title: Action (2019 film)

text: Realizing that she left her phone in the car, Meera goes to the parking lot, where her phone gets exchanged with that of a killer. After noting the killer duo's vehicle number, Meera tries to escape but gets attacked and brutally stomped to death by a woman disguised as a cop. Retrieving the phone, she gives a call to the cell bomb placed in a cooler at the stage. The bomb goes off, knocking down Saravanan and his family while killing Guptaji. Subhash gets shattered to find Meera's corpse, while Saravanan gets framed for the assassination with the help of Deepak.


title: Action (2019 film)

text: Having recorded a conversation with Deepak, Saravanan calls for a press conference at his house amidst violent protests, but is found hanging in his room thus making the media believe that he was involved. Subhash finds out about the killer woman through the vehicle number Meera noted on her palm. Looking at the tattoo on her neck in the CCTV footage at the vehicle store and her phone's screen, Subhash manages to track her, through further investigations finds that she is Kiara, who is a contract killer in London. With the help of a hacker named Jack, Subhash manages to trace Kaira and fights off her henchmen and kill her by hanging her in the same way she killed and hanged Saravanan to death.


title: Action (2019 film)

text: Subhash then arrives in Istanbul and is joined by his brother-in-law and Diya. Targeting Deepak's account, they plan to extract the money. The mission goes as planned, and Subhash succeeds in retrieving the money from Deepak's account. However, the trio traces Deepak's location and finds him in "Algornia" where they find him dead and a chase ensues, resulting in a heroic escape. Subhash realises a cop, posing as a blind man has killed Deepak and framed him. They find that the cop is none other than the police commissioner of Istanbul. Using Diya as a bait, Subhash lures the cop and his henchmen into a trap and fights them off, where he threatens to kill the cop, who then reveals that Syed Ibrahim Malik, a Pakistan-based wanted terrorist is the real conspirator behind the explosion.


title: Action (2019 film)

text: With the help of his Lt. Gen. Rehman, Subhash decides to bring Malik to India on his own where Diya accompanies him, They reach Lahore illegally where a covert operative named Imran introduces him to Malik's location and armed forces. Learning of Malik's daughter's wedding, Diya enters the house with a fake ID card during the celebrations and secretly drops flammable balls which led to a fire accident during the sunrise. Malik is ordered by the Pakistan Army General Tahir Iqbal to accompany his officers to a safe house. Using the opportunity, Subhash chases after the vehicle and successfully takes Malik hostage.


title: Action (2019 film)

text: Following a car chase, he manages to escape while Diya and Imran wait for him at the airport. However, Malik is left in the car. Tahir admits him to a hospital where he realises it's his body double who was ordered by Malik himself to accompany Tahir's army, due to being held on gunpoint by Subhash. The two engage in hand-to-hand combat, following which Subash captured him. Both disguised, the gang board the plane. before Tahir intervenes and orders to stop it after the airport authorities identify Subhash. The flight to India is stopped and Tahir rushes inside, only to realise Subhash and his team took off in a flight to Nepal. Landing in Nepal, Subhash hands over Malik to the Indian Army.


title: Action (2019 film)

text: During the posthumous honouring of Saravanan, more conspirators including Saravanan's senior and ex-PM candidate Varma are arrested, where it is revealed that Subhash killed Malik during a staged escape.


title: Action (2019 film)

text: The soundtrack album is composed by Hiphop Tamizha, collaborating with Vishal and Sundar. C for their previous outing "Aambala". The lyrics were written by Pa. Vijay, Hiphop Tamizha, Arivu, Paul B Sailus, and Navz47.


title: Action (2019 film)

text: The album features five tracks, and all of them were released as singles, before being released as an album on 30 October 2019.


title: Action (2019 film)

text: The official teaser was released on 13 September 2019, followed by the trailer which was released on 27 October 2019. The film was theatrically released in India on 15 November 2019.


title: Action (2019 film)

text: "Firstpost" gave 2 out of 5 stars stating "Vishal, Tamannaah starrer is a formulaic entertainer with no proper storyline. If only the film had a script with some logic and was a bit racier, it could have been a time pass entertainer".


title: Action (2019 film)

text: "The Times of India" gave 2.5 out of 5 stars stating, "A handful of action set pieces, set in exotic locales, strung together by a semblance of a plot. If you dig the corniness of the lines and the OTT-ness of the stunts, then you might be able to enjoy the film".


title: Action (2019 film)

text: "Sify" gave 2 out of 5 stars stating "Action is a below-average action thriller from Sundar C- Vishal combo". Baradwaj Rangan of Film Companion South wrote "Like any self-respecting popcorn entertainer, there are OTT moments aplenty. Killer mehndi cones? Bring ’em on. But there’s always a little surprise around the corner".


title: Action (2019 film)

text: "Action" failed commercially; Made on a budget of INR 44 crore, it collected INR 7.7 crore in Tamil Nadu box office and INR 4 crore in Andhra Pradesh and Telangana. Having assured the producers he would bear the losses if the film did not collect a minimum of INR 20 crore and compensate by doing a film for them, the production company Trident Arts filed a petition against Vishal for making the film under his own banner. Following the petition, Vishal was ordered by the Madras High Court to compensate for the losses incurred.


title: Action (2019 film)

text: The Satellite Rights of the film were sold to Vijay TV and began streaming on Amazon Prime Video from 16 December 2019. The film was released on DVD in Taiwan on 23 October 2020 and in Japan on 4 November 2020. The film was later dubbed in Hindi and directly premiered on Sony Max and released on YouTube by Goldmines Telefilms on 4 October 2020.


title: TaleSpin

text: TaleSpin is an American animated television series first aired in 1990 as a preview on Disney Channel and later that year as part of "The Disney Afternoon". It features characters adapted from Disney's 1967 animated feature "The Jungle Book" (namely, some of the film's animals being given an anthropomorphic makeover while the humans are removed), which was theatrically rereleased in the summer before this show premiered in the fall. Namely Baloo the Bear, Louie the orangutan, and Shere Khan the tiger, along with new characters created for the show. The name of the show is a play on "tailspin", the rapid descent of an aircraft in a steep spiral, and on the fact that "tale" is another word for "story". The show is one of nine "Disney Afternoon" shows to use established Disney characters as the main characters, with the other eight being "Darkwing Duck", "DuckTales", "", "Goof Troop", "Bonkers", "Quack Pack", "Aladdin", and "Timon & Pumbaa". It is also one of two animated television series based on the book "The Jungle Book", the second being "Jungle Cubs".


title: TaleSpin

text: The series was largely developed by writers Jymn Magon and Mark Zaslove, who were also the supervising producers on the series as well as story editors. There were four production teams, each one headed by a producer/director: Robert Taylor, Larry Latham, Jamie Mitchell, and Ed Ghertner.


title: TaleSpin

text: Initially, Disney simply commissioned Magon and Zaslove with creating a thirty-minute animated program for them, with no requirements as to what the show should be about. Nearing the deadline for a pitch without having come up with anything, Magon hit upon the idea of making the story about Baloo, one of the central characters of Disney's "The Jungle Book," which had recently been theatrically rereleased. The show "Tales of the Gold Monkey" was an inspiration according to creator/supervising producer, Jymn Magon. Similar to the main character in that show, they decided to have Baloo work for an air cargo delivery service, a concept also occasionally featured on Disney's successful "DuckTales". In order to add dramatic tension, they decided to maintain the impressionable son / bad father dynamic which had driven part of the plot of "The Jungle Book," replacing the human Mowgli with the anthropomorphic bear Kit. Inspired by "Cheers" — then one of the most popular programs on television — Magon and Zaslove created the character Rebecca (voiced by actress Sally Struthers), basing her on the character Rebecca Howe and giving her that character's arc of being an intelligent and headstrong yet inexperienced manager put in charge of a fledgling business. Deciding to make the show a period piece, the pair lastly decided to make one of the show's primary locations a neutral zone inspired by Rick Blaine's bar in "Casablanca", where they inserted the character of Louie in place of Rick. The decision to add Shere Khan to the cast was not made until later in the show's development. Magon and Zaslove also took inspiration from Hayao Miyazaki's 1989 manga "Hikōtei Jidai", about a pigheaded man who flies a seaplane and fights air pirates. Two years after "TaleSpin" premiered, Miyazaki released an anime adaptation called "Porco Rosso," which Zaslove felt took cues from "TaleSpin". Phil Harris, who voiced Baloo for the film, was initially hired to reprise the role; at age 85, however, Harris had lost some of his comic timing and had to be chauffeured from his home in Palm Springs for each recording session. His work was discarded and Ed Gilbert took over the role for the rest of the series.


title: TaleSpin

text: Famed Uncle Scrooge comic writer and artist Don Rosa wrote episode 6, "It Came from Beneath the Sea Duck", and episode 9, "I Only Have Ice for You".


title: TaleSpin

text: The series was animated by Walt Disney Animation (Japan) Inc., Hanho Heung-Up Co., Ltd., Jade Animation, Tama Productions, Walt Disney Animation (France) S.A., Sunwoo Entertainment, and Wang Film Productions.


title: TaleSpin

text: Gilbert would continue to voice Baloo in other Disney projects, commercials, promos, miscellaneous, until his death.


title: TaleSpin

text: Harris, who continued to do occasional voice acting until 1991, died of a heart attack on August 11, 1995, five years after TaleSpin premiered. Three years later, in August 1998, Gilbert fell ill from lung cancer and never recovered, Gilbert died on May 8, 1999, nine years after TaleSpin premiered.


title: TaleSpin

text: After a preview of "TaleSpin" aired on The Disney Channel from May 5 to July 15, 1990, the series began its syndicated run in September of the same year. The original concept was embodied in the pilot episode and introductory television movie "Plunder & Lightning" which was the sole nominee for an Emmy Award for Outstanding Animated Program (For Programming More Than One Hour) in 1991. After its premiere on September 7, 1990, "Plunder & Lightning" was re-edited into four half-hour episodes for reruns. The show was often seen either on its own as a half-hour show, or as part of the two-hour syndicated programming block "The Disney Afternoon". "TaleSpin" ended on its 65th episode which aired on August 8, 1991. However, reruns continued to be shown on "The Disney Afternoon" until September 1994. On October 2, 1995, "TaleSpin" began reruns on The Disney Channel as part of a two-hour programming block called "Block Party" which aired on weekdays in the late-afternoon/early-evening and which also included "Darkwing Duck", "DuckTales", and "". Later, the show was aired on Toon Disney, where it was first aired from April 1998 until January 2006 (with a hiatus between 2001 and 2002) and later from January 2007 until May 2008. Throughout its broadcast history, the series has been subjected to numerous edits.


