Sentences with word «cinemascope»

Within a decade his passion for Baroque and Mannerist painting — and memories of Cinemascope Hollywood movies — results in highly complex structures populated with opulent cascades of ribbony brushstrokes.

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).

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 16,000 square foot Villa Rockstar includes a private 20 - seat Cinemascope screening room fitted with THX - approved sound components and a Land Rover and a new Mini Cooper available for guests.

Christopher Nolan shot Interstellar on film rather than digital cameras with a mix of CinemaScope widescreen (about 2.4:1) and IMAX full frame (the 1.78:1 of widescreen TV) aspect ratios.

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

Dean's landscape show will explore the subject in its broadest sense, taking in botany, cosmography, travel and weather and culminating in a new 35 mm Cinemascope film called Antigone featuring the poet Anne Carson and the actor Stephen Dillane.

Jean - Luc Godard's subversive foray into commercial filmmaking is a star - studded Cinemascope epic.

Images are hard horizontal in the original Cinemascope ratio of 2:35:1.

Capping off Disc 1 is the usual assortment of start - up trailers (Pirates of the Caribbean, Finding Nemo, X-Men: The Legend of Wolverine, Atlantis: Milo's Return) plus a rare, charming (if patently offensive) CinemaScope cartoon starring Donald Duck, Grand Canyonscope (7 mins.)

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.

The dark 2.40:1 CinemaScope visuals are a bit washed out, sporting faded colors, light grain, some minor scratches, and a soft, unfocused look.

The last hour has a few gaps, but Stevens» skills as a documentarian keep the facts flowing, including some choice tales of using CinemaScope, working with Shelley Winters, and the superb cast (using three actors from the original play).

So, if The Rescuers marks the first Disney animated feature to be created in widescreen (not counting the two Cinemascope features of the 1950s), then logic would have it that all animated features since 1977 should be in widescreen on DVD.

Twilight Time's blu - ray of Our Man in Havana looks fantastic, bringing the beautiful black and white CinemaScope frame to HD with a sparkling clarity and deep richness to even the darkest edges of the frame.

Taking cues from Cinemascope movies and billboards, his highly stylized pictures also anticipated Pop Art.

Mr. Hobbs feels like a two - hour, big screen, color, CinemaScope version of its small screen contemporaries «Father Knows Best» or «My Three Sons.»

The movie is presented in the Fox CinemaScope widescreen format, with audio tracks in 5.1 Dolby Surround and 4.0 Dolby Surround (English), as well as Mono (French).

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.

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

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.

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.

Color and Cinemascope remake of the Raoul Walsh — Humphrey Bogart — Ida Lupino gangster saga «High Sierra,» with the original stars replaced by Jack Palance and Shelley Winters.

Bonus: • Audio Commentary with Actor Leslie Caron and Film Historian Jeanine Basinger • The Million Dollar Nickel Vintage Short • The Vanishing Duck Classic Cinemascope Cartoon • Trailer • «Thank Heaven!

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 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.»

Chibnall points out that the U.K. industry generally resisted Fox's promotion of CinemaScope as a production format, but instead adopted compatible anamorphic lenses such as the Cinépanoramic from France and Scandinavian lenses that were used for, respectively, CameraScope and Hammerscope.

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 substance is still insufficient for the vast spread of screen which CinemaScope throws across the front of the theatre, and the impression it leaves is that of nonsense from a few people in a great big hall.

Gentrification of racial humor; Jimmy Fallon isn't funny; Creative women dismissed as «quirky»; Suddenly CinemaScope; «Fifty Shades of Grey» fan fiction.

Finally restored to full CinemaScope dimensions, it's a gorgeous looking disc, so much better than the old video and laserdisc presentations.

Captured in sharp black - and - white Cinemascope photography that complements its exquisite Tati - like sight gags, Aaltra undermines conventional attitudes toward the disabled with its dry wit and acerbic, vengeful characters.

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.

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.

Inspired by a letter he received from an eighth grade class, Coppola turned The Outsiders into a devouring CinemaScope fever dream: an homage to Robert Wise and Nicholas Ray that took its chief inspiration from the timeless backlit twilights of Gone with the Wind, which the boys read to pass their time in self - imposed exile.

Meanwhile, the attendant Dolby Surround audio is maddeningly directional in typical Fox CinemaScope fashion, though it has a nice, warm timbre and decent dynamic range.

Casa Malaparte is an Italian architectural icon though most famously it is a location, almost a character, for Jean - Luc Godard's mesmerising Le mepris (Contempt), a lusciously shot - in - cinemascope celluloid tale of love and loathing in the merciless world of»60s filmmaking.

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.

The authors accept that their comparison involves filmmakers working in «very different Hollywood contexts» (p. 89), but their analysis risks being ahistorical as Preminger's style was at least partly influenced by the technologies available to CinemaScope filmmakers working in early 1954.

During this period, there were only moderate focal length CinemaScope lenses, no anamorphic zooms, and the Eastmancolor stock available was so «slow» that it restricted the use of the longest lenses.

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.