3-D Rarities Blu-Ray Release Date Set for June 16, 2015
3-D Rarities will be released on 3-D Blu-ray on June 16, 2015. The Blu-ray disk contains more than 2½ hours of archival treasures presented in high-quality digital 3-D!
In commemoration of the centennial of 3-D motion pictures, Flicker Alley and the 3-D Film Archive are proud to present for the first time on Blu-ray, or any home-video platform, this newly restored and carefully curated collection of 3-D Rarities.
Nearly 35 years ago, The 3-D Film Archive began efforts to locate, save and restore lost 3-D films. Over the past three decades, many rare stereoscopic treasures dating back to 1922 have been located and preserved by the 3-D Film Archive. Now, many of those films will be available on 3-D Blu-ray from Flicker Alley!
3-D Rarities Deluxe Blu-ray Edition
has a manufacturers suggested retail price of
It has taken more than 30 years for the 3-D Film Archive to assemble and restore the material in 3-D Rarities, an eye-popping collection of ultra-rare and long-lost movies, which Flicker Alley and the 3-D Film Archive are proud to present for the first time on Blu-ray.
Kelley's Plasticon Pictures
Thrills for You
Around is Around
Rocky Marciano vs. Jersey Joe Walcott
Stardust in Your Eyes
Trailer for The Maze
Puppet cartoon The Adventures of
I’ll Sell My Shirt
The entire contents of the disk includes:
Part One – THE DAWN OF STEREOSCOPIC
Part Two – HOLLYWOOD ENTERS THE
Presented in high-quality digital 3-D, all 22 films have been stunningly restored and mastered direct from archival materials by 3-D Film Archive Technical Director Greg Kintz. Meticulously aligned shot by shot for precise registration of the original left/right elements, these historic 3-D motion pictures have never looked this good.
Bonus materials include:
To watch the 3-D versions of these films you need:
About the 3-D Film Archive
About Flicker Alley, LLC
Bob Furmanik has updated the 3-D Film Archive website to include new information about the never-completed feature "The 3-D Follies." Read more about it on their Features 1952 - 1962 page.
There's also new information about shorts and industrial films including the lost 1954 General Motors short, This is Progress. With 3-D footage of the XP-21 Firebird, this lost 3-D film must be found.
The Cardiff Giant was one of the most famous hoaxes in United States history. It was a 10-foot (3.0 m) tall purported "petrified man" uncovered on Oct. 16, 1869, by workers digging a well behind the barn of William C. "Stub" Newell in Cardiff, New York. Both it and an unauthorized copy made by P.T. Barnum are still on display.
The Cardiff Giant was so popular it was photographed in 3-D. A stereoview photographed by Gott of Syracuse, New York exists showing the giant lying in the opened pit with a man holding a shovel posed next to it. The feet and legs of several people standing at the rim of the pit are seen in the background. The stereoview is mounted on yellow card stock.
The giant was the creation of a New York tobacconist named George Hull. Hull, an atheist, decided to create the giant after an argument at a Methodist revival meeting about Genesis 6:4 stating that there were giants who once lived on Earth.
The idea of a petrified man did not originate with Hull, however. In 1858 the newspaper Alta California had published a bogus letter claiming that a prospector had been petrified when he had drunk a liquid within a geode. Some other newspapers also had published stories of supposedly petrified people.
Hull hired men to carve out a 10-foot-4.5-inch-long (3.2 m) block of gypsum in Fort Dodge, Iowa, telling them it was intended for a monument to Abraham Lincoln in New York. He shipped the block to Chicago, where he hired Edward Burghardt, a German stonecutter, to carve it into the likeness of a man and swore him to secrecy.
Various stains and acids were used to make the giant appear to be old and weathered, and the giant's surface was beaten with steel knitting needles embedded in a board to simulate pores. In November 1868, Hull transported the giant by rail to the farm of William Newell, his cousin. By then, he had spent $2,600 on the hoax (Nearly $45,000 in 2013 dollars adjusted for inflation.)
Nearly a year later, Newell hired Gideon Emmons and Henry Nichols, ostensibly to dig a well, and on Oct. 16, 1869 they found the giant. One of the men reportedly exclaimed, "I declare, some old Indian has been buried here.
Newell set up a tent over the giant and charged 25 cents for people who wanted to see it. Two days later he increased the price to 50 cents. People came by the wagon load.
Archaeological scholars pronounced the giant a fake, and some geologists even noticed that there was no good reason to try to dig a well in the exact spot the giant had been found. Yale palaeontologist Othniel C. Marsh called it "a most decided humbug". Some Christian fundamentalists and preachers, however, defended its authenticity.
Eventually, Hull sold his part-interest for $23,000 (equivalent to $429,000 in 2015) to a syndicate of five men headed by David Hannum. They moved it to Syracuse, New York, for exhibition. The giant drew such crowds that showman P. T. Barnum offered $50,000 for the giant. When the syndicate turned him down, he hired a man to model the giant's shape covertly in wax and create a plaster replica. He put his giant on display in New York, claiming that his was the real giant, and the Cardiff Giant was a fake.
Hannum sued Barnum for calling his giant a fake, but the judge told him to get his giant to swear on his own genuineness in court if he wanted a favorable injunction.
On Dec. 10, Hull confessed to the press. On Feb. 2, 1870, both giants were revealed as fakes in court. The judge ruled that Barnum could not be sued for calling a fake giant a fake.
Here is some poster art promoting The Peanuts Movie in 3-D.
Here is some poster art promoting Batman v Superman in 3-D.