title: TaleSpin

text: "TaleSpin" is primarily set in the city of Cape Suzette (a pun on the dish Crêpe Suzette). The city lies on an unnamed island, in an unspecified body of water, on a large harbor or bay enclosed by a high cliff wall. A single cleft in the wall is the harbor's only means of access. The cleft is guarded by anti-aircraft artillery, preventing flying rabble-rousers or air pirates from entering the city. The characters in the world of "TaleSpin" are anthropomorphic animals, though normal wild animals exist as well. The time frame of the series is never specifically addressed, but the helicopter, television, and jet engine are experimental devices. In the episode "Bygones", Baloo comments that "The Great War ended 20 years ago", thus suggesting that the series takes place around 1938. Radio is the primary mass medium, and the episode, "The Incredible Shrinking Molly" briefly alludes to the characters having never heard of television.


title: TaleSpin

text: The series centers on the adventures of bush pilot, Baloo the bear, whose air cargo freight business, "Baloo's Air Service", is taken up by Rebecca Cunningham who has a young daughter named Molly. Upon his default on delinquent bills with the bank, and his perceived irresponsibility in running a business by Rebecca, she takes over the business and renames it "Higher for Hire", making her Baloo’s boss. An orphan boy and former air pirate, the ambitious grizzly bear Kit Cloudkicker, attaches to Baloo and becomes his navigator. He sometimes calls Baloo "Papa Bear". Together, they are the crew of Higher for Hire's only aircraft, a 20-year-old modified Conwing L-16 (a fictitious twin-boom cargo plane using elements from the Fairchild C-82 transport, Grumman G-21 Goose amphibian, and a Consolidated PBY-3) named the "Sea Duck". The series follows the ups and downs of Higher for Hire and its staff, sometimes in the vein of old action-adventure film serials of the 1930s and 1940s, like the "Tailspin Tommy" movies, and contemporary variations, such as "Raiders of the Lost Ark".


title: TaleSpin

text: Their adventures often involve encounters with a gang of air pirates led by Don Karnage, as well as with representatives of Thembria (a parody of the Stalinist Soviet Union inhabited by anthropomorphic Warthogs), or other, often even stranger obstacles. In deference to contemporary sensitivities, there is no equivalent of the Nazis in the series, although one story in "Disney Adventures Magazine", "The Dogs of War!", had the heroes encounter members of the "Houn" nationality, a menacing militaristic nationality of dogs from "Hounsland" who wear uniforms that are clearly based on German ones and who speak in a mock-German accent.


title: TaleSpin

text: The relationship between Baloo and Rebecca owes something to the screwball comedy films of the Great Depression. More precisely, according to Jymn Magon (co-creator of the series), the two characters were fashioned after Sam Malone and Rebecca Howe from the then-popular sitcom "Cheers".


title: TaleSpin

text: Eleven VHS cassettes containing 21 episodes of the series were released in Australia and New Zealand.


title: TaleSpin

text: Walt Disney Studios Home Entertainment has released the complete series on DVD; three volumes have been released in Region 1 featuring all 65 episodes of the series. The first volume was released on August 29, 2006 (containing episodes 1–27) and the second on November 13, 2007 (containing episodes 28–54). Volume 2 includes the controversial episode "Last Horizons", which never re-aired on broadcast syndication although it did re-air on The Disney Channel and Toon Disney. On June 25, 2013, the third and final volume was released on DVD via the Disney Movie Club Exclusives. "TaleSpin": Volume 3 is also for sale on DisneyStore.com.


title: TaleSpin

text: "TaleSpin": Volume 3 received a wide retail DVD release on January 13, 2015, and has been seen as a Wal-Mart Exclusive in Canada since October 12, 2014. Southeast Asia and in the United States since October 14, 2014.


title: TaleSpin

text: The series has been released into several volumes in different countries, each containing only 4 episodes each.


title: TaleSpin

text: In Germany, A series of 3-disc sets started with Collection 1 released on December 5, 2012, in Region 2, PAL format. The sets contain the episodes in the same order as the US releases, as well as a Fastplay feature and 6 language tracks: English, Danish, German, Italian, Norwegian and Swedish, but no subtitles have been added. the first collection has only 17 episodes.


title: TaleSpin

text: However, a few episodes have been removed from the original list. The 1st collection does not include "From Here To Machinery" and "Vowel Play". The 2nd set excludes "A Touch of Glass", while the 3rd set misses out "Jumping the Guns".


title: TaleSpin

text: There is no confirmation on whether these episodes will be released, along with the final 11 episodes of the series.


title: TaleSpin

text: The United Kingdom had only two releases, each containing 3 discs per set, the sets do skip over episodes that were present on the North American sets. The First Collection came out on February 11, 2013 and The Second Collection was released on May 20, 2013.


title: TaleSpin

text: The sets from Germany and the United Kingdom have also been released in Australia. The First Collection came out on August 17, 2012. The Second Collection was released on March 15, 2013. The Third Collection was released on October 11, 2013.


title: TaleSpin

text: In India, "TaleSpin" was dubbed in Hindi and Telugu for TV broadcast in the 90s along with DuckTales. In 2012, 63 Hindi dubbed episodes out of the total 65 episodes were released by Disney India on 21 DVD volumes in PAL format. These discs support DVD Region 2, Region 4 and Region 5. However due to limited number of copies, they quickly went out of stock. Each DVD contained only 3 episodes.


title: TaleSpin

text: The entire series is currently available for purchase in standard definition on Amazon Prime Video and the iTunes Store in the United States.


title: TaleSpin

text: As of November 12, 2019, the series is available to stream on Disney+, with the exception of the banned episodes "Last Horizons" and "Flying Dupes".


title: TaleSpin

text: A monthly comic book based on the show was published by the Disney subsidiary W. D. Publications, Inc. as part of their Disney Comics line in 1991, running for eleven issues, including a four-issue limited series called "Take Off" based on the series premiere episode "Plunder & Lightning", which was published between January and April, followed by a series of seven regular issues published between June and December. Bobbi J.G. Weiss was the writer for regular issues 1–4 and 6–7, while "Take Off" was adapted from "Plunder & Lightning" and regular issue 5 was adapted from episode 35, "The Old Man and the Sea Duck", for both of which Weiss is credited for adaptation.


title: TaleSpin

text: The comic's cancellation at the end of 1991 terminated several planned stories that would have revealed pieces of background for the main characters. This one seems to be an exception though: Issue 7, "The Long Flight Home", explored Kit's past, and how he joined up with the pirates. According to the letter page in #3, a planned story for the comic's annual would have explored the origin of the "Iron Vulture". In addition, #4–7 would have letters 'answered' by the characters. A collected edition called "Disney's Cartoon Tales" featuring "TaleSpin" came out in 1991 (). It reprints #4 and 6 from the regular comic book series. Subsequent comic stories were also printed in "Disney Adventures" from 1990 to 1995, and then re-appeared in the Summer 2006 issue of "Disney Adventures Comic Zone Magazine", as well as in "The Disney Afternoon" comic book published by Marvel Comics.


title: TaleSpin

text: Although issue #8 of the monthly comic series never made it to print, the end of issue #7 included a preview for it: "Spies in Cape Suzette?! There are some mighty mysterious folk sniffing around Shere Khan Industries. When Special Agent Booker shows up to handle the problem he finds that battling foreign agents is easier than dealing with Baloo as an assistant in... THE SPY WHO BUGGED ME!"


title: TaleSpin

text: Three different "TaleSpin" video games were produced. One game was a scrolling shooting game published by Capcom for the NES and Game Boy. The other two were platform games; one developed by Sega for the Sega Genesis and Game Gear, and the other developed by NEC for the TurboGrafx-16. Rebecca, Kit, Baloo, Don Karnage and Shere Khan from "Talespin" also appeared on cards in the 1993 puzzle game "Mickey's Memory Challenge", released for Amiga and DOS, developed by Infogrames.


title: TaleSpin

text: Although not an official "TaleSpin" game, Gaijin's "War Thunder" 2021 April Fools' Day event called "TailSpin" is apparently related to or inspired by the show.


title: TaleSpin

text: A number of aircraft in the game appear to be inspired by those in the original show. Players start with the "Nimble" biplane seaplane fighter, and progress to more advanced aircraft by shooting down or getting "assists" on shooting down enemy aircraft, until reaching the mighty "Sly Duck" seaplane (which closely resembles the "Sea Duck" from the show). The game also includes a "Bear" pilot icon resembling Baloo and a "Fox" pilot icon. Every aircraft in the event besides the “Nimble” is from TaleSpin or heavily based on one seen in the show.


title: TaleSpin

text: Gameplay is War Thunder air arcade, and players are randomly allocated to a side. Both sides have the same aircraft.


title: Tengri

text: Tengri (; ; Old Uyghur: "tängri"； Middle Turkic: تآنغرِ; ; ; ; ; Proto-Turkic *"teŋri / *taŋrɨ"; Mongolian script: , "T'ngri"; Modern Mongolian: Тэнгэр, "Tenger"; Uyghur: تەڭرى "tengri" ) is the All-Encompassing God of Heaven in the traditional Turko-Mongolian religious beliefs. It is also one of the names for the primary chief deity of the early Turkic and Mongolic peoples.


title: Tengri

text: Worship of Tengri is Tengrism. The core beings in Tengrism are the Heavenly-Father (Tengri/Tenger Etseg) and the Earth Mother (Eje/Gazar Eej). It involves shamanism, animism, totemism and ancestor worship.


title: Tengri

text: The oldest form of the name is recorded in Chinese annals from the 4th century BC, describing the beliefs of the Xiongnu. It takes the form 撑犁/"Cheng-li", which is hypothesized to be a Chinese transcription of "Tängri". (The Proto-Turkic form of the word has been reconstructed as "*Teŋri" or "*Taŋrɨ".) Alternatively, a reconstructed Altaic etymology from "*T`aŋgiri" ("oath" or "god") would emphasize the god's divinity rather than his domain over the sky. It is generally assumed the term "tengri" originally meant "sky". Andrey Kononov suggested that the term is formed by the words "tän" (morning) and "injir" (evening) into "tänri", referring to the sky as whole.


title: Tengri

text: The Turkic form, "Tengri", is attested in the 8th century Orkhon inscriptions as the Old Turkic form "Teŋri". In modern Turkish, the derived word ""Tanrı"" is used as the generic word for "god", or for the Abrahamic God, and is used today by Turkish people to refer to any god. The supreme deity of the traditional religion of the Chuvash is "Tură".


