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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.” ....
There are two types of Hollywood-on-Hollywood stories. The first celebrates the glitzy mirage of Hollywood success, and the second chastises it for being a commercial industry. As director David Fincher ( The Social Network, Gone Girl) usually does, this one goes for the kill. Mank is for the cinephiles, for brooding graduate students smoking behind the building asking if you ve seen Kurosawa. Following screenwriter Herman J. Mankiewicz, this odyssey examining Citizen Kane s writing comes out longer than the actual Citizen Kane. Most of it is Gary Oldman as Mankiewicz being drunk or wanting to be drunk. That s more fun than it sounds. His interactions and moral questioning around the old MGM world of William Randolph Hurst (Charles Dance of ....