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* Widescreen actually dates to the beginning of the sound era, where a few movies such as ''Film/TheBigTrail'' were made in the widescreen format. But all of those movies were bombs, and Hollywood reverted back to 4:3 for another 20 years, until widescreen came back as a way to lure viewers back from the new medium of television.


* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.



* ''Film/{{Logan}}'' is filmed entirely in 2.35:1 ratio, and makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope shot of the titular zeppelin sitting in front of its hangar.

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* ''Film/{{Logan}}'' is filmed entirely in 2.35:1 ratio, and makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope [=CinemaScope=] shot of the titular zeppelin sitting in front of its hangar.

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* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope shot of the titular zeppelin sitting in front of its hangar.


[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual aspect ratio of the movie is 1:85:1.[[/note]]]]

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[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual aspect ratio of the movie is 1:85:1.[[/note]]]]
[=CinemaScope=]!]]


[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]

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[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual AspectRatio aspect ratio of the movie is 1:85:1.[[/note]]]]


[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]

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[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope![[note]]The [=CinemaScope=]![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]


[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]

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[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]
Cinemascope![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]


* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.

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* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.still shows the Rebel cruiser as far smaller than the Star Destroyer.


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* The Star Destroyer shot in ''Film/ANewHope''.

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* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.


[[caption-width-right:350:PeopleSitOnChairs... in Cinemascope!]]

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[[caption-width-right:350:PeopleSitOnChairs...[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]


* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of space surrounding them.

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* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.

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* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of space surrounding them.


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* ''Film/TheSandlot'' is full of this, and uses some ''very'' wide lenses.


* In the 1996 film ''Film/Evita'', director Alan Parker milks the widescreen format for absolutely everything it's worth. The filmmakers even managed to get their hands on the ''widest-angle anamorphic lens ever made'' in order to fit everything in.

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* In the 1996 film ''Film/Evita'', ''Film/{{Evita}}'', director Alan Parker milks the widescreen format for absolutely everything it's worth. The filmmakers even managed to get their hands on the ''widest-angle anamorphic lens ever made'' in order to fit everything in.

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* In the 1996 film ''Film/Evita'', director Alan Parker milks the widescreen format for absolutely everything it's worth. The filmmakers even managed to get their hands on the ''widest-angle anamorphic lens ever made'' in order to fit everything in.

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