1. Space in Cinema, Part One A Window Onto A World
EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Space in Cinema, Part One A Window Onto A World
Edward Bowen
MTSU EMC 3000

2. Space Space in Cinema is defined by “the frame.”
The frame is a two-dimensional boundary, a rectangle with height and width, a window through which, at any given moment, a part of the world of the film is revealed to us.

3. Space
“Cinema is a matter of what's in the frame and what's out.” Martin Scorsese

4. Space
Inside the frame is material, physical, specific. Outside the frame is imagination, suggestion, memory.

5. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Inside the frame is material, physical, specific. Outside the frame is imagination, suggestion, memory.
Footnote

6. Space
Aside – The “frame” also defines time in cinema, but that’s a different definition of frame. More on that later.

7. Space
The frame obviously comes in different sizes, depending on the viewer’s choice of medium.

8. Space An aside from Director David Lynch
Watch (:31)

9. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
The frame also comes in a variety of shapes.

10. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
The frame’s shape is described by a ratio of its width to its height, its aspect ratio.

11. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios
Footnote ttp://

12. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Standard or Academy ratio (4 X 3 or 1.33:1). In adopting the 35mm format, early filmmakers established the standard aspect ratio as a classical rectangle with a ratio of four units of width to three units of height. Thus if the projected image is twenty feet wide it will be fifteen feet high. This ratio dominated cinema from its birth until the 1950s.

13. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios – 1.33:1 or 4:3 Academy Ratio

14. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Wider aspect ratios were adopted in the 1950s as one of many strategies to complete with television and its small square-ish image.

15. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios – 1.66:1 European and British Standard Widescreen
Used beginning in the 1950s

16. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios – 1.85:1 Standard Widescreen
Used beginning in the 1950s (May, 1953)

17. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios – 2:35:1 Anamorphic of Super 35mm Widescreen
Used beginning in the 1950s (Standardized in 1957)

18. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratios – 2.76:1 Ultra Panavision 70
Used for a brief period beginning in the 1950s (1957 – 1966)
Resurrected for “The Hateful Eight” (2015)

19. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
READING

20. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
The Grand Budapest Hotel (2014)
Director Wes Anderson used different aspect ratios to suggest different eras.
1930s
1960s
1985 to Present
Footnote l
“The Grand Budapest Hotel” (Wes Anderson, 2014)

21. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
IMAX - Back to Square One
In 2000, to compete with home theater and digital devices and their relatively small screens, feature films began to be shot and released in IMAX.

22. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
IMAX is 1.36:1, almost exactly academy ratio. But …
Standard IMAX screen is 22 × 16.1 m (72 × 52.8 ft)

23. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
IMAX – 1.36:1
Standard IMAX screen is 22 × 16.1 m (72 × 52.8 ft)
Watch - The Dark Knight Rises Premieres in IMAX at Liberty Science Center

24. EMC 3000 Space in Cinema, Part 1 - A Window Onto A World
Aspect Ratio - Summary
Footnote