title: Tengri

text: Earlier, the Chinese word for "sky" 天 (Mandarin: "tiān" < Old Chinese *"thīn" or *"thîn") has been suggested to be related to "Tengri", possibly a loan into Chinese from a prehistoric Central Asian language. However, this proposal is unlikely in light of recent reconstructions of the Old Chinese pronunciation of the character "天", such as *"qʰl'iːn" (Zhengzhang) or *"l̥ˤi[n]" (Baxter-Sagart), which propose for 天 a voiceless lateral onset, either a cluster or single consonant, respectively. Baxter & Sagart (2014:113-114) pointed to attested dialectal differences in Eastern Han Chinese, the use of 天 as a phonetic component in phono-semantic compound Chinese characters, and the choice of 天 to transcribe foreign syllables, all of which prompted them to conclude that, around 200 CE, 天's onset had two pronunciations: coronal *"tʰ" & dorsal *"x", both of which likely originated from an earlier voiceless lateral *"l̥ˤ".


title: Tengri

text: Linguist Stefan Georg has proposed that the Turkic word ultimately originates as a loanword from Proto-Yeniseian "*tɨŋgɨr-" "high".


title: Tengri

text: Tengri was the national god of the Göktürks, described as the "god of the Turks" ("Türük Tängrisi"). The Göktürk khans based their power on a mandate from Tengri. These rulers were generally accepted as the sons of Tengri who represented him on Earth. They wore titles such as "tengrikut", "kutluġ" or "kutalmysh", based on the belief that they attained "kut", some sort of heavenly and spiritual force granted to these rulers by Tengri.


title: Tengri

text: Prior to foreign influences, the Turkic conception of tengri was regarded as the heaven or the will controlling heaven, probably some sort of force. Out of this, the concept of a personal being developed. First, when Turkic people took over other religions, the term "tengri" became the name of a (personal) god or "higher being".


title: Tengri

text: Tengri was the chief deity worshipped by the ruling class of the Central Asian steppe peoples in 6th to 9th centuries (Turkic peoples, Mongols and Hungarians). It lost its importance when the Uighuric kagans proclaimed Manichaeism the state religion in the 8th century.


title: Tengri

text: Tengri is considered to be the chief god who created all things. In addition to this celestial god, they also had minor divinities ("Alps") that served the purposes of Tengri.


title: Tengri

text: As Gök Tanrı, he was the father of the sun (Koyash) and moon (Ay Tanrı) and also Umay, Erlik, and sometimes Ülgen.


title: Tengri

text: Tengri was the main god of the Turkic pantheon, controlling the celestial sphere. Tengri is considered to be similar to the Indo-European sky god, *Dyeus, and the structure of the reconstructed Proto-Indo-European religion is closer to that of the early Turks than to the religion of any people of Near Eastern or Mediterranean antiquity.


title: Tengri

text: The most important contemporary testimony of Tengri worship is found in the Old Turkic Orkhon inscriptions, dated to the early 8th century.


title: Tengri

text: Written in the so-called Orkhon script, these inscriptions record an account of the mythological origins of the Turks.


title: Tengri

text: The inscription dedicated to Kul Tigin includes the passages (in the translation provided by the Language Committee of Ministry of Culture and Information of the Republic of Kazakhstan): "When the blue sky [Tengri] above and the brown earth below were created, between them a human being was created. Over the human beings, my ancestors Bumin Kagan and Istemi Kagan ruled. They ruled people by Turkish laws, they led them and succeeded" (face 1, line 1); "Tengri creates death. Human beings have all been created in order to die" (), (face 2, line 9); "You passed away (lit.: 'went flying') until Tengri gives you life again" (face 2, line 14). Khagans ruled by the will of Tengri thought the ancient Turkic people and preserved these thoughts in the texts of the


title: Tengri

text: Orkhon inscriptions in the following way: "I, Tengri-like and Tengri-born Turk Bilge Kaghan, succeeded to the throne at this time" ().


title: Tengri

text: In one Turkic myth, Tengri is a pure, white goose that flies constantly over an endless expanse of water, which represents time. Beneath this water, Ak Ana ("White Mother") calls out to him saying "Create". To overcome his loneliness, Tengri creates "Er Kishi", who is not as pure or as white as Tengri and together they set up the world. "Er Kishi" becomes a demonic character and strives to mislead people and draw them into its darkness. Tengri assumes the name "Tengri Ülgen" and withdraws into Heaven from which he tries to provide people with guidance through sacred animals that he sends among them. The "Ak Tengris" occupy the fifth level of Heaven. Shaman priests who want to reach "Tengri Ülgen" never get further than this level, where they convey their wishes to the divine guides. Returns to earth or to the human level take place in a goose-shaped vessel.


title: Tengri

text: "Tengrism" is the term for a revival of Central Asian shamanism after the dissolution of the Soviet Union.


title: Tengri

text: In Kyrgyzstan, Tengrism was suggested as a Pan-Turkic national ideology following the 2005 presidential elections by an ideological committee chaired by state secretary Dastan Sarygulov. In Mongolia, Tengrism has not died out and is still practised by about 2.5 percent of the population. The Western peoples and Southern peoples are known to have the highest number of Tengrism practitioners. In Mongolian, Tengrism is often referred to as “бөө мөргөл” or “böö mörgöl”.


title: Sati (Hindu goddess)

text: Sati (, , , ), also known as Dakshayani (Sanskrit: दाक्षायणी, IAST: "Dākṣāyaṇī", lit. 'daughter of Daksha'), is the Hindu goddess of marital felicity and longevity, and is worshipped as an aspect of the mother goddess Shakti. She is


title: Sati (Hindu goddess)

text: generally considered the first wife of Shiva, the other being Parvati, who was Sati's reincarnation after her death.


title: Sati (Hindu goddess)

text: The earliest mentions of Sati are found in the time of the Ramayana and the Mahabharata, but details of her story appear in the Puranas. Legends describe Sati as the favourite child of Daksha, who marries Shiva against her father's wishes. After Daksha humiliates her and her husband, Sati kills herself in the yajna (Fire-Sacrifice) to protest against him, and uphold the honour of her husband. In Hinduism, both Sati and Parvati, successively play the role of bringing Shiva away from ascetic isolation into creative participation with the world.


title: Sati (Hindu goddess)

text: Sati's story plays an important part in shaping the traditions of two of the most prominent sects of Hinduism Shaivism and Shaktism. It is believed that after Sati's death,Shiva came and picked up her deep sacred mortal self remains and roam around the whole world and then, parts of Sati's mortal remains fell on fifty-one places and formed the Shakti Peethas.


title: Sati (Hindu goddess)

text: The word "Satī" means "truthful", "virtuous" or "noble". The word is derived from the "Satya" which means "truth".


title: Sati (Hindu goddess)

text: Sati is known by various patronymics, though these names can be used for any of the daughters of Daksha. Some of these names include Dakshayani, Dakshakanya and Dakshja.


title: Sati (Hindu goddess)

text: According to scholars William J. Winkins and David R. Kinsley, the Vedic scriptures (2nd millennium BCE) do not mention Sati-Parvati but hint to two goddesses associated with Rudra Rudrani and Ambika. In the Kena Upanishad, a goddess called Uma-Hemavati appears as a mediator between the gods and the Supreme Brahman. Both the archeological and the textual sources indicate that the first major appearances of Sati-Parvati were during the period of the "Ramayana" and the "Mahabharata" (1st millennium BCE).


title: Sati (Hindu goddess)

text: The "Mahabharata" mentions the destruction of Daksha yajna, the birth of Kartikeya, defeat the Asura Taraka as well as some plays between Shiva and Uma (Parvati). Scholars believe that by the time of the Puranas (c. 4th - 13th century), legends of Sati and Parvati rose to prominence and these were adapted by Kalidasa in his epic poem "Kumarasambhavam" (c. 5th - 6th century). Some of the Puranas which narrate Sati's story are the "Vayu Purana," the "Skanda Purana," the "Bhagavata Purana", the "Kurma Purana," the "Padma Purana," the "Linga Purana," the "Shiva Purana," and the "Matsya Purana".


title: Sati (Hindu goddess)

text: Prajapati Daksha was the son of the creator god Brahma. He married Prasuti, daughter of Manu and Shatarupa, and had many daughters. Sati was the youngest and favourite daughter of Daksha. Texts like the "Shiva Purana", "Matsya Purana" and "Kalika Purana" mention Asikni as the mother of Sati. According to the Shakta (goddess-oriented) texts including "Devi Bhagavata" and the "Mahabhagavata Purana", Brahma advised Daksha to meditate upon the Great goddess and convince her to take an avatar as their daughter (Sati). The goddess agreed but warned that if he mistreated her, she will abandon her body.


title: Sati (Hindu goddess)

text: Even as a child, Sati adored the tales of Shiva and grew up an ardent devotee. As she grew to womanhood, the idea of marrying anyone else, as intended by her father, became unfair to her. It is believed that Brahma intended to get Sati married to Shiva and bring him into worldly affairs.


title: Sati (Hindu goddess)

text: Sati is described to be very beautiful but the legends emphasize her penance and devotion, which won the heart of the ascetic Shiva. According to the legend, Sati left the luxuries of her father's palace and retired to a forest to devote herself to austerities of a hermetic life and the worship of Shiva. She was often tested by Shiva or his attendants. Finally, Shiva acceded to her wishes and consented to marry. Despite Daksha's unwillingness, the wedding was held in due course with Brahma serving as the priest. Sati moved with Shiva in Kailash. Tension between Shiva and Daksha further arises when Daksha starts to dislike Shiva because of Shiva's odd appearance and behaviour.


title: Sati (Hindu goddess)

text: According to the "Mahabhagvata Purana", Daksha arranged Sati's "Swayamvar" (self-choice ceremony), where all except Shiva were invited. When Sati did not find Shiva, she threw a garland in the air to choose her husband. Shiva manifested there and it fell on him, thus they were married. In the 18th century "Svathani Katha", when Shiva asked Sati's hand in marriage, Daksha refused, claiming him unsuitable. Vishnu aided Shiva by disguising him as a "sanyasi" and had him marry her. While many versions mention Daksha's objections to the marriage, the "Shiva Purana" does not mention any harsh opposition, though he starts to develop a deep hatred after the wedding.


title: Sati (Hindu goddess)

text: The most prominent legend associated with Sati is her self-immolation to protest against her father. The first text to mention this event is the "Taittiriya Samhita" and later appears in the "Ramayana" and the "Mahabharata". However details appear in Tantra literature, in Kalidasa's lyrical "Kumarasambhava, the Harivamsa" and the Puranas.


