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#drive in movies
fitsofgloom · 3 months
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Get Your Motor Runnin'!
Head Out On The Highway!
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brian4rmthe6 · 8 months
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[wheresthejump.com]
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everydaym0nstrosity · 2 months
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Vintage Drive in & Newspaper adverts for Peopletoys (1974) as well as under its alternate titles Devil Times Five, The Horrible House on The Hill, in addition to an even more rare title 5 OClock Killers. Also featuring The Night God Screamed (1971), Snuff (1976), Sleuth (1972), Kid Blue (1973), Arnold (1973), Butch Cassidy And The Sundance Kid (1969), Scorpio (1973), Jeremy (1973), Cops And Robbers (1973), The Babysitter (1969), The Teacher (1974), The Stepmother (1972), as well as lastly, William Friedkin's The Exorcist (1973).
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schlock-luster-video · 3 months
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On January 16, 1986, Re-Animator debuted in Spain.
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Here's some new Jeffrey Combs art!
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j4m3s-b4k3r · 2 months
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Persistence of Vision
Wide eyed wonder at the drive-in.
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Drive-in theatres are fondly remembered for providing teenagers with both a cover story (a trip to the movies) and a relatively private place (a car) for their furtive, mutual anatomical research. But they were also frequented by families with small children. I remember going to the drive-in to see family films when there were little babies in our family, and I was small myself. In particular I was very affected by seeing Bambi when I was 5 years old.
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My brother Jo was still a small baby and provided his own vocal accompaniment from the front seat. Where he was attended to by my mother, already pregnant with next brother, Rob, who’d be along to help out with the yodeling chores in a few months. Despite the occasional noise, and being treated to moments of SENSE-AROUND when baby-bro had his underthings changed right there in front of me, I was very much engrossed in what was going on up on the screen.
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Before the ages of video, DVD and streaming media, a drive-in theatre was where parents could see movies without having to feel self-conscious about their bawling kids. No need for a baby sitter for the tiny ones, just bring them along. Sealed off in your more or less soundproof bubble, you weren’t likely to bother the other patrons. They were probably families themselves. Or teenagers who had more pressing things (ie; the pressing of “things”) on their minds. But you could easily bother each other, cooped up in there during a double bill of Blue-Beard’s Ghost and Herbie the Love Bug. With all the bickering and crying and spilled drinks and whatnot, there was often as much tragedy and comedy and drama in the car as on the screen.
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The death of Bambi’s mother affected me very deeply and I’m absolutely sure that I added my own blubbering to the general commotion within our car at that point. Parents sometimes like to shield their kids from such raw emotions, but this moment of tragedy is a big part of one of my most powerful early-childhood memories.
Apart from the inevitable tears, Bambi was about to affect me in perhaps an even more powerful way. It was while at the drive-in watching Bambi that I realised that this film was somehow different from other movies. IT WAS DRAWINGS. Moving and talking and seeming to be alive. And then seeming to be killed. Drawings making me feel both happy, and then sad.
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The tears of anguish were barely even dry on my face before I started to wonder how this could be so. I could not grasp how it was possible for these drawings to be alive. It was a singular moment — I was both pulled into and popped out of the movie at the same time. Mum and Dad now had their hands full. Crying baby on the one hand and on the other, a 5-year-old who needed some answers. My parents did their best to explain the rudiments of the animation process, but it seemed completely unbelievable.
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I wasn’t apt to take their explanations at face value either. I hadn’t forgotten them trying to dupe me with that Santa Claus nonsense, which I never believed for a moment, much to the great disappointment of Mum. You never knew what hokum grown-ups were going to pull next.
Dad took me to the back of the drive-in behind our car where, in the same building as the snack bar, there was a window allowing patrons to peek into the projection booth. This is one of those memories that is still vivid inside my head but I’m not sure if it actually happened at that moment in 1969. Instead, perhaps this impression formed over time, as the childhood-me began to understand the filmmaking process. Becoming attached to this real movie-watching memory retroactively? Memory is. not always as immutable as we would like to think.
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However and whenever it got there, the memory I now see projected inside my head is of Dad lifting me up high enough to peer through a tiny observation window on the drive-in projection booth. He attempted to convey the truth of the animation process to me, as I watched a machine spool out a long shiny ribbon that passed through a ray of light. Sending a flickering beam out through the main window and onto the huge screen, in front of which our family car was parked, under the night sky.
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I was told that there were thousands of hand-drawn little pictures on that strip of film and, through a process beyond my ability to comprehend, they looked alive when put through the projector, and light went through them.
