivals in which poetic recitations accompanied sacrifices to the Muses. The Library of Alexandria and its circle of scholars formed around a mousaion (i. e. "museum" or shrine of the Muses) close to the tomb of Alexander the Great. Many Enlightenment figures sought to re-establish a "Cult of the Muses" in the 18th century. A famous Masonic lodge in pre-Revolutionary Paris was called Les Neuf Soeurs ("The Nine Sisters", that is, the Nine Muses); Voltaire, Benjamin Franklin, Danton, and other influential Enlightenment figures attended it. As a side-effect of this movement the word "museum" (originally, "cult place of the Muses") came to refer to a place for the public display of knowledge.Not only are the Muses explicitly used in modern English to refer to an artistic inspiration, as when one cites one's own artistic muse, but they also are implicit in words and phrases such as "amuse", "museum" (Latinised from mouseion—a place where the muses were worshipped), "music", and "musing upon".[17] In current literature, the influential role that the muse plays has been extended to the political sphere.[18] Along with a majority of the Greek Gods, five of the Muses (Thalia, Clio, Calliope, Melpomene and Terpsicore) appeared in the Walt Disney animated film Hercules (based on Hercules), where they narrate the film through song and dance. These versions of the Muses are modeled after African American Gospel singers. All nine muses appeared in several paintings in the 72-piece art collection of Dante's Inferno by Dino Di Durante, which is printed in books titled "Inferno - The Art Collection" available in 33 languages. This said collection was also featured in the medium length film Dante's Hell Animated by Boris Acosta.There is a modern tendency to speak of Kinema as the tenth Muse.

en.wikipedia.org/wiki/Muse

 

In Hesiod's Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses.Zeus and Mnemosyne slept together for nine consecutive nights, thus birthing the nine Muses. Mnemosyne also presided over a pool in Hades, counterpart to the river Lethe, according to a series of 4th century BC Greek funerary inscriptions in dactylic hexameter. Dead souls drank from Lethe so they would not remember their past lives when reincarnated. In Orphism, the initiated were taught to instead drink from the Mnemosyne, the river of memory, which would stop the transmigration of the soul.For more about the incriptions' connection with Orphic poetry, see Zuntz, 1971.lthough she was categorized as one of the Titans in the Theogony, Mnemosyne didn’t quite fit that distinction.Titans were hardly worshiped in Ancient Greece, and were thought of as so archaic as to belong to the ancient past.They resembled historical figures more than anything else. Mnemosyne, on the other hand, traditionally appeared in the first few lines of many oral epic poems—she appears in both the Iliad and the Odyssey, among others—as the speaker called upon her aid in accurately remembering and performing the poem he was about to recite. Mnemosyne is thought to have been given the distinction of “Titan” because memory was so important and basic to the oral culture of the Greeks that they deemed her one of the essential building blocks of civilization in their creation myth.Later, once written literature overtook the oral recitation of epics, Plato made reference in his Euthydemus to the older tradition of invoking Mnemosyne. The character Socrates prepares to recount a story and says “ὥστ᾽ ἔγωγε, καθάπερ οἱ (275d) ποιηταί, δέομαι ἀρχόμενος τῆς διηγήσεως Μούσας τε καὶ Μνημοσύνην ἐπικαλεῖσθαι.” which translates to “Consequently, like the poets, I must needs begin my narrative with an invocation of the Muses and Memory” (emphasis added).[6] Aristophanes also harked back to the tradition in his play Lysistrata when a drunken Spartan ambassador invokes her name while prancing around pretending to be a bard from times of yore.Mnemosyne was one of the deities worshiped in the cult of Asclepius that formed in Ancient Greece around the 5th century BC.[8] Asclepius, a Greek hero and god of medicine, was said to have been able to cure maladies, and the cult incorporated a multitude of other Greek heroes and gods in its process of healing.[8] The exact order of the offerings and prayers varied by location,and the supplicant often made an offering to Mnemosyne.[8] After making an offering to Asclepius himself, in some locations, one last prayer was said to Mnemosyne as the supplicant moved to the holiest portion of the asclepeion to incubate.[8] The hope was that a prayer to Mnemosyne would help the supplicant remember any visions had while sleeping there.