title: Sati (Hindu goddess)

text: According to the most popular narrative, Daksha organized a "yajna" (sacrifice) to which all the deities, except Sati and Shiva, were invited. Wanting to visit her relatives, Sati sought to rationalize this omission and reasoned that as family, such formality was unnecessary. Shiva tried to stop her as he knew that Daksha would humiliate her, but when she was not convinced, he sent her with his "gana" attendants. Sati was received by her mother and her sisters, but Daksha was furious by her uninvited arrival and humiliated her and mocked Shiva. Wanting to break all ties with her father and uphold the honour of her husband, Sati self-immolated.


title: Sati (Hindu goddess)

text: Deeply hurt by the death of his wife, Shiva performed the destructive Tandava dance. He created two ferocious deities Virabhadra and Bhadrakali, who wreaked mayhem at the sacrificial place. Nearly all those present were felled overnight; Daksha was decapitated by Virabhadra. After that night, Shiva, who is considered the all-forgiving, restored the slain to life and granted them his blessings. Daksha was restored both to life and to kingship. His severed head was substituted with that of a goat.


title: Sati (Hindu goddess)

text: There are varying accounts of this event. Some texts suggest that before Sati's death, Shakti promised that she will be reborn to a father who merits her respect and remarry Shiva. The "Devi-Bhagavata Purana" adds that after Sati's marriage, Daksha polluted a sacred flower garland. As a result, he was cursed to hate his beloved daughter. At the sacrificial place, Daksha discarded Sati's gifts and humiliated her, she used her cosmic powers and burnt her body. The "Mahabhagavata Purana" presents Sati as a fierce warrior. When Shiva prevented Sati from visiting the event, she transformed into the ten fearsome Mahavidya goddesses led by Kali, and surrounded him from the ten cardinal directions. Seeing his wife's powers, Shiva allowed her. Sati, transformed as Kali, went to the sacrifice and split herself into two entities one real but invisible and another just "Chhaya" (shadow or clone). Chhaya Sati destroyed the sacred event by jumping into the sacrificial fire, while the "real" Sati is reborn as Parvati. The "Brihaddharma Purana" (c. 13th century) narrates the creation of the Mahavidyas but there is no mention of Sati splitting into two. She retains her calming nature after Shiva allowed her. The most drastic change in this text is the absence of the self-immolation of Sati. Instead, the text mentions that she cursed her father and quit her body in a Himalayan cave. The "Kalika Purana" does not mention Sati going to the event, instead it is found that Sati left her body using a "yogic process", after her niece, Vijaya informed her about the yajna.


title: Sati (Hindu goddess)

text: Another important legend associated with Sati is the formation of the Shakti Peethas. Shakti Peethas are shrines of the Mother Goddess, believed to have enshrined with the presence of Shakti due to the falling of body parts of the corpse of Sati. It is believed that an enraged Shiva performed the Tandava dance with Sati's charred body, which led her body to come apart and the pieces fell at different places on earth. In a more detailed narration found in some texts, Shiva, crazed with grief, roamed with Sati's corpse throughout the universe, causing universal imbalance. The divinities called upon the god Vishnu to restore Shiva to normalcy and calm. Vishnu used his Sudarshana Chakra (discus weapon) to dismember Sati's cadaver, following which Shiva regained his equanimity.


title: Sati (Hindu goddess)

text: The legend ends with Sati's body being dismembered into many pieces which fell on earth at various places. Several different listings of these holy places, known as "Shakti Peethas," are available; some of these places have become major centres of pilgrimage as they are held by the Goddess-oriented Shakta sect to be particularly holy. Besides main Shakti Peethas, some small peethas like Bindudham came into existence which are due to Sati's fallen blood drops.


title: Sati (Hindu goddess)

text: A depressed Shiva returned to his ascetic world while Sati was reborn as Parvati, daughter of Himavat, king of the mountains and personification of the Himalayas, and his wife, Mena. Himavat appreciated Shiva ardently. Consequently, Parvati like Sati, won Shiva over by her penance and married him.


title: Sati (Hindu goddess)

text: The legend of Daksha Yajna and Sati's self-immolation had immense significance in shaping the ancient Sanskrit literature and even had impact on the culture of India. It led to the development of the concept of Shakti Peethas and there by strengthening Shaktism. Many stories in Puranas took the Daksha yajna as the reason for its origin. It is an important incident in Shaivism resulting in the emergence of goddess Parvati in the place of Sati and making Shiva a grihastashrami (house holder) leading to the origin of Ganesha and Kartikeya.


title: Sati (Hindu goddess)

text: Kottiyoor Vysakha Mahotsavam, a 27‑day yagnja ceremony, conducted in the serene hilly jungle location in North Kerala yearly commemorating the Daksha Yaga. It is believed that Sati Devi self immolated in this location and apparently this is the location of Daksha Yaga. The pooja and rituals were classified by Shri Sankaracharya.


title: 3D film

text: 3D films are motion pictures made to give an illusion of three-dimensional solidity, usually with the help of special glasses worn by viewers. They have existed in some form since 1915, but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s driven by IMAX high-end theaters and Disney-themed venues. 3D films became increasingly successful throughout the 2000s, peaking with the success of 3D presentations of "Avatar" in December 2009, after which 3D films again decreased in popularity. Certain directors have also taken more experimental approaches to 3D filmmaking, most notably celebrated auteur Jean-Luc Godard in his film "Goodbye to Language".


title: 3D film

text: The basic components of 3D film were introduced separately between 1833 and 1839. Stroboscopic animation was developed by Joseph Plateau in 1832 and published in 1833 in the form of a stroboscopic disc, which he later called the fantascope and became better known as the phénakisticope. Around the very same time (1832/1833), Charles Wheatstone developed the stereoscope, but he didn't really make it public before June 1838. The first practical forms of photography were introduced in January 1839 by Louis Daguerre and Henry Fox Talbot. A combination of these elements into animated stereoscopic photography may have been conceived early on, but for decades it did not become possible to capture motion in real-time photographic recordings due to the long exposure times necessary for the light-sensitive emulsions that were used.


title: 3D film

text: Charles Wheatstone got inventor Henry Fox Talbot to produce some calotype pairs for the stereoscope and received the first results in October 1840. Only a few more experimental stereoscopic photographs were made before David Brewster introduced his stereoscope with lenses in 1849. Wheatstone also approached Joseph Plateau with the suggestion to combine the stereoscope with the fantascope. In 1849, Plateau published about this concept in an article about several improvements made to his fantascope and suggested a stop motion technique that would involve a series of photographs of purpose-made plaster statuettes in different poses. The idea reached Jules Duboscq, an instrument maker who already marketed Plateau's Fantascope as well as the stereoscopes of Wheatstone and Brewster. In November 1852, Duboscq added the concept of his "Stéréoscope-fantascope, ou Bïoscope" to his stereoscope patent. Production of images proved very difficult, since the photographic sequence had to be carefully constructed from separate still images. The bioscope was no success and the only extant disc, without apparatus, is found in the Joseph Plateau collection of the University of Ghent. The disc contains 12 albumen image pairs of a machine in motion.


title: 3D film

text: Most of the other early attempts to create motion pictures also aimed to include the stereoscopic effect.


title: 3D film

text: In November 1851, Antoine Claudet claimed to have created a stereoscope that showed people in motion. The device initially only showed two phases, but during the next two years, Claudet worked on a camera that would record stereoscopic pairs for four different poses (patented in 1853). Claudet found that the stereoscopic effect didn't work properly in this device, but believed the illusion of motion was successful.


title: 3D film

text: Johann Nepomuk Czermak published an article about his Stereophoroskop. His first idea to create 3D animation involved sticking pins in a stroboscopic disc to create a sequence that would show one pin moving further into the cardboard and back. He also designed a device that would feed the image pairs from two stroboscopic discs into one lenticular stereoscope and a vertical predecessor of the zoetrope.


title: 3D film

text: On 27 February 1860, Peter Hubert Desvignes received British patent no. 537 for 28 monocular and stereoscopic variations of cylindrical stroboscopic devices. This included a version that used an endless band of pictures running between two spools that was intermittently lit by an electric spark. Desvignes' "Mimoscope", received an Honourable Mention "for ingenuity of construction" at the 1862 International Exhibition in London. It could "exhibit drawings, models, single or stereoscopic photographs, so as to animate animal movements, or that of machinery, showing various other illusions." Desvignes "employed models, insects and other objects, instead of pictures, with perfect success." The horizontal slits (like in Czermak's Stereophoroskop) allowed a much improved view, with both eyes, of the opposite pictures.


title: 3D film

text: In 1861, American engineer Coleman Sellers II received US patent No. 35,317 for the kinematoscope, a device that exhibited "stereoscopic pictures as to make them represent objects in motion". In his application he stated: "This has frequently been done with plane pictures but


title: 3D film

text: has never been, with stereoscopic pictures". He used three sets of stereoscopic photographs in a sequence with some duplicates to regulate the flow of a simple repetitive motion, but also described a system for very large series of pictures of complicated motion.


title: 3D film

text: On 11 August 1877, the "Daily Alta" newspaper announced a project by Eadward Muybridge and Leland Stanford to produce sequences of photographs of a running horse with 12 stereoscopic cameras. Muybridge had much experience with stereo photography and had already made instantaneous pictures of Stanford's horse Occident running at full speed. He eventually managed to shoot the proposed sequences of running horses in June 1878, with stereoscopic cameras. The published result and animated versions for his zoopraxiscope were not stereoscopic, but in 1898 Muybridge claimed that he had (privately) viewed the pictures in two synchronized zoetropes with Wheatstone's reflecting stereoscope as a "a very satisfactory reproduction of an apparently solid miniature horse trotting, and of another galloping".


title: 3D film

text: Thomas Edison demonstrated his phonograph on 29 November 1877, after previous announcements of the device for recording and replaying sound had been published earlier in the year. An article in "Scientific American" concluded: "It is already possible, by ingenious optical contrivances, to throw stereoscopic photographs of people on screens in full view of an audience. Add the talking phonograph to counterfeit their voices and it would be difficult to carry the illusion of real presence much further". Wordsworth Donisthorpe announced in the 24 January 1878 edition of "Nature" that he would advance that conception: "By combining the phonograph with the kinesigraph I will undertake not only to produce a talking picture of Mr. Gladstone which, with motionless lips and unchanged expression shall positively recite his latest anti-Turkish speech in his own voice and tone. Not only this, but the life size photograph itself shall move and gesticulate precisely as he did when making the speech, the words and gestures corresponding as in real life." Dr. Phipson, a correspondent for British news in a French photography magazine, relayed the concept, but renamed the device "Kinétiscope" to reflect the viewing purpose rather than the recording option. This was picked up in the United States and discussed in an interview with Edison later in the year. Neither Donisthorpe's or Edison's later moving picture results were stereoscopic.


