By Harper Cossar
When widescreen know-how was once brought to filmmaking in 1953, it replaced the visible framework and aesthetic features of cinema eternally. ahead of widescreen, a director's imaginative and prescient for taking pictures attractive landscapes or urban skylines used to be restricted by means of what should be incorporated within the boxy confines of an Academy Ratio movie body. The advent and next evolution of widescreen expertise has allowed administrators to push the limits of filmmaking.
Letterboxed: The Evolution of Widescreen Cinema explores the technological adjustments of the widescreen strategy and the way the layout has encouraged administrators and in addition sparked debates between movie critics. studying early filmmakers resembling Buster Keaton and D. W. Griffith and style pioneers like Nicholas Ray and Douglas Sirk, Harper Cossar explains how administrators use wider element ratios to reinforce their artistic visions. Letterboxed tracks the background of stylistic experimentation with the movie body and demonstrates how the growth of the reveal has exposed myriad inventive chances for directors.
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Extra resources for Letterboxed: The Evolution of Widescreen Cinema
Sample text
Certainly an important factor here was the need for product differentiation, as the film industry was wavering with regard to the widescreen issue in 1930. In their wide versions, these films had few exhibition opportunities. Therefore, an industrial analysis of their production is not as significant to this study as is a side-by-side comparison of the two formats. What better way to establish the different choices that could be made with regard to close-ups, landscapes, angles, and camera movement than to examine films shot in both formats simultaneously?
These new media directions also explore the ontological possibilities associated with digital convergence outside the realm of aesthetics. That is, with CinemaScope films, one could consume them in their intended aspect ratio only in a CinemaScope theater. However, wide texts in online films or letterboxed video games colonize monitor space to convert any monitor’s format into the desired aspect ratio. Because I analyze specific aesthetic parameters (close-ups, landscapes, angles, and camera movement) under the rubric of experimentation, this study is not concerned primarily with technical formats (CinemaScope, Todd-AO, Panavision, and so forth), although I occasionally comment on their aesthetic differences.
His use of widescreen aesthetics serves at least two functions: parody (Tashlin mocks widescreen proportions in relation to both traditional theater and television) and comic-strip aesthetics (Tashlin was a commercial artist and cartoon director prior to his feature film work). Tashlin’s film The Girl Can’t Help It represents his playfulness with the wide frame, and a further analysis of his compositions reveals productive insights with regard to physical and stylistic norms. The films of Nicholas Ray Introduction 23 are both alluring and problematic: alluring because scholars revere his widescreen sensibilities, and problematic because there are so few of them available from the 1950s.