 

en.wikipedia.org/wiki/Mnemosyne

 

Dactylic hexameter (also known as "heroic hexameter" and "the meter of epic") is a form of meter or rhythmic scheme in poetry. It is traditionally associated with the quantitative meter of classical epic poetry in both Greek and Latin and was consequently considered to be the Grand Style of classical poetry. The premier examples of its use are Homer's Iliad and Odyssey, Virgil's Aeneid, and Ovid's Metamorphoses.The meter consists of lines made from six (in Greek ἕξ, hex) feet, hence "hexameter". In strict dactylic hexameter, each of these feet would be a dactyl (a long and two short syllables), but classical meter allows for the substitution of a spondee (two long syllables) in place of a dactyl in most positions. Specifically, the first four feet can either be dactyls or spondees more or less freely. The fifth foot is frequently a dactyl (around 95% of the time in Homer).

 

Because of the anceps (a short or long syllable), the sixth foot can be filled by either a trochee (a long then short syllable) or a spondee. However, because of the strong pause at the end of the line (which prevents elision and correption between lines in the dactylic hexameter), it is traditionally regarded as a spondee. Thus the dactylic line most normally looks as follows:

 

— u u | — u u | — u u | — u u | — u u | — X

(Note that — = a long syllable, u = a short syllable, u u = either one long or two shorts, and X = anceps syllable.)

 

As in all classical verse forms, the phenomenon of brevis in longo is observed, so the last syllable can actually be short or long.

 

Hexameters also have a primary caesura — a break in sense, much like the function of a comma in prose — at one of several normal positions: After the first syllable in the third foot (the "masculine" caesura); after the second syllable in the third foot if the third foot is a dactyl (the "feminine" caesura); after the first syllable of the fourth foot (the hephthemimeral caesura); or after the first syllable of the second foot (the latter two often occur together in a line, breaking it into three separate units). The first possible caesura that one encounters in a line is considered the main caesura. A masculine caesura can offset a hiatus, causing lengthening of an otherwise light syllable.In Greek Homeric poetry (not in Latin), also, hexameters have two bridges, places where there very rarely is a break in a word-unit. The first, known as Meyer's Bridge (or Law), is in the second foot: if the second foot is a dactyl, the two short syllables generally will be part of the same word-unit. Stated another way, an iambic word (like θεά at Il. 1.1) should not precede the midline caesura. The second, known as Hermann's Bridge, is the same rule in the fourth foot: if the fourth foot is a dactyl, the two short syllables generally will be part of the same word-unit. Even in Homer, these bridges are not prescriptive: the first line of the Iliad violates Meyer's Bridge (Μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος) since there is a word break between ἄειδε and θεὰ.Hexameters are frequently enjambed, which helps to create the long, flowing narrative of epic. They are generally considered the most grandiose and formal meter.An English language example of the dactylic hexameter, in quantitative meter:Down in a | deep dark | dell sat an | old cow | munching a | bean stalkAs the absurd meaning of this example demonstrates, quantitative meter is extremely difficult to construct in English. Here is an example in normal stress meter (the first line of Longfellow's "Evangeline"):This is the | forest pri | meval. The | murmuring | pines and the | hemlocksThe "foot" is often compared to a musical measure and the long and short syllables to half notes (minims) and quarter notes (crotchets), respectively.The hexameter was first used by early Greek poets of the oral tradition, and the most complete extant examples of their works are the Iliad and the Odyssey, which influenced the authors of all later classical epics that survive today. Early epic poetry was also accompanied by music, and pitch changes associated with the accented Greek must have highlighted the melody, though the exact mechanism is still a topic of discussion.[1]

 

The Homeric poems arrange words in the line so that there is an interplay between the metrical ictus—the first long syllable of each foot—and the natural, spoken accent of words. If these two features of the language coincide too frequently, they overemphasize each other and the hexameter becomes sing-songy. Nevertheless, some reinforcement is desirable so that the poem has a natural rhythm. Balancing these two considerations is what eventually leads to rules regarding the correct placement of the caesura and breaks between words; in general, word breaks occur in the middle of metrical feet, while accent and ictus coincide only near the end of the line.

