Abstract
In 1953, the commercial success of The Robe, filmed in the widescreen process of CinemaScope, launched the widescreen era in which a variety of screen formats that were wider than had been normal, previously vied for screen dominance. While the technology of these processes are well understood, their aesthetics have received scant attention. This paper corrects that shortcoming. It defines and describes the previously unrecognized principles that guided the design and composition of widescreen films during the latter years of the Hollywood Studio System. While traditionally thought of as the work of the director and/or cinematographer, the study argues, on the basis of the close examination of 300 films, that both composition and design are determined primarily by the rules that control set design. Frame grabs from many films illustrate and support this argument that adds to our understanding of film aesthetics during the 1950s and early 1960s.
Presenters
Marshall DeutelbaumProfessor Emeritus, English, Purdue University, Indiana, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
AESTHETICS, WIDESCREEN FILM, COMPOSITION, CLOSE ANALYSIS, HOLLYWOOD STUDIO SYSTEM
