Sentences with phrase «cinemascope widescreen»

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.

This edition is authored in BD - J with AVEC (MPEG 4) compression on a dual - layer 50 GB disc, and presented in the Fox CinemaScope widescreen format.

Not exact matches

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).

Vadim shoots it in earthy color and CinemaScope and the disc preserves both in an anamorphic widescreen transfer.

Zanuck shot The Robe (1953) in the new widescreen format Cinemascope, and The Longest Day (1962).

, a CinemaScope cartoon presented in dupey non-anamorphic widescreen at an aspect ratio of 2.35:1.

THE DVDs Fox presents A Farewell to Arms and Francis of Assisi on DVD in glorious 2.35:1 anamorphic widescreen transfers (the latter misidentified on the box art as 1.85:1) that preserve their CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.

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.

Unlike The Kremlin Letter, Violent Saturday is presented in non-anamorphic widescreen, which means that the 2.35:1 CinemaScope image loses sharpness and clarity when blown - up to fill widescreen sets.

Video: In theaters «Fantastic Voyage» was shown in CinemaScope, and the 2.35:1 widescreen presentation looks very good here.

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.

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).

When widescreen became popular in the 1950s, André Bazin and other critics at Cahiers du cinèma immediately recognised that formats like Cinerama and CinemaScope would have implications for the ways filmmakers could manipulate mise en scène.

It's impossible to imagine this movie not being presented in CinemaScope, as the widescreen format is integral in supporting the imaginative use of split - screen techniques.

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.

How strange is it, then, that both 4 Months, 3 Weeks, and 2 Days and Beyond the Hills are shot in a widescreen aspect ratio — the 2.35:1 often associated with the grand, expansive CinemaScope Hollywood epics of the 1950s?

The anamorphic widescreen CinemaScope ratio was invented as a part of an industry - wide response to the rise of television, a way of asserting the superiority of the filmic image to the televisual one, on the literal logic that bigger (i.e., wider) is better.

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.

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