Tiny drawings? ALIVE? How? What kind of magic was this? I’d always liked cartoons, but never thought about how they were made. Until this moment watching Bambi at the drive-in theatre in Hobart.
If I had thought about it at all, I probably thought that ALL films were documentaries and that the events on-screen were really happening (“Reality TV” in today’s parlance) but the realisation that this film was made of drawings made that an impossibility. Animation sounded like some kind of magic to me. Even if it wasn’t “real” magic, then it was clearly the next best thing.
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The sense of wonder from that night stayed with me for quite some time. Certainly long enough to get me into the animation industry, and sustain me throughout my long career. I can still conjure up a ghost of those feelings of childhood awe at the man-made magic show even now, after working at studios all around the world for decades.
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These days of course, people don’t go to drive-in movies. They just go ahead and take their tiny kids to the multiplex, or else watch whatever they like, and whenever they like, at home on groovy big-screen home entertainment centres, with thousands of channels and streaming video to choose from. But I’ll always have a soft spot in my heart for drive-in movie theatres, because of formative memories made there, like this one.
First published on www.James-Baker.com
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taxi-davis · 9 months
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Tom Curry
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fitsofgloom · 7 months
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Violence! Terror! Criminal Assault!
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beer4breakfast19 · 2 months
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youtube
In the world of cinema, retro vampire and biker movies featuring beautiful women, motorcycles, and rock and roll hold a special place in the hearts of many enthusiasts. These films were a unique blend of rebellion, seduction, and adrenaline-fueled action that captivated audiences during the bygone era. Picture this: a stunning vampire queen riding a sleek motorcycle through the night, her long hair flowing in the wind as she seeks out her next prey. The soundtrack of these films was often filled with gritty rock and roll tunes that added to the rebellious and edgy atmosphere. These movies were a visual feast, showcasing the allure of danger and the thrill of the unknown, all set against a backdrop of roaring engines and pounding music. The combination of beautiful women, motorcycles, and rock and roll created a cinematic experience that was both stylish and exhilarating, leaving a lasting impression on fans of cult cinema.
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*backflips in* MOODBOARD? OH HELL YEAH!
Josh 👉👈 movie night maybe? I don't mind any concept!! Just love moodboads lmaoo 🤣 ❤️
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usnatarchives · 2 years
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From gov't film "Drive-In" 1958, NARA ID 12010. National Archives gif online.
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#OTD 1933: FIRST DRIVE-IN THEATER!
By Miriam Kleiman, Public Affairs
Happy 89th birthday to the drive-in movie theater, opened #OTD 1933 in Camden, NJ!
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Drive-ins from top:
Eldridge Drive-in , Elkridge, MD, 1949, NARA ID 169136702. U.S. Route 81, Laredo, TX, 1/15/1950. NARA ID 169136708. Drive-in, Richmond, IN, on U.S. Route 40, 9/4/1948, NARA ID 169136684.
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Drive-in Theater Study by the American Association of State Highway Officials. Prepared by Committee on Traffic, Sub-Committee on Roadside Control. 1949. NARA IDs 169136740 and 169136736 (below).
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In the Beginning: Drive-In Theater Patent 1932
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Drive In Theater Patent Application 8/6/1932, NARA ID 2524988.
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DRIVE-INS TODAY
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Remains of a Drive-in west of US-231 in IN, undated, NARA ID 7719358.
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Caption: "A vanishing remnant of a time long past, the Stanton Drive In Theater..." Stanton, KY, NARA ID 7721175.
See related:
This Week in Universal News: A Drive-In Movie for Horses, 1954, The Unwritten Record blog.
Taking a Walk on the Red Carpet: Theaters in the National Register of Historic Places, The Text Message blog.
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friendlyfoxpal · 2 years
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Art Commission piece i did for RomanProphet Who wanted a picture of their characters Yoiryu the kitsune, and Conall enjoying a movie together at a drive in theatre. Anyone got any popcorn? This was a really fun scene to make. I'm really proud with the glow effects i did here, and drawing so many cars was good practice for me. Since machines and structures can be a bit of a challenge for me sometimes. Hope everyone has a nice day! Characters belong to RomanProphet
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schlock-luster-video · 6 months
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On October 17, 1998, House on Haunted Hill was screened on Svengoolie.
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Here's some new art inspired by the film's VHS box!
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mrgratefuldean · 2 years
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just-ur-local-peach · 9 months
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something ‘bout a drive-in movie date 🥰
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