Harvard University Press, 1992 - 300 σελίδες
The history of American widescreen cinema, like the history of American cinema itself, begins with notions of novelty. Indeed, the popular reception of the widescreen revolution looks back to attitudes surrounding the invention of the cinema; both were considered to be short-lived phenomena of minor cultural or aesthetic significance. A new technology designed primarily for short-term amusement, the cinema remained a novelty until its technology no longer supplied the greater part on its amusement value.
Τι λένε οι χρήστες - Σύνταξη κριτικής
Δεν εντοπίσαμε κριτικές στις συνήθεις τοποθεσίες.
Writing History Backward
The Shape of Things to Come
From Novelty to Norm
10 άλλες ενότητες δεν εμφανίζονται
Άλλες εκδόσεις - Προβολή όλων
35mm film advent American anamorphic April aspect ratio attempt audience AUTHOR'S COLLECTION began Big Trail Box Office camera Chretien's CinemaScope 55 CinemaScope films Cinematographer Cinerama color curved screen Daily Variety Dickson drive-ins Eastman economic Edison's Eidoloscope engineers entertainment equipment exhibition exhibitors Film Daily film industry filmmaking first-run folder Fox's frame Grandeur Hollywood Hypergonar Ibid Ideology initial innovation installations Kinetoscope large-screen lens lenses Magnascope March marketplace memo Mike Todd million monaural motion picture movie palaces moviegoing narrative novelty optical original Panavision panning and scanning Paramount patents peepshow percent Photography Polyvision postwar production projector release Robe shot Skouras SMPTE spectacle spectator spectator's spectatorship Sponable Collection standard stereo magnetic sound stereo sound stereophonic sound Super Panavision 70 television theaters theatrical Todd-AO traditional Twentieth Century-Fox Variety October VistaVision Waller Warners wide wide-film wide-film systems widescreen cinema widescreen films widescreen processes widescreen revolution widescreen systems width York Zanuck