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Widescreen Shot
- 150 statements
- 28 feature instances
- 28 referencing feature instances
| Widescreen Shot | type |
FeatureClass | |
| Widescreen Shot | label |
Widescreen Shot | |
| Widescreen Shot | page |
WidescreenShot | |
| Widescreen Shot | comment |
Widescreen films relying on wide Aspect Ratio shots to show themselves off. At first, these were largely landscape shots, but as they didn't give people headaches, they were a lot more successful than 3-D films, and have become an integral part of Scenery Porn. Later on directors such as David Lean and Akira Kurosawa used the format for more artistic shots, to the point where their widescreen films actually lose a lot in being cropped to 4:3 ratio. Although landscapes are still some of the most common forms of widescreen showing shots, others include people far apart from each other or showing a huge crowd of people. One definite gimmick form of this is showing a shot in normal screen ratio, and then having it spread out to widescreen. Film studios also marketed their respective widescreen formats in the early days (since they each used tech that could be patented), even if most were essentially the same result (a wider camera and screen), except for Polyvision and Cinerama (both of which utilized three synchronized projectors, the latter also using a deeply curved screen). Compare Letterbox, Open Matte, Visual Compression (all three are ways to try to fit widescreen into normal ratio), 3-D Movie, Shoot the Money. The audio equivalent of this is Gratuitous Panning. Contrast Pan and Scan. |
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| Widescreen Shot | fetched |
2023-07-20T12:00:35Z | |
| Widescreen Shot | parsed |
2023-07-20T12:00:35Z | |
| Widescreen Shot | processingComment |
Dropped link to Evita: Not an Item - UNKNOWN | |
| Widescreen Shot | processingComment |
Dropped link to Lampshaded: Not an Item - FEATURE | |
| Widescreen Shot | processingUnknown |
Evita | |
| Widescreen Shot | isPartOf |
DBTropes | |
| Widescreen Shot / int_170b5663 | type |
Widescreen Shot | |
| Widescreen Shot / int_170b5663 | comment |
The Girl Can't Help It had a similar opening Aspect Ratio Switch trick to Will Success Spoil Rock Hunter? | |
| Widescreen Shot / int_170b5663 | featureApplicability |
1.0 | |
| Widescreen Shot / int_170b5663 | featureConfidence |
1.0 | |
| The Girl Can't Help It | hasFeature |
Widescreen Shot / int_170b5663 | |
| Widescreen Shot / int_1f72b18d | type |
Widescreen Shot | |
| Widescreen Shot / int_1f72b18d | comment |
In the Tom and Jerry short "Tom's Photo Finish", Tom is resting on the left side on the screen and does a Wild Take where his head pops off his body and goes to the right side. | |
| Widescreen Shot / int_1f72b18d | featureApplicability |
1.0 | |
| Widescreen Shot / int_1f72b18d | featureConfidence |
1.0 | |
| TomAndJerry | hasFeature |
Widescreen Shot / int_1f72b18d | |
| Widescreen Shot / int_21bf1f01 | type |
Widescreen Shot | |
| Widescreen Shot / int_21bf1f01 | comment |
The final graveyard scene in The Good, the Bad and the Ugly. | |
| Widescreen Shot / int_21bf1f01 | featureApplicability |
1.0 | |
| Widescreen Shot / int_21bf1f01 | featureConfidence |
1.0 | |
| The Good, the Bad and the Ugly | hasFeature |
Widescreen Shot / int_21bf1f01 | |
| Widescreen Shot / int_2350acad | type |
Widescreen Shot | |
| Widescreen Shot / int_2350acad | comment |
Some episodes of Cheers, when remastered for high definition and the 16:9 aspect ratio, reveal the curtain on the left side of the bar set, which was not visible when episodes originally aired in 4:3. | |
| Widescreen Shot / int_2350acad | featureApplicability |
1.0 | |
| Widescreen Shot / int_2350acad | featureConfidence |
1.0 | |
| Cheers | hasFeature |
Widescreen Shot / int_2350acad | |
| Widescreen Shot / int_25124728 | type |
Widescreen Shot | |
| Widescreen Shot / int_25124728 | comment |
On occasion, Disney movies will start in one aspect ratio, then switch to a wider one once the story takes off. Brother Bear and Enchanted begin in a 1.78:1 ratio, while Oz the Great and Powerful begins in the 1.33:1 Academy Ratio (as a homage to the classic MGM Film). The intended effect is lost somewhat on home video as these opening ratios are windowboxed into the 2.35:1 frames the movies eventually expand to. | |
| Widescreen Shot / int_25124728 | featureApplicability |
1.0 | |
| Widescreen Shot / int_25124728 | featureConfidence |
1.0 | |
| Brother Bear | hasFeature |
Widescreen Shot / int_25124728 | |
| Widescreen Shot / int_39e3b5ff | type |
Widescreen Shot | |
| Widescreen Shot / int_39e3b5ff | comment |
Kurosawa was fond of shots of Samurai standing far apart from each other, and was referenced at the end of Kill Bill part 1. | |
| Widescreen Shot / int_39e3b5ff | featureApplicability |
1.0 | |
| Widescreen Shot / int_39e3b5ff | featureConfidence |
1.0 | |
| Kill Bill | hasFeature |
Widescreen Shot / int_39e3b5ff | |
| Widescreen Shot / int_3f231b84 | type |
Widescreen Shot | |
| Widescreen Shot / int_3f231b84 | comment |
