CinemaScope in the context of Jargon


CinemaScope in the context of Jargon

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⭐ Core Definition: CinemaScope

CinemaScope is a cinematographic technique which used an anamorphic lens to produce widescreen pictures. Crucially, these could be shown in theatres using existing equipment (and an adapter). CinemaScope pictures were produced from 1953 to 1967, and less often after.

When 20th Century Fox began using CinemaScope this marked the beginning of the modern anamorphic format in 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology behind the CinemaScope lens system was made obsolete by later developments, primarily advanced by Panavision, CinemaScope's anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it 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.

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CinemaScope in the context of Panavision

Panavision Inc. is an American motion picture equipment company founded in 1954 specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product lines to meet the demands of modern filmmakers. The company introduced its first products in 1954. Originally a provider of CinemaScope accessories, the company's line of anamorphic widescreen lenses soon became the industry leader. In 1972, Panavision helped revolutionize filmmaking with the lightweight Panaflex 35 mm movie camera. The company has introduced other cameras such as the Millennium XL (1999) and the digital video Genesis (2004).

Panavision operates exclusively as a rental facility—the company owns its entire camera inventory, unlike most of its competitors.

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CinemaScope in the context of Seven Brides for Seven Brothers (film)

Seven Brides for Seven Brothers is a 1954 American musical film, directed by Stanley Donen, with music by Gene de Paul, lyrics by Johnny Mercer, and choreography by Michael Kidd. The screenplay, by Albert Hackett, Frances Goodrich, and Dorothy Kingsley, is based on the short story "The Sobbin' Women" by Stephen Vincent Benét, which was based in turn on the ancient Roman legend of the Rape of the Sabine women. Seven Brides for Seven Brothers, which is set in Oregon in 1850, is particularly known for Kidd's unusual choreography, which makes dance numbers out of such mundane frontier pursuits as chopping wood and raising a barn. Film critic Stephanie Zacharek has called the barn-raising sequence in Seven Brides "one of the most rousing dance numbers ever put on screen." The film was photographed in Ansco Color in the CinemaScope format.

Seven Brides for Seven Brothers won the Academy Award for Best Scoring of a Musical Picture and was nominated for four additional awards, including Best Picture. In 2006, American Film Institute named Seven Brides for Seven Brothers as one of the best American musical films ever made. In late 2004, the same year Howard Keel died, Seven Brides for Seven Brothers was selected for preservation in the U.S. National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant."

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CinemaScope in the context of Super 35

Super 35 (originally known as Superscope 235) is a motion picture film format that uses exactly the same film stock as standard 35 mm film, but puts a larger image frame on that stock by using the space normally reserved for the optical analog sound track.

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CinemaScope in the context of VistaVision

VistaVision is a cinematographic technique which uses higher resolution, widescreen variant of the 35mm motion picture film format that was created and designed by engineers at Paramount Pictures in 1954.

Paramount did not use anamorphic processes such as CinemaScope but refined the quality of its flat widescreen system by orienting the 35 mm negative horizontally in the camera gate and shooting onto a larger area, which yielded a finer-grained projection print.

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CinemaScope in the context of Chips Ahoy (film)

Chips Ahoy is a Walt Disney-produced animated CinemaScope theatrical short. It was released to theaters on February 24, 1956, and was the second to last Disney cartoon to be distributed by RKO Radio Pictures. It is also the second to last regular Disney theatrical cartoon to feature Donald Duck in a starring role and the final appearance of Chip 'n' Dale in The Golden Age of Animation and their final appearance overall, until the 1959 Walt Disney Presents television special "The Adventures of Chip 'n' Dale". It was also re-released to theaters on July 24, 1985 to accompany The Black Cauldron.

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CinemaScope in the context of Rebel Without a Cause

Rebel Without a Cause is a 1955 American coming-of-age melodrama film, directed by Nicholas Ray. The film stars James Dean, Natalie Wood, Sal Mineo, Jim Backus, Ann Doran, Corey Allen, William Hopper, and Nick Adams. It is also the film debut of Dennis Hopper, albeit in a minor role. It was filmed in the then recently introduced CinemaScope format. Focusing on emotionally confused suburban, middle-class teenagers, the film offers both social commentary and an alternative to previous films depicting delinquents in urban slum environments.