title: 3D film

text: In the late 1890s, British film pioneer William Friese-Greene filed a patent for a 3D film process. In his patent, two films were projected side by side on screen. The viewer looked through a stereoscope to converge the two images. Because of the obtrusive mechanics behind this method, theatrical use was not practical.


title: 3D film

text: Frederic Eugene Ives patented his stereo camera rig in 1900. The camera had two lenses coupled together inches (4.45 centimeters) apart.


title: 3D film

text: On June 10, 1915, Edwin S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New York City. In red-green anaglyph, the audience was presented three reels of tests, which included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number of passages from "Jim the Penman" (a film released by Famous Players-Lasky that year, but not in 3D), Oriental dancers, and a reel of footage of Niagara Falls. However, according to Adolph Zukor in his 1953 autobiography "The Public Is Never Wrong: My 50 Years in the Motion Picture Industry", nothing was produced in this process after these tests.


title: 3D film

text: By 1909 the German film market suffered much from overproduction and too much competition. German film tycoon Oskar Messter had initially gained much financial success with the Tonbild synchronized sound films of his Biophon system since 1903, but the films were losing money by the end of the decade and Messter would stop Tonbild production in 1913. Producers and exhibitors were looking into new film attractions and invested for instance in colorful imagery. The development of stereoscopic cinema seemed a logical step to lure visitors back into the movie theatres.


title: 3D film

text: In 1909, German civil engineer August Engelsmann patented a process that projected filmed performances within a physical decor on an actual stage. Soon after, Messter obtained patents for a very similar process, probably by agreement with Engelsmann, and started marketing it as "Alabastra". Performers were brightly dressed and brightly lit while filmed against a black background, mostly miming their singing or musical skills or dancing to the circa four-minute pre-recorded phonographs. The film recordings would be projected from below, to appear as circa 30 inch figures on a glass pane in front of a small stage, in a setup very similar to the Pepper's ghost illusion that offered a popular stage trick technique since the 1860s. The glass pane was not visible to the audience and the projected figures seemed able to move around freely across the stage in their virtual tangible and lifelike appearance. The brightness of the figures was necessary to avoid see-through spots and made them resemble alabaster sculptures. To adapt to this appearance, several films featured Pierrot or other white clowns, while some films were probably hand-coloured. Although Alabastra was well received by the press, Messter produced few titles, hardly promoted them and abandoned it altogether a few years later. He believed the system to be uneconomical due to its need for special theatres instead of the widely available movie screens, and he didn't like that it seemed only suitable for stage productions and not for "natural" films. Nonetheless, there were numerous imitators in Germany and Messter and Engelsmann still teamed with American swindler Frank J. Goldsoll set up a short-lived variant named "Fantomo" in 1914.


title: 3D film

text: Rather in agreement with Messter or not, Karl Juhasz and Franz Haushofer opened a Kinoplastikon theatre in Vienna in 1911. Their patented system was very similar to Alabaster, but projected life-size figures from the wings of the stage. With much higher ticket prices than standard cinema, it was targeted at middle-class audiences to fill the gap between low-brow films and high-class theatre. Audiences reacted enthusiastically and by 1913 there reportedly were 250 theatres outside Austria, in France, Italy, United Kingdom, Russia and North America. However, the first Kinoplastikon in Paris started in January 1914 and the premiere in New York took place in the Hippodrome in March 1915. In 1913, Walter R. Booth directed 10 films for the U.K. Kinoplastikon, presumably in collaboration with Cecil Hepworth. Theodore Brown, the licensee in the U.K. also patented a variant with front and back projection and reflected decor, and Goldsoll applied for a very similar patent only 10 days later. Further development and exploitation was probably haltered by World War I.


title: 3D film

text: Alabastra and Kinoplastikon were often advertised as stereoscopic and screenless. Although in reality the effect was heavily dependent on glass screen projection and the films were not stereoscopic, the shows seemed truly three-dimensional as the figures were clearly separate from the background and virtually appeared inside the real, three-dimensional stage area without any visible screen.


title: 3D film

text: Eventually, longer (multi-reel) films with story arcs proved to be the way out of the crisis in the movie market and supplanted the previously popular short films that mostly aimed to amuse people with tricks, gags or other brief variety and novelty attractions. Sound film, stereoscopic film and other novel techniques were relatively cumbersome to combine with multiple reels and were abandoned for a while.


title: 3D film

text: The earliest confirmed 3D film shown to an out-of-house audience was "The Power of Love", which premiered at the Ambassador Hotel Theater in Los Angeles on 27 September 1922. The camera rig was a product of the film's producer, Harry K. Fairall, and cinematographer Robert F. Elder. It was filmed dual-strip in black and white, and single strip color anaglyphic release prints were produced using a color film invented and patented by Harry K. Fairall. A single projector could be used to display the movie but anaglyph glasses were used for viewing. The camera system and special color release print film all received U.S Patent No. 1,784,515 on Dec 9, 1930. After a preview for exhibitors and press in New York City, the film dropped out of sight, apparently not booked by exhibitors, and is now considered lost.


title: 3D film

text: Early in December 1922, William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3D films started by Fairall's demonstration and shot footage with a camera system of his own design. Kelley then struck a deal with Samuel "Roxy" Rothafel to premiere the first in his series of "Plasticon" shorts entitled "Movies of the Future" at the Rivoli Theater in New York City.


title: 3D film

text: Also in December 1922, Laurens Hammond (later inventor of the Hammond organ) premiered his Teleview system, which had been shown to the trade and press in October. Teleview was the first alternating-frame 3D system seen by the public. Using left-eye and right-eye prints and two interlocked projectors, left and right frames were alternately projected, each pair being shown three times to suppress flicker. Viewing devices attached to the armrests of the theater seats had rotary shutters that operated synchronously with the projector shutters, producing a clean and clear stereoscopic result. The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: a group of short films, an exhibition of live 3D shadows, and "M.A.R.S.", the only Teleview feature. The show ran for several weeks, apparently doing good business as a novelty ("M.A.R.S." itself got poor reviews), but Teleview was never seen again.


title: 3D film

text: In 1922, Frederic Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a three-year period. The first film, entitled "Plastigrams", was distributed nationally by Educational Pictures in the red-and-blue anaglyph format. Ives and Leventhal then went on to produce the following stereoscopic shorts in the "Stereoscopiks Series" released by Pathé Films in 1925: "Zowie" (April 10), "Luna-cy!" (May 18), "The Run-Away Taxi" (December 17) and "Ouch" (December 17). On 22 September 1924, "Luna-cy!" was re-released in the De Forest Phonofilm sound-on-film system.


title: 3D film

text: The late 1920s to early 1930s saw little interest in stereoscopic pictures. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September 1933. The following March he exhibited a remake of his 1895 short film "L'Arrivée du Train", this time in anaglyphic 3D, at a meeting of the French Academy of Science.


title: 3D film

text: In 1936, Leventhal and John Norling were hired based on their test footage to film MGM's "Audioscopiks" series. The prints were by Technicolor in the red-and-green anaglyph format, and were narrated by Pete Smith. The first film, "Audioscopiks", premiered January 11, 1936, and "The New Audioscopiks" premiered January 15, 1938. "Audioscopiks" was nominated for the Academy Award in the category Best Short Subject, Novelty in 1936.


title: 3D film

text: With the success of the two Audioscopiks films, MGM produced one more short in anaglyph 3D, another Pete Smith Specialty called "Third Dimensional Murder" (1941). Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red-and-blue anaglyph. The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company.


title: 3D film

text: While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect.


title: 3D film

text: While attending Harvard University, Edwin H. Land conceived the idea of reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab and by 1929 had invented and patented a polarizing sheet. In 1932, he introduced Polaroid J Sheet as a commercial product. While his original intention was to create a filter for reducing glare from car headlights, Land did not underestimate the utility of his newly dubbed Polaroid filters in stereoscopic presentations.


title: 3D film

text: In February 1936, Land gave the first public demonstration of Polaroid filters in conjunction with 3D photography at the Waldorf-Astoria Hotel. The reaction was enthusiastic, and he followed it up with an installation at the New York Museum of Science. It is unknown what film was run for audiences at this exhibition.


title: 3D film

text: Using Polaroid filters meant an entirely new form of projection, however. Two prints, each carrying either the right or left eye view, had to be synced up in projection using an external selsyn motor. Furthermore, polarized light would be largely depolarized by a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images.


title: 3D film

text: Later that year, the feature, "Nozze Vagabonde" appeared in Italy, followed in Germany by "Zum Greifen nah" ("You Can Nearly Touch It"), and again in 1939 with Germany's "Sechs Mädel rollen ins Wochenend" ("Six Girls Drive Into the Weekend"). The Italian film was made with the Gualtierotti camera; the two German productions with the Zeiss camera and the Vierling shooting system. All of these films were the first exhibited using Polaroid filters. The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in 1936; they were also independently made around the same time in Germany by E. Käsemann and by J. Mahler.


title: 3D film

text: In 1939, John Norling shot "In Tune With Tomorrow", the first commercial 3D film using Polaroid in the US. This short premiered at the 1939 New York World's Fair and was created specifically for the Chrysler Motors Pavilion. In it, a full 1939 Chrysler Plymouth is magically put together, set to music. Originally in black and white, the film was so popular that it was re-shot in color for the following year at the fair, under the title "New Dimensions". In 1953, it was reissued by RKO as "Motor Rhythm".


title: 3D film

text: Another early short that utilized the Polaroid 3D process was 1940's "" produced by the Pennsylvania Railroad Co. for the Golden Gate International Exposition. Produced by John Norling, it was filmed by Jacob Leventhal using his own rig. It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains.


title: 3D film

text: In the 1940s, World War II prioritized military applications of stereoscopic photography and it once again went on the back burner in most producers' minds.


title: 3D film

text: What aficionados consider the "golden era" of 3D began in late 1952 with the release of the first color stereoscopic feature, "Bwana Devil", produced, written and directed by Arch Oboler. The film was shot in "Natural Vision", a process that was co-created and controlled by M. L. Gunzberg. Gunzberg, who built the rig with his brother, Julian, and two other associates, shopped it without success to various studios before Oboler used it for this feature, which went into production with the title, "The Lions of Gulu". The critically panned film was nevertheless highly successful with audiences due to the novelty of 3D, which increased Hollywood interest in 3D during a period that had seen declining box-office admissions.


