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Project MUSE - Ends of Cinema

summary
At the dawn of the digital era in the final decades of the twentieth century, film and media studies scholars grappled with the prospective end of what was deemed cinema: analog celluloid production, darkened public movie theaters, festival culture. The notion of the “end of cinema” had already been broached repeatedly over the course of the twentieth century from the introduction of sound and color to the advent of television and video and in
Ends of Cinema, contributors reinvigorate this debate to contemplate the ends, as well as directions and new beginnings, of cinema in the twenty-first century.
In this volume, scholars at the forefront of film and media studies interrogate multiple potential “ends” of cinema: its goals and spaces, its relationship to postcinema, its racial dynamics and environmental implications, and its theoretical and historical conclusions. Moving beyond the predictable question of digital versus analog, the scholars g ....

New York , United States , Mary Ann Doane , Caetlin Benson Allott , Michael Boyce Gillespie , Mark Paul Meyer , Jennifer Lynn Peterson , Los Angeles , Francesco Casetti , Amy Villarejo , James Leo Cahill , City College Of New York , California Berkeley , City College , புதியது யார்க் , ஒன்றுபட்டது மாநிலங்களில் , மேரி ஆண்டு தோஅனே , மைக்கேல் பாய்ஸ் கில்லெஸ்பி , குறி பால் மேயர் , ஜெனிபர் லின் பீட்டர்சன் , லாஸ் ஏஞ்சல்ஸ் , ஜேம்ஸ் லியோ காஹில் , நகரம் கல்லூரி ஆஃப் புதியது யார்க் , கலிஃபோர்னியா பெர்க்லி , நகரம் கல்லூரி ,

"A More Boxier Feel": Aspect Ratio, Architecture, and Ecology in A Cure for Wellness (2016)

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.” ....

New York , United States , Grand Casablanca , Virgin Spring , Joshua Comaroff , David Bordwell , Nadia Bozak , Jennifer Fay , Eva Eylers , Charles Barr , Hannah Mia Goth , Humphrey Bogart , Karl Schoonover , Hunter Vaughan , Lockhart Dane Dehaan , Bojan Bazelli , Mary Ann Doane , Jean Renoir , Leo Marx , Apichatpong Weerasethakul , Ingrid Bergman , Kate Soper , Sergei Eisenstein , Anthony Vidler , Raymond Williams , Ingmar Bergman ,