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Looking for a local Movie Theater? Go no further than MCCS! See the newest movies right outside your front door. Comfortable seating, state of the art screens and entertainment the entire family will love.
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Theater Rules
An adult or dependent child 15 years or older will accompany family members under 12 years of age for G and PG rated films.
No outside food permitted in the theater.
No strollers are permitted.
No recording devices permitted. Large bags may be subject to search.
The Base Theater is located on the main deck of Little Hall, 2034 Barnett Avenue. Moviegoers may purchase popcorn, candy, and soda at the snack bar, located in the Little Hall lobby. Patrons may call the theater's 24-hour, automated movie line, at 703.784.2638 for showings and dates/times of coming attractions.
Join us this season to celebrate our 24th season of Movies With A View Presented by Pluto TV! Our free outdoor movies are shown on Thursday evenings in July and August, at Pier 1 Harbor View Lawn.
There is no better place to be on a hot summer night than watching a classic film and enjoying the breeze off of the East River with the dazzling Manhattan skyline before you. Each evening, the lawn opens at 5:00 PM on a first come, first serve basis, and the movie begins at sunset. Enjoy a range of concessions and beverages for sale on site, along with our Bar by Fornino for those 21+ to enjoy.
No, all Movies With A View events are open to all ages. However, guardians should be aware that titles may include PG-13 and R rated selections, which are clearly noted. We encourage guardians to do their own research ahead of time to ensure the movie is suiting and appropriate for your children. Additionally, all minors should be accompanied by an adult. The Conservancy is not responsible for gauging appropriateness of titles for movie-goers.
Unfortunately, no to both. Chairs (other than wheelchairs) are not allowed on the lawn, so please bring your own picnic blanket. Portable stadium-style cushion seats without legs or hard pieces are a great option. Dogs are not allowed on the lawns at any time, per Park rules.
For those who require physical accommodations, there is a limited reserved seating area at the top of the lawn (on the hardscape). Please bring your own chair, and see a Conservancy staff member the welcome tent at top of the lawn to inquire.
Food and music start at 5:00 PM on the Pier 1 Promenade, the lawn opens at 6:00 PM, and movies begin at sundown. We recommend arriving early to move through bag check, stake out a good spot, and take in the spectacular skyline!
Transportation Alternatives will once again be providing free bike valet services for moviegoers at the Pier 1 Turnaround lot off Furman Street. Movie goers may also use bike rack near the Pier 1 entrance. Bikes will not be allowed onto the lawn, and should not be locked to fences or other unauthorized areas.
As of May 23, 2011, Brooklyn Bridge Park is a smoke-free park, consistent with New York City law. On April 29, 2014, the Smoke-Free Air Act was expanded to include the use electronic cigarettes (e-cigarettes). The law is intended to make parks healthier and cleaner places to visit. We ask your compliance with this new rule.
The big screen in your backyard, Movies in the Parks returns this summer, bringing Hollywood movies and local films to local parks for the twenty-first season. Join us in the parks for classics from the Golden Age of Hollywood, retro childhood favorites, and the best family-friendly box office hits.
Park fieldhouses and restrooms may not be open during your movie. If you have concerns or questions about fieldhouse hours or restroom availability, please contact your local park supervisor before the movie.
All movies begin at dusk. If you're unsure when dusk is, visit any weather site to see the time of dusk each day. Call (312) 742-1134 for daily listings and weather-related cancellations.
The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects.
Before the introduction of digital production, a series of still images were recorded on a strip of chemically sensitized celluloid (photographic film stock), usually at a rate of 24 frames per second. The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time. A rotating shutter causes stroboscopic intervals of darkness, but the viewer does not notice the interruptions due to flicker fusion. The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image. An analogous optical soundtrack (a graphic recording of the spoken words, music and other sounds) runs along a portion of the film exclusively reserved for it, and was not projected.
Many other terms exist for an individual motion-picture, including "picture", "picture show", "moving picture", "photoplay", and "flick". The most common term in the United States is "movie", while in Europe, "film" is preferred. Archaic terms include "animated pictures" and "animated photography".
Common terms for the field, in general, include "the big screen", "the silver screen", "the movies", and "cinema"; the last of these is commonly used, as an overarching term, in scholarly texts and critical essays. In the early years, the word "sheet" was sometimes used instead of "screen".
The art of film has drawn on several earlier traditions in fields such as oral storytelling, literature, theatre and visual arts. Forms of art and entertainment that had already featured moving or projected images include:
Photography was introduced in 1839, but initially photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible. At least as early as 1844, photographic series of subjects posed in different positions were created to either suggest a motion sequence or document a range of different viewing angles. The advent of stereoscopic photography, with early experiments in the 1840s and commercial success since the early 1850s, raised interest in completing the photographic medium with the addition of means to capture colour and motion. In 1849, Joseph Plateau published about the idea to combine his invention of the phnakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone, and to use photographs of plaster sculptures in different positions to be animated in the combined device. In 1852, Jules Duboscq patented such an instrument as the "Stroscope-fantascope, ou Boscope", but he only marketed it very briefly, without success. One Boscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found.
By the late 1850s the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took a few decades before it was successfully combined with a method to record series of sequential images in real-time. In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards. Muybridge, as well as tienne-Jules Marey, Ottomar Anschtz and many others, would create many more chronophotography studies. Muybridge had the contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895.
Anschtz made his first instantaneous photographs in 1881. He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882. The quality of his pictures was generally regarded to be much higher than that of the chronophotography works Muybridge and tienne-Jules Marey.[4]In 1886, Anschtz developed the Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions and arcades from 1887 until at least 1894. Starting in 1891, some 152 examples of a coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally.[5][4] Nearly 34,000 people paid to see it at the Berlin Exhibition Park in summer 1892. Others saw it in London or at the 1893 Chicago World's Fair.On 25 November 1894, Anschtz introduced a Electrotachyscope projector with a 6x8 meter screening in Berlin. Between 22 February and 30 March 1895, a total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin.[6]
mile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application. He presented a praxinoscope projection device at the Socit franaise de photographie on 4 June 1880, but did not market his praxinoscope a projection before 1882. He then further developed the device into the Thtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Muse Grvin in Paris. 152ee80cbc
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