title: 3D film

text: As with practically all of the features made during this boom, "Bwana Devil" was projected dual-strip, with Polaroid filters. During the 1950s, the familiar disposable anaglyph glasses made of cardboard were mainly used for comic books, two shorts by exploitation specialist Dan Sonney, and three shorts produced by Lippert Productions. However, even the Lippert shorts were available in the dual-strip format alternatively.


title: 3D film

text: Because the features utilized two projectors, the capacity limit of film being loaded onto each projector (about , or an hour's worth of film) meant that an intermission was necessary for every feature-length film. Quite often, intermission points were written into the script at a major plot point.


title: 3D film

text: During Christmas of 1952, producer Sol Lesser quickly premiered the dual-strip showcase called "Stereo Techniques" in Chicago. Lesser acquired the rights to five dual-strip shorts. Two of them, "Now is the Time (to Put On Your Glasses)" and "Around is Around", were directed by Norman McLaren in 1951 for the National Film Board of Canada. The other three films were produced in Britain for Festival of Britain in 1951 by Raymond Spottiswoode. These were "A Solid Explanation", "Royal River", and "The Black Swan".


title: 3D film

text: James Mage was also an early pioneer in the 3D craze. Using his 16 mm 3D Bolex system, he premiered his "Triorama" program on February 10, 1953, with his four shorts: "Sunday In Stereo", "Indian Summer", "American Life", and "This is Bolex Stereo". This show is considered lost.


title: 3D film

text: Another early 3D film during the boom was the Lippert Productions short, "A Day in the Country", narrated by Joe Besser and composed mostly of test footage. Unlike all of the other Lippert shorts, which were available in both dual-strip and anaglyph, this production was released in anaglyph only.


title: 3D film

text: April 1953 saw two groundbreaking features in 3D: Columbia's "Man in the Dark" and Warner Bros. "House of Wax", the first 3D feature with stereophonic sound. "House of Wax", outside of Cinerama, was the first time many American audiences heard recorded stereophonic sound. It was also the film that typecast Vincent Price as a horror star as well as the "King of 3-D" after he became the actor to star in the most 3D features (the others were "The Mad Magician", "Dangerous Mission", and "Son of Sinbad"). The success of these two films proved that major studios now had a method of getting filmgoers back into theaters and away from television sets, which were causing a steady decline in attendance.


title: 3D film

text: The Walt Disney Studios entered 3D with its May 28, 1953, release of "Melody", which accompanied the first 3D western, Columbia's "Fort Ti" at its Los Angeles opening. It was later shown at Disneyland's Fantasyland Theater in 1957 as part of a program with Disney's other short "Working for Peanuts", entitled, "3-D Jamboree". The show was hosted by the Mousketeers and was in color.


title: 3D film

text: Universal-International released their first 3D feature on May 27, 1953, "It Came from Outer Space", with stereophonic sound. Following that was Paramount's first feature, "Sangaree" with Fernando Lamas and Arlene Dahl.


title: 3D film

text: Columbia released several 3D westerns produced by Sam Katzman and directed by William Castle. Castle would later specialize in various technical in-theater gimmicks for such Columbia and Allied Artists features as "13 Ghosts", "House on Haunted Hill", and "The Tingler". Columbia also produced the only slapstick comedies conceived for 3D. The Three Stooges starred in "Spooks" and "Pardon My Backfire"; dialect comic Harry Mimmo starred in "Down the Hatch". Producer Jules White was optimistic about the possibilities of 3D as applied to slapstick (with pies and other projectiles aimed at the audience), but only two of his stereoscopic shorts were shown in 3D. "Down the Hatch" was released as a conventional, "flat" motion picture. (Columbia has since printed "Down the Hatch" in 3D for film festivals.)


title: 3D film

text: John Ireland, Joanne Dru and Macdonald Carey starred in the Jack Broder color production "Hannah Lee", which premiered June 19, 1953. The film was directed by Ireland, who sued Broder for his salary. Broder counter-sued, claiming that Ireland went over production costs with the film.


title: 3D film

text: Another famous entry in the golden era of 3D was the 3 Dimensional Pictures production of "Robot Monster". The film was allegedly scribed in an hour by screenwriter Wyott Ordung and filmed in a period of two weeks on a shoestring budget. Despite these shortcomings and the fact that the crew had no previous experience with the newly built camera rig, luck was on the cinematographer's side, as many find the 3D photography in the film is well shot and aligned. "Robot Monster" also has a notable score by then up-and-coming composer Elmer Bernstein. The film was released June 24, 1953, and went out with the short "Stardust in Your Eyes", which starred nightclub comedian, Slick Slavin.


title: 3D film

text: 20th Century Fox produced their only 3D feature, "Inferno" in 1953, starring Rhonda Fleming. Fleming, who also starred in "Those Redheads From Seattle", and "Jivaro", shares the spot for being the actress to appear in the most 3D features with Patricia Medina, who starred in "Sangaree", "Phantom of the Rue Morgue" and "Drums of Tahiti". Darryl F. Zanuck expressed little interest in stereoscopic systems, and at that point was preparing to premiere the new widescreen film system, CinemaScope.


title: 3D film

text: The first decline in the theatrical 3D craze started in August and September 1953. The factors causing this decline were:


title: 3D film

text: Because projection booth operators were at many times careless, even at preview screenings of 3D films, trade and newspaper critics claimed that certain films were "hard on the eyes."


title: 3D film

text: Sol Lesser attempted to follow up "Stereo Techniques" with a new showcase, this time five shorts that he himself produced. The project was to be called "The 3-D Follies" and was to be distributed by RKO. Unfortunately, because of financial difficulties and the general loss of interest in 3D, Lesser canceled the project during the summer of 1953, making it the first 3D film to be aborted in production. Two of the three shorts were shot: "Carmenesque", a burlesque number starring exotic dancer Lili St. Cyr, and "Fun in the Sun", a sports short directed by famed set designer/director William Cameron Menzies, who also directed the 3D feature "The Maze" for Allied Artists.


title: 3D film

text: Although it was more expensive to install, the major competing realism process was wide-screen, but two-dimensional, anamorphic, first utilized by Fox with CinemaScope and its September premiere in "The Robe". Anamorphic films needed only a single print, so synchronization was not an issue. Cinerama was also a competitor from the start and had better quality control than 3D because it was owned by one company that focused on quality control. However, most of the 3D features past the summer of 1953 were released in the flat widescreen formats ranging from 1.66:1 to 1.85:1. In early studio advertisements and articles about widescreen and 3D formats, widescreen systems were referred to as "3D", causing some confusion among scholars.


title: 3D film

text: There was no single instance of combining CinemaScope with 3D until 1960, with a film called "September Storm", and even then, that was a blow-up from a non-anamorphic negative. "September Storm" also went out with the last dual-strip short, "Space Attack", which was actually shot in 1954 under the title "The Adventures of Sam Space".


title: 3D film

text: In December 1953, 3D made a comeback with the release of several important 3D films, including MGM's musical "Kiss Me, Kate". "Kate" was the hill over which 3D had to pass to survive. MGM tested it in six theaters: three in 3D and three-flat. According to trade ads of the time, the 3D version was so well-received that the film quickly went into a wide stereoscopic release. However, most publications, including Kenneth Macgowan's classic film reference book "Behind the Screen", state that the film did much better as a "regular" release. The film, adapted from the popular Cole Porter Broadway musical, starred the MGM songbird team of Howard Keel and Kathryn Grayson as the leads, supported by Ann Miller, Keenan Wynn, Bobby Van, James Whitmore, Kurt Kasznar and Tommy Rall. The film also prominently promoted its use of stereophonic sound.


title: 3D film

text: Several other features that helped put 3D back on the map that month were the John Wayne feature "Hondo" (distributed by Warner Bros.), Columbia's "Miss Sadie Thompson" with Rita Hayworth, and Paramount's "Money From Home" with Dean Martin and Jerry Lewis. Paramount also released the cartoon shorts "Boo Moon" with Casper, the Friendly Ghost and "Popeye, Ace of Space" with Popeye the Sailor. Paramount Pictures released a 3D Korean War film "Cease Fire" filmed on actual Korean locations in 1953.


title: 3D film

text: "Top Banana", based on the popular stage musical with Phil Silvers, was brought to the screen with the original cast. Although it was merely a filmed stage production, the idea was that every audience member would feel they would have the best seat in the house through color photography and 3D. Although the film was shot and edited in 3D, United Artists, the distributor, felt the production was uneconomical in stereoscopic form and released the film flat on January 27, 1954. It remains one of two "Golden era" 3D features, along with another United Artists feature, "Southwest Passage" (with John Ireland and Joanne Dru), that are currently considered lost (although flat versions survive).


title: 3D film

text: A string of successful films filmed in 3D followed the second wave, but many were widely or exclusively shown flat. Some highlights are:


title: 3D film

text: 3D's final decline was in the late spring of 1954, for the same reasons as the previous lull, as well as the further success of widescreen formats with theater operators. Even though Polaroid had created a well-designed "Tell-Tale Filter Kit" for the purpose of recognizing and adjusting out of sync and phase 3D, exhibitors still felt uncomfortable with the system and turned their focus instead to processes such as CinemaScope. The last 3D feature to be released in that format during the "Golden era" was "Revenge of the Creature", on February 23, 1955. Ironically, the film had a wide release in 3D and was well received at the box office.


title: 3D film

text: Stereoscopic films largely remained dormant for the first part of the 1960s, with those that were released usually being anaglyph exploitation films. One film of notoriety was the Beaver-Champion/Warner Bros. production, "The Mask" (1961). The film was shot in 2-D, but to enhance the bizarre qualities of the dream-world that is induced when the main character puts on a cursed tribal mask, these scenes went to anaglyph 3D. These scenes were printed by Technicolor on their first run in red/green anaglyph.


title: 3D film

text: Although 3D films appeared sparsely during the early 1960s, the true second wave of 3D cinema was set into motion by Arch Oboler, the producer who had started the craze of the 1950s. Using a new technology called "Space-Vision 3D". The origin of "Space-Vision 3D" goes back to Colonel Robert Vincent Bernier, a forgotten innovator in the history of stereoscopic motion pictures. His Trioptiscope Space-Vision lens was the gold standard for the production and exhibition of 3-D films for nearly 30 years. "Space-Vision 3D" stereoscopic films were printed with two images, one above the other, in a single academy ratio frame, on a single strip, and needed only one projector fitted with a special lens. This so-called "over and under" technique eliminated the need for dual projector set-ups, and produced widescreen, but darker, less vivid, polarized 3D images. Unlike earlier dual system, it could stay in perfect synchronization, unless improperly spliced in repair.


