Movies with specs ap­peal

Scottish Daily Mail - - Freeview Primetime Planner - Com­piled by Charles Legge

QUES­TION What was the first 3D film?

The first public screen­ing of a 3D (stereo­scopic) film took place at the As­tor The­atre in New York on June 10, 1915.

It was com­posed of three scenes in anaglyph — a pro­ce­dure whereby two im­ages are su­per­im­posed and printed in dif­fer­ent colours, usu­ally red and green. This pro­duces a stereo ef­fect when viewed with fil­ters over each eye.

ed­win S. Porter — the di­rec­tor of fa­mous 1903 film The Great Train Rob­bery — and Wil­liam e. Wad­dell pre­sented ru­ral scenes, footage of Ni­a­gara Falls, ori­en­tal dancers and spe­cially filmed 3D demo se­quences from the films Jim The Pen­man, fea­tur­ing John Ma­son, and The Morals Of Mar­cus, star­ring Marie Doro. Un­for­tu­nately, this test footage has not sur­vived.

On Septem­ber 27, 1922, The Power Of Love, the first 3D fea­ture film, was shown at a test screen­ing at the Am­bas­sador ho­tel The­atre in Los Angeles.

Di­rected by Nat G. Dev­erich and harry K. Fairall, it tells the tale of Maria Almeda and Terry O’Neal. They fall in love but can’t be to­gether be­cause of the wicked Don Alvarez, to whom Maria had been promised by her fa­ther.

Fairall in­vented the nec­es­sary cam­era equip­ment with the as­sis­tance of the cin­e­matog­ra­pher Robert F. el­der.

There was an­other 3D screen­ing of the film in New York for distrib­u­tors and the Press. It was then re­leased in a nor­mal for­mat as For­bid­den Lover. Both films are lost.

Kel­ley’s Plas­ti­con Pic­tures, a 3D demon­stra­tion film from 1922 which had footage of Wash­ing­ton and New York, has sur­vived. New Di­men­sions, the first full-colour 3D film, which was shown at the World’s Fair in 1940, also re­mains.

Mark Edge, Perth.

QUES­TION Have Cal­i­for­nia’s green poli­cies con­trib­uted to wild­fires?

ON NOveM­BeR 10, 2018, fol­low­ing a spate of dev­as­tat­ing wild­fires, Don­ald Trump was widely crit­i­cised for tweet­ing: ‘There is no rea­son for these mas­sive, deadly and costly for­est fires in Cal­i­for­nia ex­cept that for­est man­age­ment is so poor.’

In some ways he was right. Good wood­land man­age­ment re­quires the re­moval of flammable ma­te­rial such as brush and de­bris, along with low-level prun­ing.

Sev­eral decades of state and fed­eral environmen­tal rules have re­sulted in the build-up of this ma­te­rial in forests and coastal cha­parral (scrub­land).

hos­til­ity to­wards com­mer­cial tim­ber com­pa­nies has cre­ated a build-up in tree den­sity and brush as well as a re­duc­tion in ac­cess roads and fire­breaks.

Cal­i­for­nia’s politi­cians, bu­reau­crats, elec­tric util­i­ties and hol­ly­wood celebri­ties have blamed cli­mate change for the cri­sis. how­ever, the sign­ing of two key for­est man­age­ment Bills by Cal­i­for­nia gov­er­nor Jerry Brown in late 2018 in­di­cates that per­haps Trump was right.

SB 1260 made it eas­ier for state and pri­vate in­di­vid­u­als to con­duct con­trolled burns by largely re­scind­ing air qual­ity rules that would im­pede them, and pre­vented law­suits that would slow or stop this ac­tion.

SB 901 ap­pro­pri­ated £150 mil­lion a year to be spent on fire pre­ven­tion and im­prov­ing for­est health.

An­drew Beith, Ber­wick-upon-Tweed, Northum­ber­land.

QUES­TION Are flow­ers other than the poppy used abroad as sym­bols of wartime sac­ri­fice by Armed Forces?

The seeds of the com­mon or corn poppy,

Pa­paver rhoeas, can lie dor­mant in the soil for a cen­tury. Once the soil has been dis­turbed and the seeds dis­trib­uted, flow­ers can bloom.

Ground dis­tur­bance caused by the great bat­tles of World War I and mass

burial sites saw a pro­lif­er­a­tion of wild­flow­ers in these ar­eas. Af­ter the Sec­ond Bat­tle of Ypres, Cana­dian doc­tor John McCrae no­ticed the pop­pies grow­ing near one of the mass ceme­ter­ies and wrote his poem: ‘In Flan­ders fields the pop­pies blow Be­tween the crosses, row on row.’

This ce­mented the poppy as a sym­bol of re­mem­brance.

It re­placed rose­mary, which had been used since Ro­man times in burial rites. Mourn­ers tra­di­tion­ally threw bou­quets of rose­mary on top of coffins.

In Shake­speare’s ham­let, Act 4, Scene 5, Ophe­lia in her mad­ness names plants known for eas­ing pain: ‘There’s rose­mary, that’s for re­mem­brance; pray, love, re­mem­ber.’

In Aus­tralia and New Zealand, sprigs of rose­mary are worn on Re­mem­brance Day and An­zac Day.

In France, the corn­flower (le Bleuet) is worn. The ori­gins date back to 1916 when Suzanne Len­hardt and Char­lotte Mal­leterre, two nurses at Les In­valides mil­i­tary hos­pi­tal in Paris, or­gan­ised work­shops so wounded ser­vice­men could make corn­flower badges out of tis­sue pa­per and sell them to earn a small in­come.

In 1928, the then French Pres­i­dent Gas­ton Doumer­gue gave his pa­tron­age to le Bleuet. From 1935, their sale on Re­mem­brance Day was made of­fi­cial by the French govern­ment.

Kather­ine Payne, Pem­broke.

IN GeR­MANY, Ver­giss­mein­nicht — the for­get-me-not — is the flower of re­mem­brance. Ac­cord­ing to leg­end, when the Creator was nam­ing the plants, the flower cried out ‘For­get-me-not!’ and it was de­creed that should be its name.

An­other Ger­man leg­end tells of a knight walk­ing along the Danube with his true love. he bends down to pick her a posy, but the weight of his ar­mour causes him to fall into the river. As he drowns, he throws the flow­ers to his love on the shore and shouts: ‘For­get-me-not!’

This flower is also the sym­bol of re­mem­brance in Canada. In New­found­land and Labrador, it is worn on Memo­rial Day, July 1, to re­mem­ber 700 sol­diers of the 1st New­found­land Reg­i­ment who died on the first day of the Bat­tle of the Somme.

Amie McDonald, Ip­swich, Suf­folk.

IS THERE a ques­tion to which you have al­ways wanted to know the an­swer? Or do you know the an­swer to a ques­tion raised here? Send your ques­tions and an­swers to: Charles Legge, An­swers To Cor­re­spon­dents, Scot­tish Daily Mail, 20 Water­loo Street, Glas­gow G2 6DB, fax them to 0141 331 4739 or email them to [email protected] dai­ly­mail.co.uk. A se­lec­tion will be pub­lished but we are not able to en­ter into in­di­vid­ual cor­re­spon­dence.

New look: Film­go­ers in 3D glasses

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