Sentences with phrase «cinemascope format»

It's in Cinemascope format, but rotated through 90 °.

The movie looks tremendous as well, thanks to Kore - eda's decision to shoot in the CinemaScope format, something the writer - director hasn't used before.

Among delayed first looks, the most exciting evening of the year for me had to be the Seattle Film Society showcasing of two Anthony Mann westerns in their CinemaScope formats.

Not exact matches

Only recently has the CinemaScope The Robe been made available to cable TV (shown in «letterbox» format to allow home viewers the full picture).

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.

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).

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

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 movie was shot in the two - perf Techniscope format, meaning each frame of camera negative has only half the resolution of a CinemaScope (i.e., four - perf) frame, and this 1080p (MPEG - 4 / AVC) transfer, letterboxed to 2.35:1, seems to capture every last bit of visual information.

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.

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.

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.

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.