title: 3D film

text: Arch Oboler once again had the vision for the system that no one else would touch, and put it to use on his film entitled "The Bubble", which starred Michael Cole, Deborah Walley, and Johnny Desmond. As with "Bwana Devil", the critics panned "The Bubble", but audiences flocked to see it, and it became financially sound enough to promote the use of the system to other studios, particularly independents, who did not have the money for expensive dual-strip prints of their productions.


title: 3D film

text: In 1970, Stereovision, a new entity founded by director/inventor Allan Silliphant and optical designer Chris Condon, developed a different 35 mm single-strip format, which printed two images squeezed side by side and used an anamorphic lens to widen the pictures through Polaroid filters. Louis K. Sher (Sherpix) and Stereovision released the softcore sex comedy "The Stewardesses" (self-rated X, but later re-rated R by the MPAA). The film cost US$100,000 to produce, and ran for months in several markets. eventually earning $27 million in North America, alone ($140 million in constant-2010 dollars) in fewer than 800 theaters, becoming the most profitable 3-Dimensional film to date, and in purely relative terms, one of the most profitable films ever. It was later released in 70 mm 3D. Some 36 films worldwide were made with Stereovision over 25 years, using either a widescreen (above-below), anamorphic (side by side) or 70 mm 3D formats. In 2009 "The Stewardesses" was remastered by Chris Condon and director Ed Meyer, releasing it in XpanD 3D, RealD Cinema and Dolby 3D.


title: 3D film

text: The quality of the 1970s 3D films was not much more inventive, as many were either softcore and even hardcore adult films, horror films, or a combination of both. Paul Morrisey's "Flesh For Frankenstein" (aka "Andy Warhol's Frankenstein") was a superlative example of such a combination.


title: 3D film

text: Between 1981 and 1983 there was a new Hollywood 3D craze started by the spaghetti western "Comin' at Ya!". When "Parasite" was released it was billed as the first horror film to come out in 3D in over 20 years. Horror films and reissues of 1950s 3D classics (such as Hitchcock's "Dial M for Murder") dominated the 3D releases that followed. The second sequel in the "Friday the 13th" series, "Friday the 13th Part III", was released very successfully. Apparently saying "part 3 in 3D" was considered too cumbersome so it was shortened in the titles of "Jaws 3-D" and "Amityville 3-D", which emphasized the screen effects to the point of being annoying at times, especially when flashlights were shone into the eyes of the audience.


title: 3D film

text: The science fiction film "" was the most expensive 3D film made up to that point with production costs about the same as "Star Wars" but not nearly the same box office success, causing the craze to fade quickly through spring 1983. Other sci-fi/fantasy films were released as well including "" and "Treasure of the Four Crowns", which was widely criticized for poor editing and plot holes, but did feature some truly spectacular closeups.


title: 3D film

text: 3D releases after the second craze included "The Man Who Wasn't There" (1983), "Silent Madness" and the 1985 animated film "", whose plot seemed to borrow heavily from "Star Wars".


title: 3D film

text: Only "Comin' At Ya!", "Parasite", and "Friday the 13th Part III" have been officially released on VHS and/or DVD in 3D in the United States (although "Amityville 3D" has seen a 3D DVD release in the United Kingdom). Most of the 1980s 3D films and some of the classic 1950s films such as "House of Wax" were released on the now defunct Video Disc (VHD) format in Japan as part of a system that used shutter glasses. Most of these have been unofficially transferred to DVD and are available on the grey market through sites such as eBay.


title: 3D film

text: Stereoscopic movies were also popular in other parts of the world, such as My Dear Kuttichathan, a Malayalam film which was shot with stereoscopic 3D and released in 1984.


title: 3D film

text: In the mid-1980s, IMAX began producing non-fiction films for its nascent 3D business, starting with "We Are Born of Stars" (Roman Kroitor, 1985). A key point was that this production, as with all subsequent IMAX productions, emphasized mathematical correctness of the 3D rendition and thus largely eliminated the eye fatigue and pain that resulted from the approximate geometries of previous 3D incarnations. In addition, and in contrast to previous 35mm-based 3D presentations, the very large field of view provided by IMAX allowed a much broader 3D "stage", arguably as important in 3D film as it is theatre.


title: 3D film

text: The Walt Disney Company also began more prominent use of 3D films in special venues to impress audiences with Magic Journeys (1982) and "Captain EO" (Francis Ford Coppola, 1986, starring Michael Jackson) being notable examples. In the same year, the National Film Board of Canada production "Transitions" (Colin Low), created for Expo 86 in Vancouver, was the first IMAX presentation using polarized glasses. "Echoes of the Sun" (Roman Kroitor, 1990) was the first IMAX film to be presented using alternate-eye shutterglass technology, a development required because the dome screen precluded the use of polarized technology.


title: 3D film

text: From 1990 onward, numerous films were produced by all three parties to satisfy the demands of their various high-profile special attractions and IMAX's expanding 3D network. Films of special note during this period include the extremely successful "Into the Deep" (Graeme Ferguson, 1995) and the first IMAX 3D fiction film "Wings of Courage" (1996), by director Jean-Jacques Annaud, about the pilot Henri Guillaumet.


title: 3D film

text: Shortly thereafter, higher quality computer animation, competition from DVDs and other media, digital projection, digital video capture, and the use of sophisticated IMAX 70mm film projectors, created an opportunity for another wave of 3D films.


title: 3D film

text: In 2003, "Ghosts of the Abyss" by James Cameron was released as the first full-length 3D IMAX feature filmed with the Reality Camera System. This camera system used the latest HD video cameras, not film, and was built for Cameron by Vince Pace, to his specifications. The same camera system was used to film "" (2003), "Aliens of the Deep" IMAX (2005), and "The Adventures of Sharkboy and Lavagirl in 3-D" (2005).


title: 3D film

text: In 2004, Las Vegas Hilton released which included two films. One of the films, "Borg Invasion 4-D" (Ty Granoroli), was in 3D. In August of the same year, rap group Insane Clown Posse released their ninth studio album "Hell's Pit". One of two versions of the album contained a DVD featuring a 3D short film for the track "Bowling Balls", shot in high-definition video.


title: 3D film

text: In November 2004, "The Polar Express" was released as IMAX's first full-length, animated 3D feature. It was released in 3,584 theaters in 2D, and only 66 IMAX locations. The return from those few 3D theaters was about 25% of the total. The 3D version earned about 14 times as much per screen as the 2D version. This pattern continued and prompted a greatly intensified interest in 3D and 3D presentation of animated films.


title: 3D film

text: In June 2005, the Mann's Chinese 6 theatre in Hollywood became the first commercial film theatre to be equipped with the Digital 3D format. Both "Singin' in the Rain" and "The Polar Express" were tested in the Digital 3D format over the course of several months. In November 2005, Walt Disney Studio Entertainment released "Chicken Little" in digital 3D format.


title: 3D film

text: "The Butler's in Love", a short film directed by David Arquette and starring Elizabeth Berkley and Thomas Jane was released on June 23, 2008. The film was shot at the former Industrial Light & Magic studios using KernerFX's prototype Kernercam stereoscopic camera rig.


title: 3D film

text: Ben Walters suggested in 2009 that both filmmakers and film exhibitors regain interest in 3D film. There was more 3D exhibition equipment, and more dramatic films being shot in 3D format. One incentive is that the technology is more mature. Shooting in 3D format is less limited, and the result is more stable. Another incentive was the fact that while 2D ticket sales were in an overall state of decline, revenues from 3D tickets continued to grow at the time.


title: 3D film

text: Through the entire history of 3D presentations, techniques to convert existing 2D images for 3D presentation have existed. Few have been effective or survived. The combination of digital and digitized source material with relatively cost-effective digital post-processing has spawned a new wave of conversion products. In June 2006, IMAX and Warner Bros. released "Superman Returns" including 20 minutes of 3D images converted from the 2D original digital footage. George Lucas announced that he would re-release his "Star Wars" films in 3D based on a conversion process from the company In-Three. Later on in 2011, it was announced that Lucas was working with the company Prime Focus on this conversion.


title: 3D film

text: In late 2005, Steven Spielberg told the press he was involved in patenting a 3D cinema system that did not need glasses, based on plasma screens. A computer splits each film-frame, and then projects the two split images onto the screen at differing angles, to be picked up by tiny angled ridges on the screen.


title: 3D film

text: Animated films "Open Season", and "The Ant Bully", were released in analog 3D in 2006. "Monster House" and "The Nightmare Before Christmas" were released on XpanD 3D, RealD and Dolby 3D systems in 2006.


title: 3D film

text: On May 19, 2007 "Scar3D" opened at the Cannes Film Market. It was the first US-produced 3D full-length feature film to be completed in Real D 3D. It has been the #1 film at the box office in several countries around the world, including Russia where it opened in 3D on 295 screens.


title: 3D film

text: On January 19, 2008, U2 3D was released; it was the first live-action digital 3D film. In the same year others 3D films included "", "Journey to the Center of the Earth", and "Bolt".


title: 3D film

text: On January 16, 2009, Lionsgate released "My Bloody Valentine 3D", the first horror film and first R-rated film to be projected in Real D 3D. It was released to 1,033 3D screens, the most ever for this format, and 1,501 regular screens. Another R-rated film, "The Final Destination", was released later that year in August on even more screens. It was the first of its series to be released in HD 3D.


title: 3D film

text: Major 3D films in 2009 included "Coraline", "Monsters vs. Aliens", "Up", "", "The Final Destination", "Disney's A Christmas Carol", and "Avatar". "Avatar" has gone on to be one of the most expensive films of all time, with a budget at $237 million; it is also the highest-grossing film of all time. The main technologies used to exhibit these films, and many others released around the time and up to the present, are Real D 3D, Dolby 3D, XpanD 3D, MasterImage 3D, and IMAX 3D.


title: 3D film

text: March and April 2010 saw three major 3D releases clustered together, with "Alice in Wonderland" hitting US theaters on March 5, 2010, "How to Train Your Dragon" on March 26, 2010, and "Clash of the Titans" on April 2, 2010. On May 13 of the same year, China's first IMAX 3D film started shooting. The pre-production of the first 3D film shot in France, "Derrière les murs", began in May 2010 and was released in mid-2011.


title: 3D film

text: On October 1, 2010 "Scar3D" was the first-ever stereoscopic 3D Video-on-demand film released through major cable broadcasters for 3D televisions in the United States. Released in the United States on May 21, 2010, "Shrek Forever After" by DreamWorks Animation (Paramount Pictures) used the Real D 3D system, also released in IMAX 3D.


