Fashion Island Movie Theaters. Fashion Show Schedule 2011.
Fashion Island Movie Theaters
- Fashion Island is an upscale open-air shopping mall in Newport Beach, California . Fashion Island is owned by The Irvine Company.
- Fashion Island is a shopping mall located on Ramintra Road, in Khan Na Yao district outskirt of Bangkok, Thailand. Some of the anchors are * Robinson Department Store * BigC * Major Cineplex * Home Pro
- (movie theater) cinema: a theater where films are shown
- A theater where movies are shown for public entertainment
- (Movie Theater) The literal definition means "where they are shown."
The single-screen movie theaters that punctuated small-town America's main streets and city neighborhoods since the 1920s are all but gone. The well-dressed throng of moviegoers has vanished; the facades are boarded. In Silent Screens, photographer Michael Putnam captures these once prominent cinemas in decline and transformation. His photographs of abandoned movie houses and forlorn marquees are an elegy to this disappearing cultural icon.
In the early 1980s, Putnam began photographing closed theaters, theaters that had been converted to other uses (a church, a swimming pool), theaters on the verge of collapse, theaters being demolished, and even vacant lots where theaters once stood. The result is an archive of images, large in quantity and geographically diffuse. Here is what has become of the Odeons, Strands, and Arcadias that existed as velvet and marble outposts of Hollywood drama next to barbershops, hardware stores, and five-and-dimes.
Introduced by Robert Sklar, the starkly beautiful photographs are accompanied by original reminiscences on moviegoing by Peter Bogdanovich, Molly Haskell, Andrew Sarris, and Chester H. Liebs as well as excerpts from the works of poet John Hollander and writers Larry McMurtry and John Updike. Sklar begins by mapping the rise and fall of the local movie house, tracing the demise of small-town theaters to their role as bit players in the grand spectacle of Hollywood film distribution. "Under standard distribution practice," he writes, "a new film took from six months to a year to wend its way from picture palace to Podunk (the prints getting more and more frayed and scratched along the route). Even though the small-town theaters and their urban neighborhood counterparts made up the majority of the nation's movie houses, their significance, in terms of revenue returned to the major motion-picture companies that produced and distributed films, was paltry."
In his essay, "Old Dreams," Last Picture Show director Peter Bogdanovich recalls the closing of New York City's great movie palaces—the mammoth Roxy, the old Paramount near Times Square, the Capitol, and the Mayfair—and the more innocent time in which they existed "when a quarter often bought you two features, a newsreel, a comedy short, a travelogue, a cartoon, a serial, and coming attractions."
While the images in Putnam's book can be read as a metaphor for the death of many downtowns in America, Silent Screens goes beyond mere nostalgia to tell the important story of the disappearance of the single-screen theater, illuminating the layers of cultural and economic significance that still surround it.
"These photographs and the loss of which they speak signal the passing of a way of being together." —Molly Haskell
List of Theaters by State
Alabama ? The Lyric, Anniston ? The Martin, Huntsville
Arizona ? The Duncan, Duncan
Arkansas ? The Avon, West Memphis
California ? The Town, Los Angeles ? El Capitan, San Francisco ? The State, Santa Barbara
Connecticut ? The Dixwell Playhouse, New Haven ? The Princess, New Haven
Florida ? The Gateway, Lake City
Georgia ? The Judy, Hartwell
Idaho ? The Ace, Wendell
Illinois ? The Pekin, Pekin
Indiana ? The Rem, Remington ? The Ritz, Rensselaer
Kansas ? The Cameo, Kansas City
Kentucky ? The Crescent, Louisville ? The Ohio, Louisville
Louisiana ? The Madison, Madisonville ? The Sabine, Many ? The Jefferson, New Orleans
Massachusetts ? The Strand, Westfield Michigan ? The Liberty, Benton Harbor
Mississippi ? The Magee, Magee ? The Star, Mendenhall ? The Mono, Monticello ? The Park, Pelahatchie
Missouri ? The Star, Warrensburg
Nebraska ? The Grand, Grand Isle
New Jersey ? RKO Proctor's Palace, Newark
New Mexico ? The Lux, Grants ? The State, San Jon
New York ? The Hollywood, Au Sable Forks ? The Broadway, Buffalo ? The Lovejoy, Buffalo ? The Senate, Buffalo ? The Jefferson, New York City ? The Little Carnegie, New York City ? The 72nd Street East, New York City
North Carolina ? The Colonial, Chesnee ? The Alva, Morganton
Oregon ? The United Artists, Pendleton
Pennsylvania ? The Lawndale, Philadelphia ? The Rex, Philadelphia ? The Spruce, Philadelphia ? The York, Philadelphia ? The Capitol, Williamsport
Tennessee ? The Park, Memphis
Texas ? The Royal, Archer City ? The Strand, Chillicothe ? The Gem, Claude ? The Mulkey, Clarendon ? The Texas, Del Rio ? The Bowie, Fort Worth ? The Chatmas, Hearne ? The Queen, Hearne ? The Palace, Henderson ? The Alabama, Houston ? The Almeda, Houston ? The Crim, Kilgore ? The Gulf, Robstown ? The Clinch, Tazwell ? The Winnie, Winnie
Virginia ? The Earle, Big Stone Gap ? The Home, Strasburg
Washington ? The Pasco, Pasco
West Virginia ? The Ritz, Ansted ? The Alpine, Rainelle
Myrtle Avenue, Ridgewood, Queens
The Ridgewood Theater, constructed in 1916 in the rapidly developing section of Ridgewood, was designed by prominent theater architect Thomas Lamb. The theater is located on Myrtle Avenue, the area’s major commercial thoroughfare, contributing to the creation of a town center for the residents who were moving into the nearby rowhouse developments. This building was constructed during the earliest period of the development of the movie theater as a building type, and was part of the industry’s efforts to bring this new and exciting form of entertainment to small towns and local communities throughout the country. This theater showed movies continuously for more than 90 years, retaining its original use through numerous changes in the presentation of movies and the interior environment of the theater, including the addition of sound for “talkies,” and in spite of the competition provided by television and other forms of entertainment.
