![]() When shown under optimal cinematic lighting conditions, the material lives up to its ISF certification by the world-renowned Imaging Science Foundation. Instead of the image washout common with typical matte-white projection screens, the Sable Frame StarBright 9® blocks illumination from overhead or off-axis light sources for a bold, bright, crystal-clear image even in the most challenging spaces. The Sable Frame StarBright 9® provides reference grade video performance in either a dark room or rooms with high levels of interior lighting. Content that was nearly unwatchable during the day was suddenly bursting with colors.” – Brian Mitchell, ![]() “It was clear within seconds, the Aeon CLR series offered tremendous improvements in daylight viewing. An LED back-lighting Kit is included for added aesthetics. The screen uses a Ceiling Light Rejection® technology. Aeon CLR ® with StarBright CLR®offers a wide viewing angle, neutral color temperature, and enhanced picture contrast in a theater-grade image.ĮDGE FREE CLR ® means there is an internal framework with wraparound material bordered with an ultra-thin bezel. StarBright CLR® is specifically designed for ultra-short-throw projectors to provide a large-screen performance in the close quarters of most residential or even training environments. This also enables the material to provide contrast levels that are 100 times greater than that of standard matte white projection screens. Its serriform optical surface lens microstructure negates the washout effect of ambient light especially from overhead sources. The Aeon CLR® is an EDGE FREE CLR ® fixed frame screen that uses Elite Screens innovative StarBright CLR® (Ceiling Light Rejecting®) material. Warranty & Technical Support Request Form.Portable Projection Screen Testimonials.Electric Screens – Recessed/In-Ceiling Testimonials.Fixed Frame Projection Screens Testimonials.Elite Projector MosicGO® Product Videos.Electric Wall/Ceiling Tab-Tension Screens.Cinemascope 2.35:1 Aspect Ratio Screens.Learn more at the TOME website, available at. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)-a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries-and the generous support of Emory University and the Andrew W. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of Indigeneity in the national culture. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade-the representation of Whiteness as Indigeneity-during the Golden Age of Mexican cinema, from the 1930s to the 1950s.
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