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List of 35mm features released in 1.37 after 1953: Difference between revisions
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Some films made in the late 1950s, after the rise of widescreen, can be played in either 1.37 or widescreen without suffering. In some cases there is an obvious correct choice. However, during this transitional period many films were framed by their makers with the expectation that they would play in both widescreen cinemas and in cinemas that hadn't yet updated their equipment for widescreen. (For more about this history, see Kyle Westphal's essay "[http://www.northwestchicagofilmsociety.org/2012/07/02/invasion-of-the-aspect-ratios/ Invasion of the Aspect Ratios]"). | Some films made in the late 1950s, after the rise of widescreen, can be played in either 1.37 or widescreen without suffering. In some cases there is an obvious correct choice. However, during this transitional period many films were framed by their makers with the expectation that they would play in both widescreen cinemas and in cinemas that hadn't yet updated their equipment for widescreen. (For more about this history, see Kyle Westphal's essay "[http://www.northwestchicagofilmsociety.org/2012/07/02/invasion-of-the-aspect-ratios/ Invasion of the Aspect Ratios]"). | ||
Lively debate about the "correct" aspect ratio exists around many films from this period. In situations where the correct choice is unclear, we recommend considering (1) how the print looks on the bench or on the screen (perhaps looking at the film through the aperture plates for the ratios you're considering), (2) historical resources and primary sources (such as interviews with the film director), and (3) what the consensus | Lively debate about the "correct" aspect ratio exists around many films from this period. In situations where the correct choice is unclear, we recommend considering (1) how the print looks on the bench or on the screen (perhaps looking at the film through the aperture plates for the ratios you're considering), (2) historical resources and primary sources (such as interviews with the film director), and (3) what the consensus among third parties seems to be (check IMDb, look at home video releases, and try searching for your film's title and the phrase "aspect ratio"). | ||
===Filmmakers to watch out for=== | ===Filmmakers to watch out for=== |
Revision as of 17:45, 26 August 2014
A guide to 35mm features released in the 1.37:1 aspect ratio after 1953, the year widescreen formats became the industry standard in Hollywood. This list is not comprehensive, but is intended to help familiarize projectionists with the kinds of 'exceptions to the rule' they should be looking for.
Rules of thumb
- The big one: Soft-matted widescreen is easily mistaken for full-frame 1.37 - don't be fooled!
- Films originally released for TV exhibition or on 16mm are more likely than others to be natively 1.37
- With very few exceptions, Japanese films made before the late 1970s are either 1.37 or 'scope
Note on films from the 1950s
Some films made in the late 1950s, after the rise of widescreen, can be played in either 1.37 or widescreen without suffering. In some cases there is an obvious correct choice. However, during this transitional period many films were framed by their makers with the expectation that they would play in both widescreen cinemas and in cinemas that hadn't yet updated their equipment for widescreen. (For more about this history, see Kyle Westphal's essay "Invasion of the Aspect Ratios").
Lively debate about the "correct" aspect ratio exists around many films from this period. In situations where the correct choice is unclear, we recommend considering (1) how the print looks on the bench or on the screen (perhaps looking at the film through the aperture plates for the ratios you're considering), (2) historical resources and primary sources (such as interviews with the film director), and (3) what the consensus among third parties seems to be (check IMDb, look at home video releases, and try searching for your film's title and the phrase "aspect ratio").
Filmmakers to watch out for
Films directed by these filmmakers are in 1.37 often enough that it's worth noting:
- Jean-Luc Godard
- Eric Rohmer
- Gus Van Sant
List of films
Title | Director | Year | Release print aspect ratio |
Country | Notes |
---|---|---|---|---|---|
Meek's Cutoff | Kelly Reichardt | 2010 | Full-frame | United States | |
The Artist | Michel Hazanavicius | 2011 | Windowboxed | France | |
Paranoid Park | Gus Van Sant | 2007 | Full-frame | United States | |
Last Days | Gus Van Sant | 2005 | Full-frame | United States | |
Elephant | Gus Van Sant | 2003 | Full-frame | United States | |
One from the Heart | Francis Ford Coppola | 1982 | Full-frame | United States | |
My Winnipeg | Guy Maddin | 2008 | Windowboxed | Canada | |
Fish Tank | Andrea Arnold | 2009 | Windowboxed | United Kingdom | |
A Summer's Tale | Eric Rohmer | 1996 | Full-frame | France | |
Wild Style | Charlie Ahearn | 1983 | Full-frame | United States | |
The Good German | Steven Soderbergh | 2006 | United States | ||
Celine and Julie Go Boating | Jacques Rivette | 1974 | France | ||
Le Pont du Nord | Jacques Rivette | 1982 | France | ||
Ida | Paweł Pawlikowski | 2013 | Windowboxed | Poland | |
Post Tenebras Lux | Carlos Reygadas | 2012 | Mexico | ||
Parsifal | Hans-Jürgen Syberberg | 1982 | Full-frame | West Germany | |
Prénom Carmen | Jean-Luc Godard | 1983 | France | ||
Passion | Jean-Luc Godard | 1982 | France | ||
Détective | Jean-Luc Godard | 1985 | France | ||
Hail Mary | Jean-Luc Godard | 1985 | France | ||
For Ever Mozart | Jean-Luc Godard | 1996 | France | ||
Notre musique | Jean-Luc Godard | 2004 | France | ||
Hélas pour moi | Jean-Luc Godard | 1993 | France | ||
Breathless | Jean-Luc Godard | 1960 | Full-frame | France | |
Vivre Sa Vie | Jean-Luc Godard | 1962 | Full-frame | France | |
Le Petit Soldat | Jean-Luc Godard | 1960 | Full-frame | France | |
Band of Outsiders | Jean-Luc Godard | 1964 | Full-frame | France | |
Alphaville | Jean-Luc Godard | 1965 | Full-frame | France | |
Masculin Féminin | Jean-Luc Godard | 1966 | Full-frame | France | |
Meek's Cutoff | Kelly Reichardt | 2010 | Full-frame | United States | |
The Decalogue | Krzysztof Kieślowski | 1989 | Full-frame | Poland | |
Close-Up | Abbas Kiarostami | 1990 | Full-frame | Iran | |
Ivan's Childhood | Andrei Tarkovsky | 1962 | Full-frame | USSR | |
The Mirror | Andrei Tarkovsky | 1975 | Full-frame | USSR | |
Slacker | Richard Linklater | 1991 | Full-frame | United States | |
The Devil Probably | Robert Bresson | 1977 | Full-frame | France | |
Tabu | Miguel Gomes | 2012 | Portugal | ||
Wuthering Heights | Andrea Arnold | 2011 | United Kingdom |
Further reading
- David Bordwell: "Godard comes in many shapes and sizes" (2007, University of Wisconsin-Madison)
- Joe Beres: "Paranoid Park’s aspect ratio conundrum" (2008, Walker Art Center)
- Kyle Westphal: "Invasion of the Aspect Ratios" (2012, Northwest Chicago Film Society)