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laboratory and factory was built in Long Island City in order to produce films that specifically catered to the
American public's wants and needs. In 1916 Willard Beech Cook began working on a new 28 mm projector that would be smaller in order to bring production cost down. His machine was motor-driven and weighed 23 pounds. By 1920 there were almost 1200 films available in 28 mm format on 1600 reels. Most of these films could be found in various Pathéscope film libraries which were located in the larger cities in the United States. Many of the films were originally created in Europe, but eventually the selection contained American pictures starring actors such as
203:’s larger film library was superior in both scale and quality, so much so that when Willard Beech Cook was asked to run it in 1924 he accepted the job offer. The American Pathéscope 28 mm film library stayed open in New York City for a brief period of time while Kodak's 16 mm library was running, but in 1926, Kodak took over his film-stock factory. and Pathéscope was officially out of business in the United States. The post-war environment in Europe was not any kinder to Pathé Frères. Big-budget Hollywood pictures such as
148:
transferred from 35 mm format to the 28 mm format. In later years films were transferred onto 9.5 mm film, but would often have content taken out in order to be a length that would fit onto a more compact reel; however the films transferred from 35 mm to 28 mm format were left uncut. The first series of films transferred contained 48 motion pictures that ranged from 45 to 90 meters long.
139:
The 28 mm Pathéscope K.O.K. cine-projector was patented in 1911. This projector featured dynamo lighting which was "powered by a belt from a large flywheel connected to the main shaft. The handle had to be manually turned in order to project a 30-inch picture. The projector "sold for 30 dollars which included two printed films, a screen, metal carrying case and cleaning outfit.
20:
174:
Established in 1913, the Pathéscope company of
America was given 1,000,000 dollars by Pathé Frères in order to distribute Pathéscopes and Pathéscope films across the United States. Demand for 28 mm Pathéscope films became so high that a "specially designed and completely equipped motion picture
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1912 brought about the K.O.K. 28 mm camera or the Pathéscope. The camera cost 42 dollars and came with a tripod, something that was absolutely necessary to make use of this heavy hand-turned cine-camera. The Pathéscope was similar to the Pathé 35 mm camera. It was hand-cranked and mounted
138:
base, and usage of the 28 mm film also gave Pathé Frères exclusivity, by way of patents. The 28 mm wide film had one sprocket hole per frame on one edge of the film, 3 on the other; the large image size of 19 mm x 14 mm allowed the projected picture to be of a very high quality.
161:
just like the rest of the cameras from the early 20th century. The camera ended up being a huge success. By 1913 it was being used in the UK and in the United States. The camera was used in homes as well as schools, churches and clubs. By 1918 over 10,000 machines had been sold and over 25,000,000
120:
where they made films in large numbers. In 1906 Pathé Frères began to market themselves to the upper-class society in France by building the world's first luxury cinema, the Omnia-Pathé. About two years later they began trying to bring cinema into the home of those who were visiting their cinema.
107:
and a cinema portion, which were established in 1894 and 1896 respectively. Within fifteen years of its establishment, Pathé Frères was arguably the largest entertainment company in the world. Their phonograph materials were available at prices that the general public could afford. The phonograph
147:
Not only were 28 mm printed films safer, they were also more efficient than 35 mm film. 28 mm film held 20.5 frames per foot as opposed to 16 frames per foot on 35 mm film. "A 400-foot reel of 28 mm film was equal to over 500 feet of 35 mm film. Many films were
129:
In 1910 Arthur
Roussel was hired to build a machine that would enable the public to view a film inside their home. Pathé Frères introduced a 28 mm film size for home use. 28 mm diacetate film was preferable for non-professional use because it was not flammable like
116:' cine camera/projector patents within the first decade of the twentieth century. Pathé created an improved studio camera that ruled the market in Europe and America as well as making his own film stock. In 1902 Pathé Frères opened a production facility at
108:
division along with the film industries of the company allowed Pathé Frères to become an international company with offices in Russia and the United States. They had purchased all the rights to the films of
65:
213:
sold the remainder of his company in Europe in 1929 to
Bernard Natan. The company remained afloat under the Pathé name until 1934, before being completely disbanded.
195:, which was preferred due to its smaller size. What ultimately caused the demise of 28 mm film, however, was Kodak's introduction of a
386:
268:
Fielding, R., ed. A Technological
History of Motion Pictures and Television. Los Angeles, CA: University of California Press, 1967.
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Several years after the conclusion of World War I, 28 mm film began to decline in popularity. Pathé Frères itself released a
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stopped
European production of 28 mm. It continued in North America until 1920 before ceasing entirely. Shortly after,
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grew more intense, production in France came to a halt, but sales continued in the United States and Canada.
53:. The film gauge was deliberately chosen such that it would be uneconomical to slit 35 mm nitrate film.
