Widescreen Worldwide

Widescreen Worldwide

Edited by John Belton, Sheldon Hall, and Steven Neale
Distribution: World
Publication date: 12/1/2010
Format: cloth 232 pages, 162 b&w illus.
7.5 x 10
ISBN: 978-0-86196-694-3
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Examining widescreen cinema as a worldwide aesthetic and industrial phenomenon, the essays in this volume situate the individual expressions of this new technology within the larger cultural and industrial practices that inform them. What Hollywood sought to market globally as CinemaScope, SuperScope, Techniscope, Technirama, and Panavision took indigenous form in a host of compatible anamorphic formats developed around the world. The book documents how the aesthetics of the first wave of American widescreen films underwent revision in Europe and Asia as filmmakers brought their own idiolect to the language of widescreen mise-en-scène, editing, and sound practices. The work of Otto Preminger, Anthony Mann, Samuel Fuller, Sam Peckinpah, Seijun Suzuki, Kihachi Okamoto, and Tai Kato, among others, is addressed.
Distributed for John Libbey Publishing

Author Bio

John Belton is Professor of English and Film at Rutgers University and author of Widescreen Cinema.

Sheldon Hall is Senior Lecturer in Stage and Screen at Sheffield Hallam University, United Kingdom.

Steven Neale is Professor of Film Studies at Exeter University.


"This book is a significant contribution to film history not only because of the information contained in it, but also because the chapters demonstrate different approaches to understanding a period of rapid technological change in the middle of the 20th century that offer ways of understanding changes to screen media that are occurring now." —www.sensesofcinema.com

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Table of Contents

I. Introduction
II. History, Technology and Innovation
1. John Belton, “Fox and 50mm Film”
2. Tom Vincent, “Standing Tall and Wide: The Selling of VistaVision”
3. Paul McDonald, “Hollywood: the IMAX Experience”

III. Textual Analysis, Aesthetics and Film
5. Lisa Dombrowski, “Cheap but Wide: The Stylistic Exploitation of CinemaScope Aesthetics in Black-and White Low-Budget American Films”
6. John Gibbs and Douglas Pye, “Preminger and Peckinpah: Seeing and Shaping Widescreen Worlds”
7. Steve Neale, “The Art of the Palpable: Composition and Staging in the Widescreen Films of Anthony Mann”

IV. Themes and Formats
8. Sheldon Hall, “Alternative Versions in the Early Years of CinemaScope”
9. Kathrina Glitre, “Conspicuous Consumption: The Spectacle of Widescreen Comedy in the Populuxe Era”

V. Widescreen Worldwide
10. Steve Chibnall, “The Scope of Their Ambition: British Independent Film Production and Widescreen Formats in the 1950s”
11. Federico Vitella, “Before Techniscope: The Penetration of Foreign Widescreen Technology in Italy, 1953–59”
12. Eric Crosby, “Widescreen Composition and Transnational Influence: The Problem of Early Anamorphic Filmmaking in Japan”
13. David Bordwell, “Another Shaw Production: Anamorphic Adventures in Hong Kong”
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