It was one of the longest-running movie theaters in the country when it closed in March, 2008. The theater’s facade displays the Beaux-Arts training and skills of architect Thomas Lamb in its straightforward design enhanced with classical and geometric elements such as pilasters and heavily encrusted shields, created in glazed terra cotta. The building retains a strong presence on the street as it rises above the neighboring structures, with its name carved onto the building and its large projecting marquee advertising the wonders within. The Ridgewood Theater’s impressive white facade has helped it stand out from its neighbors, and makes it as attractive to local residents today as when it was constructed.
History of Ridgewood, Queens
Located in western Queens County, the town of Ridgewood originally spanned the Brooklyn-Queens border. Part of the town was located in the eastern end of Bushwick, Brooklyn while another section was part of the adjacent town of Newtown, one of the original three towns of Queens County. Inhabited by the Mespachtes Indians prior to being settled by Europeans, Bushwick was one of the original six towns that joined together to become the City of Brooklyn in 1854. The high, thickly wooded terrain running east from Ridgewood through the center of Long Island was the most noticeable aspect of the area’s topology.
During the 17th and 18th centuries, farms in Bushwick and Ridgewood were farmed by Dutch and British families, who grew lettuce, corn, potatoes, cauliflower, and a variety of fruits for urban markets in Brooklyn and Manhattan. The only known Dutch farmhouse surviving in Ridgewood is the Adrian and Ann Wyckoff Onderdonk House (a designated New York City Landmark).4 There were only five farms in Ridgewood at the start of the American Revolution, along with a small burial ground. During this period and for some years thereafter, some of the farmers owned slaves. After they were freed, some of these African-American people stayed in the area and became prominent in local affairs.
The discovery of pure ground water in Bushwick in the mid-19th century spurred the construction of several breweries, most of which were owned by German immigrants and staffed by a German work force. By 1880, at least eleven breweries, including Rheingold, were operating within a fourteen block area in western Bushwick, known as “brewer’s row,” and other industrious German immigrants opened factories and knitting mills in the area. Tenements and small row houses were built nearby to house the workers and their families.8 A number of picnic grounds, beer gardens, amusement parks, and racetracks opened amidst Ridgewood’s fields and farming villages towards the end of the nineteenth century, catering especially to the large German population of Bushwick. These areas provided open space for many people who otherwise spent their time in crowded tenements. German shooting clubs also provided a popular pastime.
Transportation improvements to the area helped propel development. Myrtle and Metropolitan Avenues and Fresh Pond Road are among the oldest streets in Ridgewood, having originally been Native American trails and then used by Long Island farmers to take their products to market. Stagecoaches and horsecars ran along Myrtle Avenue (also called Jamaica Plank Road) which extended from the Brooklyn Bridge to Jamaica Avenue.10 The first railroad to reach the area, in 1878, was the New York Connecting Railroad Extension (once the Manhattan Beach Railroad), running from Brooklyn through Ridgewood to the Brooklyn seashore.11 The elevated rapid transit line ran to Wyckoff Avenue along the Brooklyn/Queens border beginning in 1888 and was extended to Fresh Pond Road beginning in 1915.
Ridgewood remained largely rural however, until after the consolidation of the City of New York in 1898, just as the last vacant land in Bushwick was being developed. By the turn of the century, Bushwick’s builders began purchasing Ridgewood’s farms, parks, and
Classic American drive-in theater
The former Star-Lite drive-in movie theater in Tacoma, Washington. The Theater opened May 26, 1948 showing "Golden Earrings" with Ray Milland and Marlene Deitrich and "Adventure Island" with Rory Calhoun and Rhonda Fleming. It closed as a drive-in theater in 1996 . Currently, it is being used as a swap meet.
fashion island movie theaters
The Aqua Teen Hunger Force movie establishes the origins of the Aqua Teens and attempts to explain the back story to some age-old mysteries that have surrounded the Aqua Teens. Or does it? No one really knows
Fans of Cartoon Network’s Aqua Teen Hunger Force series (part of the cable channel’s Adult Swim programming) know what they’re in for with this feature-length extension of the nearly-indescribable animated show. Set in a rundown, Jersey suburb, Aqua Teen concerns the misadventures of three human-size characters who happen to be fast food refuse: the crude Master Shake, a discarded milkshake in a cup similar to those from McDonalds; skeptical Frylock, a flying, cardboard box of french fries; and the personable Meatwad, a piece of expired, red beef of unknown origin. Together, they go in search of a missing piece of an exercise machine that happens to be more than an exercise machine, placing them on a collision course with the likes of Oglethorpe and Emory, a pair of jagged, ridiculous creatures from the future who travel with a robot companion claiming to be the Ghost of Christmas Past. They also encounter Dr. Weird, a mad scientist given to disguises and who seeks revenge against the Hunger Force; McPee Pants, a rapping spider who wears a shower cap and diaper; and the hilarious Ignignokt and Err, two-dimensional villains from the ancient days of pokey, Atari video games. Dave Willis and Matt Maiellaro, series creators and writers-directors on Aqua Teen Hunger Force Colon Movie Film for Theaters, are wildly entertaining class clowns, but they expect the rest of us to follow them into their surreal world of postmodern animated nuttiness. The rewards, however, are plentiful. --Tom Keogh
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