And sate it does, at least from a technical standpoint: The 2.35:1 anamorphic widescreen transfer * is the finest for one of the film's
theatrical cuts — a remarkable feat considering it's the longest instalment of the trilogy (and thus harder to squeeze onto a single - sided, dual -
layered platter), though perhaps not so astonishing in
light of two years having passed since The Fellowship of the Ring debuted on the format.
Akdogan often utilizes objects counter to their intended use — traditionally, colored gels for cinematic and
theatrical lighting create distinct
light conditions while remaining hidden from view; the artist extracts and edits the atmospheric and surface properties of these materials, often directly in the exhibition space — manipulating
layers of color pigments, print, and
light sources.