The film was an attempt to portray the moral decay of American youth, critique parental styles, and explore the differences and conflicts between generations, namely the Interbellum Generation and the Silent Generation. The title was adopted from psychologist Robert M. Lindner's 1944 book, Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath, although the film itself does not make any other references to Lindner's book. Warner Bros. released the film on October 27, 1955, nearly a month after Dean's death in a car crash on September 30, 1955.

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CinemaScope in the context of Oklahoma! (film)

Oklahoma! is a 1955 American musical film based on the 1943 musical of the same name by Richard Rodgers and Oscar Hammerstein II, which in turn was based on the 1931 play Green Grow the Lilacs written by Lynn Riggs. It stars Gordon MacRae, Shirley Jones (in her film debut), Rod Steiger, Charlotte Greenwood, Gloria Grahame, Gene Nelson, James Whitmore, and Eddie Albert. The production was the only musical directed by Fred Zinnemann. Oklahoma! was the first feature film photographed in the Todd-AO 70 mm widescreen process (and was simultaneously filmed in CinemaScope 35 mm).

Set in Oklahoma Territory shortly after the turn of the 20th century, it tells the story of farm girl Laurey Williams (Jones) and her courtship by two rival suitors, cowboy Curly McLain (MacRae) and the sinister and frightening farmhand Jud Fry (Steiger). A secondary romance concerns Laurey's friend, Ado Annie (Grahame), and cowboy Will Parker (Nelson), who also has an unwilling rival. A background theme is the territory's aspiration for statehood, and the local conflict between cattlemen and farmers.

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CinemaScope in the context of The Fly (1958 film)

The Fly is a 1958 American science fiction horror film directed and produced by Kurt Neumann and distributed by 20th Century Fox. The screenplay by James Clavell is based on the 1957 short story of the same name by George Langelaan. The film stars David Hedison (in his first leading role), Patricia Owens, Vincent Price, and Herbert Marshall.

The film tells the story of a scientist who is transformed into a grotesque human–fly hybrid after a common house fly enters unseen into a molecular transporter with which he is experimenting, resulting in his atoms being combined with those of the insect. The film was released in CinemaScope by Fox, with color by Deluxe. It was released on July 16, 1958 as a double feature with Space Master X-7 (1958)

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CinemaScope in the context of The High and the Mighty (film)

The High and the Mighty is a 1954 American aviation disaster film, directed by William A. Wellman, and written by Ernest K. Gann, who also wrote the 1953 novel on which his screenplay was based. Filmed in WarnerColor and CinemaScope, the film's cast was headlined by John Wayne, who was also the project's co-producer.

Wayne stars as a veteran airline first officer, Dan Roman, whose airliner has a catastrophic engine failure while crossing the Pacific Ocean. The film's supporting cast includes Claire Trevor, Laraine Day, Robert Stack, Jan Sterling, Phil Harris, and Robert Newton. Composer Dimitri Tiomkin won an Oscar for his original score, while his title song was also nominated for an Oscar; it did not actually appear in the theatrical release prints, nor in its much later restoration. The film received mostly positive reviews and grossed $8.5 million on its theatrical release.

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CinemaScope in the context of The Hunchback of Notre Dame (1956 film)

The Hunchback of Notre Dame (in French Notre-Dame de Paris) is a 1956 French-Italian CinemaScope drama horror film version of Victor Hugo's 1831 novel, directed by Jean Delannoy and produced by Raymond Hakim and Robert Hakim. It stars American actor Anthony Quinn and Italian actress Gina Lollobrigida. The film is the first version of the novel to be made in color.

In the tradition of many sword and sandal spectacles, Quinn and Lollobrigida are the only two actors in the film who actually speak in English; the rest of the cast is made up of French actors who have had their voices dubbed into English. In the French version both Quinn and Lollobrigida speak French.

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