In Front of the Silver Screen. A Personal History of Cinemas in the Chesterfield Area. By Kenneth Bishton. The text relating specifically to the early history of Chesterfields cinemas is largely the work and research of its original author, Brian Hornsey, though it has been extensively re written and updated where relevant accurate new information has become available. I am indebted to Mr Hornsey, and, by extension, to his sources Derbyshire County Council Library Service, Mr G. Lennox, Mr. R. Rippingale, Mr L. Greaves, Mr G. Sadler, staff at Chesterfield Library and Local Studies, writers at The Derbyshire Times, W. Install Front Row On Lion' title='Install Front Row On Lion' />Beach and staff at THE REGAL and ODEON Cinemas, for providing the groundwork for this section. Full credit must go to Mr Hornsey and his booklet Ninety Years of Cinemas in Chesterfield for opening the door, thus allowing me to follow in his shadow. This personal study was first presented to the Local Studies department of Chesterfield Library two years ago. The opening section of the text, subtitled The Wonder Of The Age, is actually a potted history of the cinema as a mass medium. For those who want to skip this either because they know it all or are not interested and just want to get to the nitty gritty, simply scroll to about one fifth down the page for the local juicy bits. Similarly, the printed version ends with details of all the cinema programmes exhibited in the area during a specific period 1. If you would like to wade your way through these, your best bet is to ask to see the printed copy available in Chesterfield Library. All photographs are my own except This page, above and below Projection equipment old and new at The Regal, Staveley, both pictures courtesy of Trevor Harris tonyspicsP. Proctors Bioscope sideshow, courtesy of C. The-best-top-desktop-lion-wallpapers-hd-lion-wallpaper-2-520x245.jpg' alt='Install Front Row On Lion' title='Install Front Row On Lion' />H. Nadin, North East Midland Photographic Record. P. 1. 4, The Hippodrome, courtesy of Ken Roe. P. 1. 5, The Coliseum black and white, courtesy of Ken Roe Andrew Hewkin, North East Midland Photographic Record. P. 2. 2, The Picture House 1. Ken Roe. P. 2. 2, Odeon projectionist, courtesy of Trevor Harris tonyspicsP. The Odeon late 6. Mawgrims Worlds. Install Front Row On Lion MoviesP. The ABC auditorium, courtesy of Ian Grundy. P. 2. 6, The ABC black and white, courtesy of Dusashenka, All rights reserved. P. 2. 7, The ABC 1. Lady Wulfrun, All rights reserved. P. 2. 7, The ABC 1. Ian Grundy. P. 2. Radio Shack Products by Part Number. Below is a list of all the Radio Shack products, derived from Radio Shacks website. The list is sorted by Radio Shacks SKU or. Meet the Little Bigfoot Lion 2014 edition He is handsome isnt he I do have a partial video tutorial now on youtube that will show you how to sew the doll together. Operation Sea Lion Part of the Western Front of the Second World War Operational scope Normandy, the Belgian coast line, the English Channel and the English coast. The ABC as Escapade, courtesy of Les Veuves. P. 2. 8, The Regal, Staveley, courtesy of Trevor Harris tonyspicsP. The Regal, Staveley auditorium, courtesy of Trevor Harris tonyspicsP. The Regal, Staveley screen, courtesy of Trevor Harris tonyspicsP. Trevor and Tony Harris, The Derbyshire Times. P. 2. 9, The Regal, Staveley closed, courtesy of Tony Mettam. P. 3. 0 The Empire projectionist, courtesy of Trevor Harris tonyspicsP. The Cinema House Ken Smith. P. 3. 0, The Ritz, courtesy of Shaun Green and Ken Roe. All other images are believed to be within the public domain and are used under Creative Commons Licence. They have no currently known copyright holder. Acknowledgements and thanks are extended to anyone who claims ownership of any such images. Kenneth Bishton, 2. The Wonder of the Age. The Cinema has often been described as the 2. It was certainly the most popular and populist form of commercial entertainment at least until television came along. Throughout its 1. Its sociological impact is therefore of far greater significance than its sometimes over egged artistic merit. Install Front Row On Lion Banking' title='Install Front Row On Lion Banking' />Install Front Row On Lion TestIt has been the backdrop to the life and times of countless individuals who have grown up in darkened theatres, having the movies reflect their own experiences while in turn they, the audience, have mirrored the conventions and customs portrayed on the screen. In this way, life has been seen to imitate art and vice versa ad inifinitum. In 1. 99. 5 the Cinema celebrated its centenary and countless studies have been undertaken, analysing its history and development, its own specific forms and structures, its impact on global cultures and its importance to national identities. Above all, though, the Cinema was and remains a business. Blank Cover Sheet Sec Form Free Download on this page. Its impact on local and world economies is probably much more important than its message, despite the claims of the cine artist and intellectual, and the medium is unequivocally wedded to its commercial roots. It costs money to make films, to distribute and exhibit them. Therefore people have to pay to see them. If the latter doesnt happen, neither will the former, a point seemingly lost on the contemporary generation of illegal downloaders. There is little purpose in this overview of the history of the Cinema in repeating what has already been documented in great detail elsewhere. My prime intent here is to present a memoir of the cinema as it has affected me, and to that end I have looked at the actual cinemas that I visited in the Chesterfield area, reflecting upon what I went to see and how significantly the language of film and the whole concept of moviemaking have shaped my wider interests. This may justify the charge of a wasted youth some may regard the whole issue of little consequence others may wonder why it was, given my juvenile pre occupation, I didnt pursue this interest and immerse myself professionally into the business. It is true that I once believed that being a cinema manager, or even a humble projectionist, was an ideal job for a film fan but, as for actual film making, I soon realised that life both before and behind the camera was far less glamorous than most people suppose. At the very least, real film making requires far more patience than I could muster, and at worst it can be a positively dangerous occupation, both figuratively and physically. Even the relatively mundane world of cinema exhibition is probably more prosaic than it is exciting as, in most cases, a manager has little or no say in what films he has to screen. Far better to remain an enthusiast, a cinemagoer, to enjoy the fantasy of it all, even if that fantasy extended to playing at cinemas at home. The last sentence may require some explanation which will be forthcoming but there is first the need to establish some points of reference in order to understand that something of great personal significance happened on that initial occasion, probably in 1. I first experienced the magic of the silver screen, the effect of which, it seems, has never quite worn off. To provide some context for this personal and local history I offer a digest of the principal elements in that 1. Cinematography began basically where Magic Lantern shows ceased and became the natural development from them. Limelight or son et lumire shows were used to illustrate lectures of a travel, religious or instructive nature, and comprised slides shown onto a screen, or sometimes a wall, by the lantern, an adapted light source with a series of lenses and a slide carrier in a specially constructed framework. The slides were eventually developed to include an illusion of movement by the use of gears, wires, double slides and the like. So when animated pictures based on photography were invented, it was a natural evolution towards the Kinema as we eventually came to know it. In most histories, 1.