title: 3D film

text: In September 2003, Sabucat Productions organized the first World 3-D Exposition, celebrating the 50th anniversary of the original craze. The Expo was held at Grauman's Egyptian Theatre. During the two-week festival, over 30 of the 50 "golden era" stereoscopic features (as well as shorts) were screened, many coming from the collection of film historian and archivist Robert Furmanek, who had spent the previous 15 years painstakingly tracking down and preserving each film to its original glory. In attendance were many stars from each film, respectively, and some were moved to tears by the sold-out seating with audiences of film buffs from all over the world who came to remember their previous glories.


title: 3D film

text: In May 2006, the second World 3-D Exposition was announced for September of that year, presented by the 3-D Film Preservation Fund. Along with the favorites of the previous exposition were newly discovered features and shorts, and like the previous Expo, guests from each film. Expo II was announced as being the locale for the world premiere of several films never before seen in 3D, including "The Diamond Wizard" and the Universal short, "Hawaiian Nights" with Mamie Van Doren and Pinky Lee. Other "re-premieres" of films not seen since their original release in stereoscopic form included "Cease Fire!", "Taza, Son of Cochise", "Wings of the Hawk", and "Those Redheads From Seattle". Also shown were the long-lost shorts "Carmenesque" and "A Day in the Country" (both 1953) and William Van Doren Kelley's two "Plasticon" shorts (1922 and 1923).


title: 3D film

text: In the wake of its initial popularity and corresponding increase in the number of screens, more films are being released in the 3D format. For instance, only 45% of the premiere weekend box office earnings of "Kung Fu Panda 2" came from 3D screenings as opposed to 60% for "Shrek Forever After" in 2010. In addition, the premiere of "Cars 2" opening weekend gross consisted of only 37% from 3D theatres. "Harry Potter and the Deathly Hallows – Part 2" and "" were major releases that achieved similar percentages: 43% and 40% respectively. In view of this trend, there has been box office analysis concluding the implementation of 3D presentation is apparently backfiring by discouraging people from going to film theatres at all. As Brandon Gray of Box Office Mojo notes, "In each case, 3D's more-money-from-fewer-people approach has simply led to less money from even fewer people." Parallel, the number of televisions sold with support for 3D television has dropped, let alone those sold with actual 3D goggles.


title: 3D film

text: According to the Motion Picture Association of America, despite a record total of 47 3D films being released in 2011, the overall domestic box office receipts were down 18% to $1.8 billion from $2.2 billion in 2010. Although revenues as a whole increased during 2012, the bulk has so far come from 2D presentations as exemplified by little over 50% of filmgoers opting to see the likes of "The Avengers" and 32% choosing "Brave" in their 3D versions. Conflicting reasons are respectively offered by studios and exhibitors: whereas the former blame more expensive 3D ticket prices, the latter argue that the quality of films in general is at fault. However, despite the perceived decline of 3D in the U.S. market, studio chiefs are optimistic of better receipts internationally, where there still appears to be a strong appetite for the format.


title: 3D film

text: Studios are also using 3D to generate additional income from films that are already commercially successful. Such re-releases usually involve a conversion from 2D. For example, Disney has reissued both "The Lion King" and "Beauty and the Beast", with plans to add some of its other well-known titles. "Titanic" has also been modified for 3D, and there are also plans to similarly present all six "Star Wars" films.


title: 3D film

text: Jeffrey Katzenberg, a producer of 3D films and one of the leading proponents of the format, blames oversaturation of the market with inferior films, especially ones photographed conventionally and then digitally processed in post-production. He claims that such films have led audiences to conclude that the format is not worth the often much higher ticket price. Daniel Engber, a columnist for "Slate", comes to a similar conclusion: "What happened to 3-D? It may have died from a case of acute septicemia—too much crap in the system."


title: 3D film

text: Film critic Mark Kermode, a noted detractor of 3D, has surmised that there is an emerging policy of distributors to limit the availability of 2D versions, thus "railroading" the 3D format into cinemas whether the paying filmgoer likes it or not. This was especially prevalent during the release of "Prometheus" in 2012, where only 30% of prints for theatrical exhibition (at least in the UK) were in 2D. His suspicions were later reinforced by a substantial number of complaints about "Dredd" from those who wished to see it in 2D but were denied the opportunity. In July 2017, IMAX announced that they will begin to focus on screening more Hollywood tentpole movies in 2D (even if there's a 3D version) and have fewer 3D screenings of movies in North America, citing that moviegoers in North America prefer 2D films over 3D films.


title: 3D film

text: Stereoscopic motion pictures can be produced through a variety of different methods. Over the years the popularity of systems being widely employed in film theaters has waxed and waned. Though anaglyph was sometimes used prior to 1948, during the early "Golden Era" of 3D cinematography of the 1950s the polarization system was used for every single feature-length film in the United States, and all but one short film. In the 21st century, polarization 3D systems have continued to dominate the scene, though during the 1960s and 1970s some classic films which were converted to anaglyph for theaters not equipped for polarization, and were even shown in 3D on television. In the years following the mid-1980s, some films were made with short segments in anaglyph 3D. The following are some of the technical details and methodologies employed in some of the more notable 3D film systems that have been developed.


title: 3D film

text: The standard for shooting live-action films in 3D involves using two cameras mounted so that their lenses are about as far apart from each other as the average pair of human eyes, recording two separate images for both the left eye and the right eye. In principle, two normal 2D cameras could be put side-to-side but this is problematic in many ways. The only real option is to invest in new stereoscopic cameras. Moreover, some cinematographic tricks that are simple with a 2D camera become impossible when filming in 3D. This means those otherwise cheap tricks need to be replaced by expensive CGI.


title: 3D film

text: In 2008, "Journey to the Center of the Earth" became the first live-action feature film to be shot with the earliest Fusion Camera System released in Digital 3D and was later followed by several others. "Avatar" (2009) was shot in a 3D process that is based on how the human eye looks at an image. It was an improvement to the existing 3D camera system. Many 3D camera rigs still in use simply pair two cameras side by side, while newer rigs are paired with a beam splitter or both camera lenses built into one unit. While Digital Cinema cameras are not a requirement for 3D they are the predominant medium for most of what is photographed. Film options include IMAX 3D and Cine 160.


title: 3D film

text: In the 1930s and 1940s Fleischer Studios made several cartoons with extensive stereoscopic 3D backgrounds, including several "Popeye", "Betty Boop", and "Superman" cartoons.


title: 3D film

text: In the early to mid-1950s, only half of the major Animation film studios operation experimented with creating traditional 3D animated short subjects. Walt Disney Studio produced two traditional animation short for stereoscopic 3D, for cinemas. "" (1953), and the Donald Duck cartoon "Working for Peanuts" (1953). Warner Brothers only produced a single cartoon in 3D: "Lumber Jack-Rabbit" (1953) starring Bugs Bunny. Famous Studios produced two cartoons in 3D, the Popeye cartoon "Popeye, the Ace of Space" (1953), and the Casper the Friendly Ghost cartoon "Boo Moon" (1954). Walter Lantz Studio produced the Woody Woodpecker cartoon "Hypnotic Hick" (1953), which was distributed by Universal.


title: 3D film

text: From the late 1950s until the mid-2000s almost no animation was produced for 3D display in theaters. Although several films used 3D backgrounds. One exception is "".


title: 3D film

text: CGI animated films can be rendered as stereoscopic 3D version by using two virtual cameras. Stop-motion animated 3D films are photographed with two cameras similar to live action 3D films.


title: 3D film

text: In 2004 "The Polar Express" was the first stereoscopic 3D computer-animated feature film. The 3D version was solely released in Imax theaters. In November 2005, Walt Disney Studio Entertainment released "Chicken Little" in digital 3D format, being Disney's first CGI-animated film in 3D. The film was converted from 2D into 3D in post production. nWave Pictures' "Fly Me to the Moon" (2008) was actually the first animated film created for 3D and released exclusively in 3D in digital theaters around the world. No other animation films have released solely in 3D since. The first 3D feature by DreamWorks Animation, "Monsters vs Aliens", followed in 2009 and used a new digital rendering process called InTru3D, which was developed by Intel to create more realistic animated 3D images. InTru3D is not used to exhibit 3D films in theaters; they are shown in either RealD 3D or IMAX 3D.


title: 3D film

text: In the case of 2D CGI animated films that were generated from 3D models, it is possible to return to the models to generate a 3D version.


title: 3D film

text: For all other 2D films, different techniques must be employed. For example, for the 3D re-release of the 1993 film "The Nightmare Before Christmas", Walt Disney Pictures scanned each original frame and manipulated them to produce left-eye and right-eye versions. Dozens of films have now been converted from 2D to 3D. There are several approaches used for 2D to 3D conversion, most notably depth-based methods.


title: 3D film

text: However, conversion to 3D has problems. Information is unavailable as 2D does not have information for a perspective view. Some TVs have a 3D engine to convert 2D content to 3D. Usually, on high frame rate content (and on some slower processors even normal frame rate) the processor is not fast enough and lag is possible. This can lead to strange visual effects.


title: 3D film

text: Anaglyph images were the earliest method of presenting theatrical 3D, and the one most commonly associated with stereoscopy by the public at large, mostly because of non-theatrical 3D media such as comic books and 3D television broadcasts, where polarization is not practical. They were made popular because of the ease of their production and exhibition. The first anaglyph film was invented in 1915 by Edwin S Porter. Though the earliest theatrical presentations were done with this system, most 3D films from the 1950s and 1980s were originally shown polarized.


title: 3D film

text: In an anaglyph, the two images are superimposed in an additive light setting through two filters, one red and one cyan. In a subtractive light setting, the two images are printed in the same complementary colors on white paper. Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black.


title: 3D film

text: Anaglyph images are much easier to view than either parallel sighting or crossed eye stereograms, although the latter types offer bright and accurate color rendering, particularly in the red component, which is muted, or desaturated with even the best color anaglyphs. A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique. Process reconfigures the typical anaglyph image to have less parallax.


title: 3D film

text: An alternative to the usual red and cyan filter system of anaglyph is ColorCode 3-D, a patented anaglyph system which was invented in order to present an anaglyph image in conjunction with the NTSC television standard, in which the red channel is often compromised. ColorCode uses the complementary colors of yellow and dark blue on-screen, and the colors of the glasses' lenses are amber and dark blue.


title: 3D film

text: The "polarization 3D system" has been the standard for theatrical presentations since it was used for "Bwana Devil" in 1952, though early Imax presentations were done using the eclipse system and in the 1960s and 1970s classic 3D films were sometimes converted to anaglyph for special presentations. The polarization system has better color fidelity and less ghosting than the anaglyph system. In the post-'50s era, anaglyph has been used instead of polarization in feature presentations where only part of the film is in 3D such as in the 3D segment of "" and the 3D segments of "".