The Oregon roots of the View-Master® has been documented with a new interpretive historical marker at the Oregon Caves Chateau. The marker was dedicated during a ceremony on Saturday May 16, 2015 at the Chateau. Oregon Caves National Monument is on Caves Highway, 20 miles east of Cave Junction.
The interpretive marker was developed and installed through a cooperative effort by the Oregon Travel Experience and the Illinois Valley Community Development Organization and the National Park Service.
William B. Gruber visited Oregon Caves in 1938 and brought a makeshift stereo camera to capture the cavern's dramatic interior. Gruber's invention used two Kodak Bantam Specials mounted side-by-side on a tripod.
Postcard publisher Harold J. Graves happened to be visiting the caves at the same time and was curious about Gruber's twin camera setup. Over dinner that evening at the Chateau, the two men discussed Gruber's prototype for a 3-D reel viewer. From this chance encounter, plans for the View-Master® were devised. The invention was introduced at the 1939 World's Fair in New York.
The View-Master® was originally intended as an alternative to scenic postcards and was sold in high end photography shops, stationery stores and gift shops.
Three days of activities surrounded the marker dedication spnsored by The Friends of the Oregon Caves and Chateau, headed by Executive Director Sue Densmore..
Rich Dubnow, a former photographer for View-Master® who traveled worldwide capturing images for the popular reels, presented The History of 3-D and the View-Master® Development.
Following dedication of the interpretive marker there were showings of 3-D films, book signings, demonstrations and children's activities at the Chateau.
Other activities included Ron Kriesel of the National Stereographic Association and the Cascade Steroscopic Club opening the festivities with a 3-D film viewing. Author Gretchen Gruber Harmon, a descendent of William B. Gruber, will read from her book View-Master®, the Biography of William B. Gruber.
Authors Mary Ann Sell, Wolfgang Sell were scheduled to present their book View-Master, Memories. The Sells own one of the largest View-Master® collections in the country. Many of the models will be on display at the Chateau.
Special tours of the Oregon Caves and the Chateau were conducted throughout Saturday and Sunday. There were also be raffles for prizes, including a free night at the Chateau, books and commemorative reels and viewers.
A collection of 44 Butte, Montana stereoviews sold for $698.88 with seven bids. This group of 44 Norman A. Forsyth stereoviews dated from circa 1900 to 1908. Several of the views show mining scenes and also rare Butte, Montana and Columbia Gardens images.
A Deadwood, North Dakota stereoview sold for $448 with five bids. This1879 Pollock & Duganne stereoview shows a bird's-eye-view of the infamous Dakota Territory Mining Town of Deadwood taken immediately after the devastating fire of Sept. 26, 1879. The fire that devastated Deadwood, destroying more than 300 and consuming the belongings of many inhabitants.
The stereoview measures approx. 7" x 3 7/8" and is titled on the reverse Vaults of Banks after Fire. This stereoview as issued as part of a series of views title Black Hills Views taken and published by Pollock & Duganne of Deadwood, Dakota, Territory.
Much of the destruction is shown in the view which captured Deadwood in that very short time period between the fire and when the boomtown quickly rose from the ashes. The vast majority of the buildings were reduced to rubble or completely destroyed, however at the center of the Image there are two intact structures shaped like tanks or ovens. These two structures are the vaults of two banks exposed to view because the buildings that used to contain them have been completely destroyed. There are a large number of men standing in the streets surveying the damage and already we can see some rebuilding taking place. even though there is still lingering smoke in the air.
The fire started at a bakery on Sherman Street and rapidly spread to the business district of Deadwood. The fire damaged the business district of the town, but rather than give up, the community rebuilt itself. The fire made clear the need for regulations preventing another fire. The local government enacted laws that would permit only certain building materials for building construction. After the fire, Deadwood rebuilt itself in brick and stone rather than in lumber.
Following is an account from a period newspaper
report published after the fire:
The wildest excitement prevailed on account of the fearful force of the flames, and people thought of little besides saving their own lives, hundreds escaping only with their night clothes. Every team within miles of the city was called into service to help save what could be got out. There are probably about 2,000 people who are homeless, and many are destitute. About 125 buildings, besides 50 or 60 dwelling-houses, were destroyed, and, while it is utterly impossible to get any definite figures regarding the loss, well informed business men place it at from $1,500,000 to $2,000,000. The fire is still burning, but all its material is exhausted, and there is no danger of its spreading, unless an unfavorable change in the wind should come. The principal losers are, R.C. Lake, hardware merchant, $100,000; Miller & McPherson, grocers, $50,000, uninsured; M.J. Wertheimer & Co., dry goods dealers, $30,000, insurance, $10,000; Frank Welsh, $35,000, no insurance; Graves & Curtis, furniture and china-ware, $26,000, uninsured; William McHugh, liquor dealer, $23,000, uninsured. The following were also among the heavy losers: The First National Bank, $8,000, uninsured; Browning & Wingrose, grocers, $30,000, uninsured; Benjamin Holstein, grocer, $7,000, uninsured; Munler & Lehental, clothiers, $10,000, insured for $5,000; C.B. Strauss, dry goods, $5,000, fully insured; Star & Bullock, hardware, $25,000, insured for $15,000; T.T. Cornforth, fruit-dealer, $5,000, uninsured; Daniel McLaughlin, on residence, $10,000, uninsured; Matthewsen & Goldberg, grocers, $10,000, uninsured; L. Liebman, fancy goods, $30,000, insured for $3,000; Jensen Bliss, hardware, $5,000, uninsured; Culbertson & Young, produce and commission merchants, $10,000, fully insured.
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