The first line of Homer’s Iliad—"Sing, goddess, the anger of Peleus’ son Achilles"—provides an example:

 

μῆνιν ἄειδε, θεά, Πηληϊάδεω Ἀχιλῆος

Dividing the line into metrical units:

 

μῆνιν ἄ | ειδε, θε | ά, Πη | ληϊά | δεω Ἀχι | λῆος

dactyl, dactyl, spondee, dactyl, dactyl, trochee.

Note how the word endings do not coincide with the end of a metrical foot; for the early part of the line this forces the natural accent of each word to lie in the middle of a foot, playing against the natural rhythm of the ictus.This line also includes a masculine caesura after θεά, a natural break that separates the line into two logical parts. Unlike later writers, Homeric lines more commonly employ the feminine caesura; an example occurs in Iliad I.5 "...and every bird; thus the plan of Zeus came to fulfillment":

οἰωνοῖσί τε πᾶσι, Διὸς δ’ ἐτελείετο βουλή,

οἰω | νοῖσί τε | πᾶσι, Δι | ὸς δ’ ἐτε | λείετο | βουλή,

Homer’s hexameters contain a far higher proportion of dactyls than later hexameter poetry. They are also characterised by a laxer following of verse principles that the authors of later epics almost invariably adhered to. For example, Homer allows spondaic fifth feet (albeit not often), whereas many later authors virtually never did. There are also exceptions to Meyer’s Bridge and Hermann’s Bridge in Homer (albeit rare), but such violations are exceedingly rare in a later author like Callimachus.Homer also altered the forms of words to allow them to fit the hexameter, typically by using a dialectal form: ptolis is an epic form used instead of the Attic polis wherever it is necessary for the meter. On occasion, the names of characters themselves actually seem to have been altered: the spelling of the name of Homer’s character Polydamas, Pouludamas, appears to be an alternative rendering of the metrically unviable Poludamas ("subduer of many").

 

Finally, even after accepting the various alterations admitted by Homer, some lines remain impossible to scan as they stand now, e.g. Iliad I.108 "not a good word spoken nor brought to pass":ἐσθλὸν δ’ οὐτέ τί πω εἶπας ἔπος οὔτ’ ἐτέλεσσας

The first three feet of this line scan spondee-dactyl-spondee, but the fourth foot of -πας ἔπος has three consecutive short syllables. These metrical inconsistencies (along with a knowledge of comparative linguistics) have led scholars to infer the presence of a lost digamma consonant in an old form of that line. In this example, the word ἔπος was originally ϝέπος in Ionian; this consonant lengthens the last syllable of the preceding εἶπας and corrects the apparent defect in the meter. This example demonstrates the oral tradition of the Homeric epics that flourished long before they were written down sometime in the 7th century BC.In spite of the occasional exceptions in early epic, most of the later rules of hexameter composition have their origins in the methods and practices of Homer.The hexameter came into Latin as an adaptation from Greek long after the practice of singing the epics had faded. Consequentially, the properties of the meter were learned as specific "rules" rather than as a natural result of musical expression. Also, because the Latin language generally has a higher percentage of long syllables than Greek, it is by nature more spondaic than Greek. These factors caused the Latin hexameter to take on distinct Latin characteristics.

 

The earliest example of the use of hexameter in Latin poetry is that of the Annales of Ennius, which established the dactylic hexameter as the standard for later Latin epic. Later Republican writers, such as Lucretius, Catullus and even Cicero, wrote their own compositions in the meter and it was at this time that many of the principles of Latin hexameter were firmly established, ones that would govern later writers such as Virgil, Ovid, Lucan, and Juvenal. Virgil's opening line for the Aeneid is a classic example of Latin hexameter:

 

– u u|– u u|– –|– – | – u u| – –

Arma virumque cano, Troiae qui primus ab oris

"I sing of arms and the man, who first from the shores of Troy..."

As in Greek, lines were arranged such that the metrically long syllables—those occurring at the beginning of a foot—avoided the natural stress of a word. In the first few feet of the meter, meter and stress were expected to clash, while in the final few feet they were expected to resolve and coincide—an effect that gives each line a natural "dum-ditty-dum-dum" ("shave and a haircut") rhythm to close. Such an arrangement is a balance between an exaggerated emphasis on the metre—which would cause the verse to be sing-songy—and the need to provide some repeated rhythmic guide for skilled recitation.

