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There are few singular moments in history that are indelible in the cultural consciousness of Americans today. The World War II victory days, the assassinations of JFK and MLK, the moon landing, the fall of the Berlin Wall, the terror attacks of Sept. 11, the elections of the country’s first Black president and the man who came after him: The collective memories of these events defined entire generations. Ask most anyone who lived through one of them, and they can recount precisely where they were, who they were with, and what they were feeling when it happened.
The onset of the COVID-19 pandemic last year, which upended the life of billions and has killed more Americans than any modern war or tragedy, is a little trickier to define. Unlike other pivotal moments in history, there’s isn’t a defined date for when it all began, no 5/8/45 or 11/22/63 or 9/11/01 to lean on when seeking an appropriate milestone, no easy box to point to on the calendar. Everyone has a
USC campeão do Triângulo - Jornal da Manhã
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USC campeão do Triângulo - Jornal da Manhã
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Figure 5 –
Nature in a Box:
A Cure for Wellness, and 1.66:1
This brings us back to Bozelli’s comments with which this article began. The digital reconstruction of an aspect ratio that emerged in the 1950s, but has been used sparingly since, demands consideration of its particular qualities and features. In the 1950s, the coming of Cinerama and CinemaScope led Paramount to develop VistaVision and the 1.66:1 ratio, which was initially marketed as a taller and “more comfortable viewing experience.”
[21] Supposedly, it allowed filmmakers to compose images with a greater deal of control and resulted in fewer distractions for the audience than did the comparatively extreme width of CinemaScope. Bazin, for instance, although describing the 1.85:1 version of VistaVision, considered it “spectacular enough to satisfy the eye, yet still rational enough to satisfy the mind.”