Sentences with phrase «cinemascope film»

For this exhibition she has selected some of her most significant landscape drawings and collections of found natural objects and has created a body of new work culminating in a major, one hour - long, two - screen 35 mm Cinemascope film, Antigone, which uses multiple exposures to combine places, people and seasons into a single cinematographic frame.

Each will focus on a different aspect of Dean's practice; the NPG will show her portrait work, including her six - screen portrait of Merce Cunningham, the National Gallery will display still lifes (both 15 March — 28 May), and the RA will show landscapes — among them, a new 35 mm CinemaScope film called Antigone (19 May — 12 August).

His choice of long horizontal and vertical painting formats and the seemingly frozen moments captured on his canvases reference both CinemaScope film and the visual effects of photography.

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

The CinemaScope film looks quite good clean with strong, not overly - bright color (much of the film takes place in the gloom of a Moscow winter, with Helsinki standing in for Russia).

Particularly interesting is the talk about McCarey's transition from the Academy Ratio to CinemaScope filming.

Not exact matches

A film like «The Robe» which was the first shown in CinemaScope should not be forgotten.

Starring Marilyn Monroe, Betty Grable and Lauren Bacall, Fox's hugely popular hit was the first comedy to be shot in CinemaScope and the second film ever to use this format.

Historically important as the first CinemaScope feature film, 20th Century - Fox's The Robe is fine dramatic entertainment in its own right.

To really truly appreciate this classic movie it is best to see this in the «widescreen» format (Originally filmed in widescreen Cinemascope and Breathtaking Color).

Established in 1889, the standard format of 35 mm film with an image aspect ratio of 1.33:1 was not seriously challenged until Twentieth Century Fox's invention of CinemaScope (initially 2.55:1, later 2.35:1) in the early 1950s.

The film was shot in 2.35:1 aspect ratio, called Cinemascope.

As a toddler, 20,000 Leagues Under the Sea put me to sleep even faster than Star Wars did (sorry), but I always cut the film significant slack for having suffered an amputating pan-and-scan video transfer, as this was Disney's first and ultimately one of its few CinemaScope productions.

THE DVDs Carrying the «Vault Disney» tag within its platters but not on the cover art itself, Disney's THX - certified, 2 - disc Special Edition of 20,000 Leagues Under the Sea (overseen by production house Sparkhill) presents the film at its original, true CinemaScope aspect ratio of 2.55:1 in a transfer enhanced for 16x9 displays.

It's a gorgeous CinemaScope movie and Twilight Time does the film up nicely, with a strong transfer of a good - looking HD master from Columbia Pictures, a studio with a superb record of preserving, restoring, and making high - quality digital transfers of their catalog.

«Contempt,» a satirical drama starring Brigitte Bardot and Jack Palance, was released in 1963 and is regarded as one of the finest films ever made in CinemaScope, an anamorphic lens used from 1953 to 1967.

This is Fleischer's first film for Fox and he meets the house CinemaScope style — handsome, roomy sets, strong color, open spaces and long, fluid takes (the better to drink in the widescreen images)-- with careful staging and frames filled with little dramas, but he also puts an edge to the stories that play out in the glossy spaces.

According to the three historians on the DVD's excellent commentary track, the film did enjoy strong box office returns and was anything but a creative failure, but Castile is symbolic of the epic productions studios couldn't indulge in as often, until TV forced a return to bug budget epics during the fifties, in the form of pseudo-moral Biblical sagas in CinemaScope and stereophonic sound.

The Cinemascope framing and extended takes prove a fertile playground for the film's vibrant colors, relevant backdrops, catchy tunes and snappy dance steps.

Fox's intransigence simply pushed U.K. producers to use various CinemaScope clones that, combined with black - and - white film, achieved a mix of novelty and economy.

Crosby notes that Japanese exhibitors embraced CinemaScope well before the production of the first Japanese anamorphic widescreen film, but the influence was more than just technological, as the style of Hollywood widescreen films influenced Japanese widescreen aesthetics.

Fox tried to encourage the diffusion of CinemaScope by making the use of its Bausch and Lomb lenses free for short films, but its policy of mandating the use of colour was poorly suited to the U.K. industry that mainly made black - and - white films including intimate dramas that were (at least initially) considered poorly suited to widescreen.

For the panda's target audience, children and younger teens, that will be just fine, and the film presents his adventures in wonderfully drawn Cinemascope animation.

The Man From Laramie (1955), their final collaboration, was made for Columbia and it was the first film that Mann shot in the still novel CinemaScope anamorphic widescreen format, which debuted just a couple of years earlier.

The Techniscope format was a cheap way to get a widescreen image by only using half as much film as true CinemaScope (i.e., anamorphic) requires, and this presentation seems to reflect the reduced effective resolution of the material, evincing a softness around the edges that's sometimes exacerbated by missed focus.

Francis's cinematography appears to have been digitally corrected to compensate for the CinemaScope «mumps,» and displays a seemingly impossible range of deep blacks as well as a fine patina of film grain.

THE BLU - RAY DISC Likewise amazing, Criterion's Blu - ray release presents The Innocents in its original CinemaScope aspect ratio of 2.35:1, in a 1080p transfer the liner notes describe as «created in 4K resolution on an Oxbery wet-gate film scanner from the 35 mm original camera negative.»

Also added: In Honor of Dan Ireland, a tribute to the SIFF co-founder with film clips, trailers, short films, and a screening of one of Dan Ireland's favorite films from a rare 35 mm CinemaScope collector's print.

It asks what the characters of a Cinemascope musical would have to dream about, and answers with a finale that lifts the film to a higher plane of wish fulfillment and melancholy.

Chazelle and cinematographer Linus Sandgren shot the film in extra-wide CinemaScope, allowing the camera to pan and twirl as if perpetually curious to discover what delights might lurk just outside the frame.

As well, there is a history lesson on CinemaScope, an audio interview with screenwriter Philip Dunne (recorded in 1969), press materials from the movie's début, a comparison of the widescreen and standard versions of the film and a picture - in - picture mode.

There is the fact that the movie was created in CinemaScope, the wider aspect ratio with which film responded to television, a screen format briefly very popular, mostly in the middle of the 1950s.

In River of No Return (a film whose stylistic motto might be: never do in two shots what can be done in one), CinemaScope becomes an enclosure and a measure of the characters, with an arbitrariness that takes us far from tragedy and also far from irony.

The first Disney movie made in Cinemascope widescreen, the film is represented in its original theatrical aspect ratio of about 2.55:1, and is enhanced for 16x9 televisions.

Other decent bonuses on the DVD include a behind - the - scenes Still Gallery, Advertising Gallery, 4 postcard still / lobby card reproductions, and a short featurettes that briefly chronicles Tyrone Power's appearances in various swashbuckling actioners, with clips from a number of films extant on DVD, and a few likely on the horizon (like the CinemaScope epic King of the Kyber Rifles), plus comments from the son of director John Cromwell — actor James Cromwell (the benevolent father figure in Babe, and Jack Bauer's monster dad in Season 6 of Fox» TV series 24).

With a square - shaped pastiche (Cronenberg never uses cinemascope) he paints with an almost silent film - like nerve, as if the great F.W. Murnau himself were guiding his hand.

Being the first animated film produced in Widescreen CinemaScope, it certainly looks amazing.

The highlight of the exhibition will be a major new, experimental 35 mm film, Antigone, shown as two simultaneous cinemascope projections.