 

In the following example of Ennius's early Latin hexameter composition, metrical weight (ictus) falls on the first and last syllables of certabant; the ictus is therefore opposed to the natural stress on the second syllable when the word is pronounced. Similarly, the second syllable of the words urbem and Romam carry the metrical ictus even though the first is naturally stressed in typical pronunciation. In the closing feet of the line, the natural stress that falls on the third syllable of Remoramne and the second syllable of vocarent coincide with the metrical ictus and produce the characteristic "shave and a haircut" ending:

 

– –|– –| – –|– u u|– u u|– –

certabant urbem Romam Remoramne vocarent. (Annales 1.86)

"they were disputing whether they should call the city 'Roma' or 'Remora'."

Like their Greek predecessors, classical Latin poets avoided a large number of word breaks at the ends of foot divisions except between the fourth and fifth, where it was encouraged. In order to preserve the rhythmic close, Latin poets avoided the placement of a single syllable or four-syllable word at the end of a line. The caesura is also handled far more strictly, with Homer's feminine caesura becoming exceedingly rare, and the second-foot caesura always paired with one in the fourth.

 

One example of the evolution of the Latin verse form can be seen in a comparative analysis of the use of spondees in Ennius' time vs. the Augustan age. The repeated use of the heavily spondaic line came to be frowned upon, as well as the use of a high proportion of spondees in both of the first two feet. The following lines of Ennius would not have been felt admissible by later authors since they both contain repeated spondees at the beginning of consecutive lines:

 

– –| – – | – u u|– – | – u u|– –

his verbis: "o gnata, tibi sunt ante ferendae

– –| – – | – u u|– –| – u u|– –

aerumnae, post ex fluvio fortuna resistet." (Annales 1.42f)

"with these words: 'o daughter, tribulations must first be borne by you;

later your fortune will rise again from the river.'"

However, it is from Virgil that the following famous, heavily spondaic line comes:

 

– –| – –| – –| – –| – u u|– –

monstr' horrend' inform' ingens, cui lumen ademptum. (Aeneid III.658)

"a huge shapeless horrendous monster, whose eye had been removed"By the age of Augustus, poets like Virgil closely followed the rules of the meter and approached it in a highly rhetorical way, looking for effects that can be exploited in skilled recitation. For example, the following line from the Aeneid (VIII.596) describes the movement of rushing horses and how "a hoof shakes the crumbling field with a galloping sound":

 

– u u|– u u| – u u|– u u| – u u| – –

quadrupedante putrem sonitu quatit ungula campum

 

This line is made up of five dactyls and a closing spondee, an unusual rhythmic arrangement that imitates the described action. A similar effect is found in VIII.452, where Virgil describes how the blacksmith sons of Vulcan "lift their arms with great strength one to another" in forging Aeneas' shield:

 

– –| – –|– –| – –| – uu| – –

illi inter sese multa ui bracchia tollunt

The line consists of all spondees except for the usual dactyl in the fifth foot, and is meant to mimic the pounding sound of the work. A third example that mixes the two effects comes from I.42, where Juno pouts that Athena was allowed to use Jove's thunderbolts to destroy Ajax ("she hurled Jove's quick fire from the clouds"):

 

– u u|– u u|– u u|– –| – u u| – –

ipsa Iovis rapidum iaculata e nubibus ignem

This line is nearly all dactyls except for the spondee at -lata e. This change in rhythm paired with the harsh elision is intended to emphasize the crash of Athena's thunderbolt.

 

Virgil will occasionally deviate from the strict rules of the meter to produce a special effect. One example from I.105 describing a ship at sea during a storm has Virgil violating metrical standards to place a single-syllable word at the end of the line:

 

...et undis

– u u | – u u|– u u|– –| – u u | – –

dat latus; insequitur cumulo praeruptus aquae mons.

The boat "gives its side to the waves; there comes next in a heap a steep mountain of water." By placing the monosyllable mons at the end of the line, Virgil interrupts the usual "shave and a haircut" pattern to produce a jarring rhythm, an effect that echoes the crash of a large wave against the side of a ship.

 

One final, amusing example that comments on the importance Roman poets placed on their verse rules comes from the Ars Poetica of Horace, line 263:

 

– –|– u u| – u u|– u u|– u u| – –

Non quivis videt inmodulata poemata iudex,

 

The line, which lacks a proper caesura, is translated "Not every critic sees an inharmonious verse."