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houses a 28 mm collection which includes over 100 reels of film in the Pathé 28 mm format.
64:(usually, although not always, abridged) of popular films for home rental, designed to be used in
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had grabbed the attention of the public in France, and 28 mm film was no longer profitable.
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Pathé Frères was founded by brothers
Charles and Émile Pathé. The company had two divisions, a
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would take the amateur film gauge role 28 mm had once filled.
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3 perforation on the left and 1 on the right per frame (Europe)
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28 mm diacetate film compared to 35 mm nitrate film
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3 perforation on both sides per frame (US and Canada)
38:. Geared toward the home market, 28 mm utilized
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354:"MOMI: Charles Pathé. Museum of the Moving Image"
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391:International Dictionary of Films and Filmmakers
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436:"Films of Midvale Steel in Philadelphia, 1919"
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289:. The Encyclopedia of Music in Canada. 2012.
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162:feet of positive film had been produced. As
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234:20.5 frames per foot (14 mm per frame)
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125:The 28 mm Pathéscope K.O.K. cine projector
16:Rare historical motion picture film gauge
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18:
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34:Film Company in 1912 under the name
152:28 mm Pathéscope K.O.K. Cine-Camera
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434:Martin, Kevin J. (22 July 2019).
170:Pathéscope in the United States
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60:in the United States printed
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830:Motion picture film formats
442:. Hagley Museum and Library
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56:Pathé in France and later
45:rather than the flammable
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291:The Canadian Encyclopedia
452:includes 28 mm film
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229:Technical specifications
66:Pathéscope Cinematograph
30:was introduced by the
24:
757:Anamorphic widescreen
358:easyweb.easynet.co.uk
206:The Birth of a Nation
88:History of 28 mm film
22:
417:Academy Film Archive
257:List of film formats
223:Academy Film Archive
649:Super Panavision 70
641:Ultra Panavision 70
419:. 19 December 2014.
240:1.36:1 aspect ratio
143:28 mm printed films
70:Victor Animatograph
393:. encyclopedia.com
25:
817:
816:
808:Shoot and protect
732:Anamorphic format
702:
701:
598:Modern anamorphic
413:"28mm Collection"
329:"The 28 mm Pages"
237:vertical pulldown
187:Downfall of 28 mm
49:commonly used in
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387:"Pathé, Charles"
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360:. Archived from
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114:Lumiere Brothers
62:reduction prints
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199:gauge in 1923.
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181:Charlie Chaplin
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112:as well as the
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28:28 mm film
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97:Main article:
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742:Video framing
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364:on 3 May 2001
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211:Charles Pathé
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110:George Méliès
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72:projectors.
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33:
29:
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785:Pan and scan
708:Aspect ratio
694: (1958)
686: (1958)
684:Kinopanorama
678: (1952)
659: (1970)
635: (1955)
616: (1982)
608: (1960)
600: (1957)
584: (1954)
576: (1953)
558:Film formats
532:
526:17.5 mm
488:film formats
444:. Retrieved
439:
416:
407:
395:. Retrieved
390:
366:. Retrieved
362:the original
357:
348:
336:. Retrieved
333:pathefilm.uk
332:
293:28 Feb. 2013
287:Pathé Frères
281:
220:
204:
190:
177:Harold Lloyd
173:
155:
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128:
102:
93:Pathé Frères
55:
35:
27:
26:
692:Cinemiracle
606:Techniscope
582:VistaVision
574:CinemaScope
512:9.5 mm
496:Film gauges
397:28 February
338:28 February
193:9.5 mm film
164:World War I
78:9.5 mm
74:World War I
801:Open matte
792:Fullscreen
750:Widescreen
590:Technirama
547:70 mm
540:35 mm
533:28 mm
519:16 mm
440:Hagley.org
273:References
132:35 mm film
105:phonograph
82:16 mm
51:35 mm
43:film stock
778:Windowbox
771:Pillarbox
764:Letterbox
710:standards
668:35 mm × 3
505:8 mm
118:Vincennes
40:diacetate
36:Pathé Kok
824:Category
676:Cinerama
614:Super 35
251:See also
633:Todd-AO
446:29 July
368:25 June
217:Archive
136:nitrate
134:with a
47:nitrate
651:(1959)
643:(1957)
592:(1956)
159:tripod
58:Victor
625:70 mm
566:35 mm
263:Notes
201:Kodak
197:16 mm
157:on a
99:Pathé
32:Pathé
725:14:9
657:IMAX
448:2019
399:2013
370:2017
340:2013
221:The
179:and
80:and
285:2.
68:or
826::
438:.
415:.
389:.
378:^
356:.
331:.
298:^
183:.
479:e
472:t
465:v
450:.
401:.
372:.
342:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
