Though he detested
the CinemaScope ratio, Mamoulian's visual acumen nevertheless prevailed in creating a marvelous musical that showcased the elegance of Fred Astaire and Cyd Charisse - their first onscreen teaming since «The Band Wagon,» in 1953 - following the choreography with wide and medium shots, and lengthy takes with graceful camera movements.
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.
Not exact matches
, a
CinemaScope cartoon presented in dupey non-anamorphic widescreen at an aspect
ratio of 2.35:1.
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.
This is somewhat true of Damien Chazelle's La La Land, with its
CinemaScope aspect
ratio (complete with Tarantino - like title card), lush and dreamy 35 mm colors, visual nods to Singin» In The Rain, and a coda that recalls The Umbrellas Of Cherbourg.
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.
The very first image we see announces Chazelle's grand ambitions: we see a black - and - white square frame — the old pre-1953 Academy aspect
ratio of 4:3 — with the word
CinemaScope framed in the center, its right and left syllables cut off, which suddenly expands to the wider aspect
ratio that the word implies (in this case, 2.55:1), gaining color at the same time.
THE DVD East of Eden comes to DVD in a lovely 2.55:1, 16x9 - enhanced transfer faithful to the wider aspect
ratio of early
CinemaScope titles.
Particularly interesting is the talk about McCarey's transition from the Academy
Ratio to
CinemaScope filming.
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.»
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?
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.
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.
Demme changes the aspect
ratio from 16 × 9 to
Cinemascope, swaps the pale color palette for warm hues and starts shooting in a more conventionally bland style.
The enlarged, grainy photographs of Allegories are systematically produced in horizontal
cinemascope aspect
ratios and feature Minimalist hallmarks of isolation, coordination and objectification of fetishized parts.