 

Silver Age and later heroic verse[edit]

The verse innovations of the Augustan writers were carefully imitated by their successors in the Silver Age of Latin literature. The verse form itself then was little changed, as the quality of a poet's hexameter was judged against the standard set by Virgil and the other Augustan poets, a respect for literary precedent encompassed by the Latin word aemulatio.[2] Deviations were generally regarded as idiosyncrasies or hallmarks of personal style, and were not imitated by later poets. Juvenal, for example, was fond of occasionally creating verses that placed a sense break between the fourth and fifth foot (instead of in the usual caesura positions), but this technique—known as the bucolic diaeresis—did not catch on with other poets.

 

In the late empire, writers experimented again by adding unusual restrictions to the standard hexameter. The rhopalic verse of Ausonius is a good example; besides following the standard hexameter pattern, each word in the line is one syllable longer than the previous, e.g.:

 

Spes, deus, aeternae stationis conciliator,

si castis precibus veniales invigilamus,

his, pater, oratis placabilis adstipulare.

Also notable is the tendency among late grammarians to thoroughly dissect the hexameters of Virgil and earlier poets. A treatise on poetry by Diomedes Grammaticus is a good example, as this work (among other things) categorizes dactylic hexameter verses in ways that were later interpreted under the golden line rubric. Independently, these two trends show the form becoming highly artificial—more like a puzzle to solve than a medium for personal poetic expression.By the Middle Ages, some writers adopted more relaxed versions of the meter. Bernard of Cluny, for example, employs it in his De Contemptu Mundi, but ignores classical conventions in favor of accentual effects and predictable rhyme both within and between verses, e.g.:Hora novissima, tempora pessima sunt — vigilemus.

Ecce minaciter imminet arbiter ille supremus.

Imminet imminet ut mala terminet, æqua coronet,

Recta remuneret, anxia liberet, æthera donet.

(I.1-4: These are the last days, the worst of times: let us keep watch.

Behold the menacing arrival of the supreme Judge.

He is coming, he is coming to end evil, crown the just, reward the right, set the worried free, and give the skies.)

Not all medieval writers are so at odds with the Virgilian standard, and with the rediscovery of classical literature, later Medieval and Renaissance writers are far more orthodox, but by then the form had become an academic exercise. Petrarch, for example, devoted much time to his Africa, a dactylic hexameter epic on Scipio Africanus, but this work was unappreciated in his time and remains little read today. In contrast, Dante decided to write his epic, the Divine Comedy in Italian—a choice that defied the traditional epic choice of Latin dactylic hexameters—and produced a masterpiece beloved both then and now.[citation needed]With the New Latin period, the language itself came to be regarded as a medium only for "serious" and learned expression, a view that left little room for Latin poetry. The emergence of Recent Latin in the 20th century restored classical orthodoxy among Latinists and sparked a general (if still academic) interest in the beauty of Latin poetry. Today, the modern Latin poets who use the dactylic hexameter are generally as faithful to Virgil as Rome's Silver Age poets.In addition to modern Latin poets, examples of dactylic hexameter in modern use can frequently be found in hip-hop and rap lyrics, though it is not definitively researched enough to declare whether it is derived from the ephemeral notion of "flow" (such as in the music of Jay-Z[3]) or more intentionally employed by major artists in the poetic creation of their lyrics. The relationship between dactylic hexameter and hip-hop/rap has been notably used in teaching classic poetry to young students.[4] Dactylic hexameter in rap/hip-hop is most frequently mentioned in discussions of the song "Bring the Noise" by the musical artists Public Enemy. "Bring the Noise" has been sampled and remixed by other artists, and both the original song and cover versions have performed well on industry trackers such as the Billboard charts – across musical genres and different countries/linguistic groups – which may anecdotally indicate the strength of dactylic hexameter in conveying lyrical quality to the human ear, particularly when it is considered that the meter has had enduring success for artists from the time of Homer through the modern day.

 

en.wikipedia.org/wiki/Dactylic_hexameter

Plans were first prepared for a cinema on this site in February 1930. (This was the site of Tue Brook House, a Georgian mansion, not to be confused with an even older Tue Brook House which still stands nearby). The cinema was to have had 2,700 seats, which would have made it Merseyside's largest. However, the plans were withdrawn, and a revised scheme was submitted in May 1930 of a £100,000 "Kinema" for the Carlton Entertainments Ltd, by the secretary R. Duncan French of 14 North John Street. The architect was A. Ernest Shennan, also of the same address. There would be a total seating capacity of 2,284, and an organ was to be provided.

