🎞️ FILMS - CINEMASCOPE ------------------------ - [ ] Brigadoon (1954) - [ ] Violent Saturday (1955) ** - [ ] Lola Montès (1955) ** - [ ] Gigi (1958) - [ ] Bigger than Life (1956) - [ ] It's Always Fair Weather (1955) - [ ] An Affair to Remember (1957) - [ ] The Seven Year Itch (1955) - [ ] How to Marry a Millionaire (1953) ** - [ ] Bus Stop (1956) - [ ] The Girl Can’t Help It (1956) - [ ] Will Success Spoil Rock Hunter (1957) - [ ] The Man From Larmie (1955) - [ ] Ride Lonesome (1959) ** - [ ] The Long Gray Line (1955) - [ ] The Longest Day (1962) - [ ] The Enemy Below (1957) - [ ] Mister Roberts (1955) - [ ] Billy Liar (1963) - [ ] House of Usher (1960) - [ ] Panic in Year Zero! (1962) - [ ] Jailhouse Rock (1957) - [ ] The Tarnished Angels (1957) - [ ] Love Me Tender (1956) - [ ] A Farewell to Arms (1957) - [ ] Contempt (1963) - [ ] The Robe (1953) - [ ] Le Mépris (1963) - [ ] Lust for Life (1956) - [ ] The Diary of Anne Frank (1959) - [ ] The Ten Commandments (1956) - [ ] Silk Stockings (1957) - [ ] Beneath the 12-mile Reef (1953) - [ ] It’s a Mad, Mad, Mad, Mad World (1963) - [ ] The Violent Men (1955) - [ ] Forty Guns (1947) - [ ] Jailhouse Rock (1957) - [ ] The Big Trail (1930) - [ ] The Greatest Story Ever Told (1958) - [ ] House of Bamboo (1955) - [ ] Around the World in 80 Days (1956) - [ ] How the West Was Won (1962) - [ ] The Longest Day (1962) - [ ] Doctor Zhivago (1965) - [ ] Tom Jones (1963) - [ ] Imitation of Life (1959) - [ ] Picnic (1955) - [x] The Bridge on the River Kwai (1957) - [x] East of Eden (1955) - [x] Spartacus (1960) - [x] Giant (1956) - [x] Pillow Talk (1959) - [x] One Eyed Jacks (1961) - [x] Some Came Running (1958) ** CinemaScope is an anamorphic lens series used, from 1953 to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theaters using existing equipment, albeit with a lens adapter. The Wide Screen Revolution (1952 - 1970) Introduced in 1953 Silk Stockings (1957), with its mantra: “You gotta have glorious Technicolor, breathtaking CinemaScope and stereophonic sound.” Toot, Whistle, Plunk and Boom (1953) Widescreen anamorphic format The term anamorphic should not be considered synonymous with widescreen; VistaVision was non-anamorphic, and at the time of shooting, so was Techniscope . CinemaScope, Panavision, Technirama, & VistaVision generally refers to any 2.35:1, 2.39:1, 2.40:1, or 2.55:1 presentation or, sometimes, the use of anamorphic lensing or projection in general. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope lens. https://letterboxd.com/kerrymaxwell/list/cinemascope-2/ Fullscreen" (i.e., pan and scan) and "Widescreen" Silent films eventually settled on a 4:3 aspect ratio based on the space between the perforations of standard 35mm film. That means that for every four inches in width, the projection was three inches in height. 4:3 for example, was the original 35mm motion picture Academy standard, AND the television standard for many decades before HDTV hit the scene. 1:66:1 1.66:1 then is associated with European arthouse films, gritty documentaries, 90s indie darlings, and a variety of other genres that made use of the format natively. https://45jo5o2sxknq2fucgi3kwxpa-wpengine.netdna-ssl.com/wp-content/uploads/2021/07/Why-The-Golden-1.66-1-Aspect-Ratio-Is-So-Striking-How-I-Plan-To-Use-It-On-My-Feature-Film-4-3-vs-1661-1536x864.jpg Regalscope - b cinemascope This Is Cinerama (1952) modern anamorphic format in both principal 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. 1.78:1 1.85:1 2.00:1 2.20:1 2.35:1 2.39:1 1.66:1 (before the digital age) 1.33:1 (pre 70’s-ish) https://letterboxd.com/naomikawasevevo/list/im-always-a-slut-for-unusual-aspect-ratios/detail/page/2/ Tags: films