However, work wasn't started on the above scheme and fresh plans were submitted in July 1931. The cinema was built by Charles J. Doyle from 27 July 1931 and the work was officially finished on 28 May 1932. The promoters and architect were as before, but the seating capacity was now 1,988. 1,298 seats in the auditorium and 690 in the balcony. There was an organ chamber and orchestra space. A "tea room", capable of accommodating 110 was over the entrance foyer. It was one of the first of Liverpool's cinemas to have a car park.

The Carlton was opened on Saturday, 11 June 1932 by the Lord Mayor, J. C. Cross, and the invited audience that afternoon saw the film "My Wife's Family" starring Gene Gerrard. The general public were not admitted until the evening. "Over the Hill" starring Mae Marsh was the film chosen for the following week when the "Mighty Christie Organ" was played by James N Bell who "Rendered Delightful Musical Interludes". The evening prices ranged from 7d to 1/6, and matinees were only 4d, 5d & 7d.

The manager was Samuel Arthur Eaton who was to manage various Liverpool cinemas for over forty years. Before the First World War he had been at the Palladium in West Derby Road. He managed the Belmont Picture House for over ten years immediately before he went to the Carlton. He was later at the Curzon in Old Swan until the mid 1950s.

Robert Duncan French was described as the secretary. He was the secretary of William Gordon's circuit of cinemas, but it isn't clear if the Carlton was built for Mr Gordon. (At the opening ceremony it was said that the Carlton was "a non-combine, locally owned, 100% British super cinema".) Mr French was connected with other cinemas in Liverpool (and elsewhere) including the Majestic (1914); the Tunnel Road Picturedrome (1914); and the Grosvenor (1922). He was also named on plans of proposed cinemas which weren't built:- the corner of Belvidere Road and Admiral Street (1921); 1-7 Lark Lane (1922); North Hill Street (1928) and Woolton Road, near Allerton station (1938).

In 1932 an official count of the seats revealed that they were less than had been claimed. There was a total of 1,912 seats, 1,552 in the stalls and 660 in the balcony. This still made the Carlton the second largest purpose-built cinema in Liverpool at the time (after the Commodore in Bankhall with 1,966 seats). When the Paramount in the city centre opened in 1934 with 2,670 seats, the Carlton became the third largest.

The Carlton had been taken over by ABC in 1935.

The side of the cinema facing the car park was completely flat. It was almost as if an extension had been contemplated, and in 1961 an ABC Bowling Centre was built on to the cinema. The building dates were from May 1961 to February 1962 and it was officially opened on 28 January 1962.

The Carlton was then renamed the ABC Tuebrook in January 1963.

www.cinema-organs.org.uk/venues/gordon-craig-theatre/

In 1972 the cinema was modernised and the rear of the stalls was converted into the Painted Wagon pub (later the Lord Derby, then Lords. The ceiling was very low). At the same time the Bowling Alley next door was converted into the Castaways night-club (later the Coconut Grove).

The ABC closed in July 1980 and was then taken over by an independent operator (D J S Lambert) who renamed it the Carlton. It was (and still is) unusual for a major cinema circuit not to put a Restrictive Covenant on the building, preventing it from being reopened as a cinema. The seating capacity was then only 636, with just the balcony being used. The Carlton came to an abrupt end on 4 December 1982 when a sign pinned to the door said that it was "closed for alterations". The last films had been "Cat People" (X), plus "Death Valley" (X). The doors were soon boarded up and the cinema has remained closed. The pub and the night club remained open.

The night club later closed and then the pub.

Demolition has been "imminent" for donkey's years, following various fires, especially in the night club part.

Demolition finally started in May 2016 (or so we thought*).

"Housing" is planned for the site, although there are no definite details.

Will it become yet another empty site where once stood a cinema?

Like the Bedford, the Astoria and the Trocadero/Gaumont, and the Ritz in Birkenhead.

 

Original research by Philip G Mayer.

 

*Edit, December 2016.

The scaffolding has been removed, and demolition still hasn't begun.

The Corn Exchange, Cornhill, Lincoln, Lincolnshire.

 

The new Corn Exchange and fruit and vegetable market was built in 1879 to replace the previous building which was built in 1847. It was built by the Lincoln Corn Exchange and Market Company, designed by architects Bellamy and Hardy, and constructed by contractors Walter and Hensman of Horncastle.

 

Trading was only on Fridays so the hall was used for other purposes such as a roller skating rink, cinema 1910-1956 (Cinematograph Hall, Exchange Kinema), Astoria Roller-skating rink 1957-72, Astoria bingo hall 1972-82 and retail market hall 1990s. Last corn trading took place in 1983. The entrance hall and stairs area was converted to McDonald’s fast food in 1982. The upstairs Astoria Shopping centre opened in 1994. Upper room and parts of ground floor area converted into Co op department store in Autumn 1999, replacing Silvergate House but the upstairs is now empty.

 

This building (one of my favourites in Liverpool) was a bank for over 90 years, but it wasn't built as a bank.

The building is dated 1899 and was built for the Liverpool Furnishing Company, who opened it in May 1900, their ghost sign survives on the other side.

www.flickr.com/photos/44435674@N00/3613211287/in/album-72...

The architects were W. Hesketh. & Co., of Dale Street, Liverpool.

The clock is 70 feet high, by Lord Grimthorpe, who designed the Great Clock at Westminster, commonly known as Big Ben, along with the bell which IS Big Ben.

The Liverpool Furnishing Company seems to have closed by 1910, as it's not listed in the 1911 street directory.

www.turretclock.force9.co.uk/LordGrimthorpe.html

The Weisker Brothers (film renter pioneers) moved into the building (which they called Kinema House) on 1 November 1911 and regular adverts in the trade journal "The Bioscope" appeared until 1924. A preview theatre (cinema) was in the building, capable of seating 100.

As a bank it opened sometime between 1915 and 1920, as the United Counties Bank, and was later taken over by Barclays.

National Westminster Bank had moved here by 1975 and it closed as NatWest in July 2013, and five years later it still seemed to be unoccupied.

 

Update:

It is a Listed Building (from 2023, better late than never, although one wonders where they got all their dates from?)

 

historicengland.org.uk/listing/the-list/list-entry/1483050

This is a Lillywhite Ltd postcard showing a busy Piccadilly Circus looking east towards Coventry Street. There are several LGOC “B” type buses circumnavigating the Circus and discharging their passengers who all seem to be heading for the London Pavilion where there is a large crowd. I think that this is a Saturday in June 1914 and the matinee performance of a sketch called “Golfing” in a variety bill starring Wilkie Bard and Harry Tate will start at 2.00pm. Wilkie Bard was a northern singer and comedian, he had been appearing at the London Pavilion since 1899, he went on to great success in America after the first world war and appeared in several films. He appeared as dame in pantomime and popularised tongue twisters, his most famous being “She sells sea shells on the sea shore etc”. Here is a link to a YouTube clip where EMGColonel plays a medley of Wilkie Bard’s most famous songs.

www.youtube.com/watch?v=eSzak6Xyg1M

The Piccadilly flower sellers have a new umbrella or parasol kindly provided by the New Gallery Kinema in Regents Street. It appears that this was a tradition where west end theatres and cinemas would give umbrellas or parasols to the flower sellers which advertised the theatre, cinema or the play/film which was currently playing.

You guessed it, best viewed with the zoom feature.

 

Select Cinema, Chelmsford. It opened as a foundry in 1909 and was converted to a cinema in 1912. It closed in favour of bingo in 1963, but reopened as a cinema in 1988, finally closing for film in 1992. After a brief spell as a laser adventure zone, the building was demolished following several years of dereliction.

 

Demolished in the summer of 2013

 

Chelmsford, Essex, England - Select Cinema, New Writtle Street

A scanned negative from circa 1988, image reworked 2021

A plaque memorial for Snips the dog on the Corn Exchange, Cornhill, Lincoln, Lincolnshire.

 

Henry Tyler and his dog Snips collected money for charity in the 1950s. Tyler had a stall on Lincoln Central Market at the corner of Cornhill and Sincil Street, where he sold costume jewellery and other trinkets. Snips was always on the stall with Henry and for a penny children were allowed to stroke the dog – the money went to charity. The pair were presented with many medals for their good work.

 

Information gained from www.lincolnshirelife.co.uk/posts/view/characters-from-lin...

 

American postcard. Fetterly & Loree, Druggists, Bound Brook, N.J. D 314. Rotochrome, ANC, N.Y., Leipzig, Berlin, Dresden. Printed in Germany.

 

In 1904 the French company Pathé Frères already opened a sales agency in New York. Soon the French films flooded the United States. During the nickelodeon peak of 1907, Pathé opened a factory in Bound Brook, New Jersey, to make positive distribution prints from negatives sent from France. Business catapulted. However, established and new competitors such as Edison resisted Pathé and created an anti-French, anti-foreign mood, declaring the fare was too grotesque and course. Pathé reacted first with the uplifting of the films by the film d’art phenomenon and the SCAGL company, so films with stage actors and based on famous novels and plays. In 1910 Pathé also opened in Bound Brook its own film studio, which focused on making westerns, dramas, and comedies catered to American tastes. Under the name of American Kinema, however, these films were also spread worldwide.

 

Louis Gasnier, a jack-of-all-trades who had launched comedian Max Linder at Pathé's French studio, and had set up Pathé’s Italian production branch Film d’Arte Italiana in Rome, went to New York with Charles Pathé himself in 1910 and became the managing director of the Bound Brook studio. He also directed its first film, The Girl from Arizona (1910), though, as far as direction at American Kinema is known, more films around 1910-1912 were produced and directed by Theodore Wharton, and by Native American James Young Deer, who acted in many of his films as well, together with his wife Red Wing. Several distribution prints of the American Kinema early westerns have been found in the Dutch Desmet Collection, such as Abernathy Kids' Rescue (1911), The Cheyenne's Bride (1911), The Two Brothers (1912), and The Mystery of Lonely Gulch (1911).

 

In 1912 Pathé opened a second studio at Jersey City, much closer to New York, and also closer to the Fort Lee production center of early cinema. It was also one of the most modern ones of its time, with its arc lights and mercury-vapor tubes, instead of natural light coming in through glass roofs and sides. Regular actors with Pathé in those years were Paul Panzer, Octavia Handworth, and Crane Wilbur, while future stars Pearl White, Henry B. Walthall, and Jack Pickford had their first film parts here. By 1910, Pathé also leased an outdoor studio in Edendale, Los Angeles, for the production of westerns. Louis Gasnier would become known for his production of popular serials, first of all, the 20 episodes serial The Perils of Pauline (1914) with Pearl White, Crane Wilbur, Paul Panzer. The printing plant at Bound Brook would continue many years after production there had ceased when American Kinema through Eclectic Film had changed into the distribution company Pathé Exchange. In 1914 Pathé stopped production in the US and henceforth focused on distribution by the company Pathé Exchange, founded in 1915. Pathé Exchange would be the distributor for many serial films of the late 1910s, made by independent companies such as Astra Films, with serial 'queens' such as Pearl White, Ruth Roland, Grace Darmond, and Mollie King. In 1923 the company was renamed American Pathé, which in 1927 was bought by Joseph Kennedy and would merge in 1928 with Keith-Albee-Orpheum theaters, along with Cecil B. DeMille's independent Producers Distributing Corporation, into what would become RKO Radio Pictures.

 

Sources: Richard Abel ed., Encyclopedia of Early Cinema; Richard Lewis Ward, Wen the Cock Crows: A History of the Pathé Exchange.

 

A Slice Of Life. My Neighbor Totoro (Japanese: となりのトトロ Hepburn: Tonari no Totoro) is a 1988 Japanese animated fantasy film written and directed by Hayao Miyazaki and produced by Studio Ghibli. The film – which stars the voice actors Noriko Hidaka, Chika Sakamoto, and Hitoshi Takagi – tells the story of the two young daughters (Satsuki and Mei) of a professor and their interactions with friendly wood spirits in postwar rural Japan. The film won the Animage Anime Grand Prix prize and the Mainichi Film Award and Kinema Junpo Award for Best Film in 1988. It also received the Special Award at the Blue Ribbon Awards in the same year.

en.wikipedia.org/wiki/My_Neighbor_Totoro