Jurassic World was filmed in an unusual 2:1 Aspect Ratio. This was chosen as a compromise. Executive producer Steven Spielberg wanted a 1.85:1 format (same as the first three films), while director Colin Trevorrow and cinematographer John Schwartzman wanted a 2.39:1 format. | |
| Widescreen Shot / int_3f231b84 | featureApplicability |
1.0 | |
| Widescreen Shot / int_3f231b84 | featureConfidence |
1.0 | |
| Jurassic World | hasFeature |
Widescreen Shot / int_3f231b84 | |
| Widescreen Shot / int_467f18b8 | type |
Widescreen Shot | |
| Widescreen Shot / int_467f18b8 | comment |
One of the few memorable images in Pearl Harbor was the shot of the Japanese planes flying in from behind the camera. | |
| Widescreen Shot / int_467f18b8 | featureApplicability |
1.0 | |
| Widescreen Shot / int_467f18b8 | featureConfidence |
1.0 | |
| Pearl Harbor | hasFeature |
Widescreen Shot / int_467f18b8 | |
| Widescreen Shot / int_4c4e08ca | type |
Widescreen Shot | |
| Widescreen Shot / int_4c4e08ca | comment |
The Benny Hill Show did a sketch where a widescreen film was being shown on TV with the Pan and Scan being done as it was being broadcast, resulting in missing just about every action of note. | |
| Widescreen Shot / int_4c4e08ca | featureApplicability |
1.0 | |
| Widescreen Shot / int_4c4e08ca | featureConfidence |
1.0 | |
| The Benny Hill Show | hasFeature |
Widescreen Shot / int_4c4e08ca | |
| Widescreen Shot / int_76d1299a | type |
Widescreen Shot | |
| Widescreen Shot / int_76d1299a | comment |
Valerian and the City of a Thousand Planets 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. | |
| Widescreen Shot / int_76d1299a | featureApplicability |
1.0 | |
| Widescreen Shot / int_76d1299a | featureConfidence |
1.0 | |
| Valerian and the City of a Thousand Planets | hasFeature |
Widescreen Shot / int_76d1299a | |
| Widescreen Shot / int_7fd403f8 | type |
Widescreen Shot | |
| Widescreen Shot / int_7fd403f8 | comment |
Galaxy Quest has an interesting version of this. The opening shots of the film is footage from the (fictional) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.39:1 on a sprawling space vista. | |
| Widescreen Shot / int_7fd403f8 | featureApplicability |
1.0 | |
| Widescreen Shot / int_7fd403f8 | featureConfidence |
1.0 | |
| Galaxy Quest | hasFeature |
Widescreen Shot / int_7fd403f8 | |
| Widescreen Shot / int_85a3d596 | type |
Widescreen Shot | |
| Widescreen Shot / int_85a3d596 | comment |
The Sandlot is full of this, and uses some very wide lenses. | |
| Widescreen Shot / int_85a3d596 | featureApplicability |
1.0 | |
| Widescreen Shot / int_85a3d596 | featureConfidence |
1.0 | |
| The Sandlot | hasFeature |
Widescreen Shot / int_85a3d596 | |
| Widescreen Shot / int_8b7b9cd5 | type |
Widescreen Shot | |
| Widescreen Shot / int_8b7b9cd5 | comment |
The Star Destroyer shot in A New Hope. | |
| Widescreen Shot / int_8b7b9cd5 | featureApplicability |
1.0 | |
| Widescreen Shot / int_8b7b9cd5 | featureConfidence |
1.0 | |
| A New Hope | hasFeature |
Widescreen Shot / int_8b7b9cd5 | |
| Widescreen Shot / int_b8a54997 | type |
Widescreen Shot | |
| Widescreen Shot / int_b8a54997 | comment |
Octocat Adventure, which shifts from an aspect ratio of 5:4 to 16:9 once the Stylistic Suck is abandoned. | |
| Widescreen Shot / int_b8a54997 | featureApplicability |
1.0 | |
| Widescreen Shot / int_b8a54997 | featureConfidence |
1.0 | |
| Octocat Adventure (Web Animation) | hasFeature |
Widescreen Shot / int_b8a54997 | |
| Widescreen Shot / int_ba3d2f37 | type |
Widescreen Shot | |
| Widescreen Shot / int_ba3d2f37 | comment |
Logan 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 Logo Joke using the old CinemaScope title card. | |
| Widescreen Shot / int_ba3d2f37 | featureApplicability |
1.0 | |
| Widescreen Shot / int_ba3d2f37 | featureConfidence |
1.0 | |
| Logan | hasFeature |
Widescreen Shot / int_ba3d2f37 | |
| Widescreen Shot / int_be09401 | type |
Widescreen Shot | |
| Widescreen Shot / int_be09401 | comment |
Vertical Cinema literally turns this trope on its side, using set design and situations that emphasize the vertical frame. | |
| Widescreen Shot / int_be09401 | featureApplicability |
1.0 | |
| Widescreen Shot / int_be09401 | featureConfidence |
1.0 | |
| Vertical Cinema | hasFeature |
Widescreen Shot / int_be09401 | |
| Widescreen Shot / int_be3bd6 | type |
Widescreen Shot | |
| Widescreen Shot / int_be3bd6 | comment |
The desert shots in Lawrence of Arabia | |
| Widescreen Shot / int_be3bd6 | featureApplicability |
1.0 | |
| Widescreen Shot / int_be3bd6 | featureConfidence |
1.0 | |
| Lawrence of Arabia | hasFeature |
Widescreen Shot / int_be3bd6 | |
| Widescreen Shot / int_c353ea41 | type |
Widescreen Shot | |
| Widescreen Shot / int_c353ea41 | comment |
Jurassic Park Jurassic World was filmed in an unusual 2:1 Aspect Ratio. This was chosen as a compromise. Executive producer Steven Spielberg wanted a 1.85:1 format (same as the first three films), while director Colin Trevorrow and cinematographer John Schwartzman wanted a 2.39:1 format. Jurassic World: Fallen Kingdom was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic". |
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| Widescreen Shot / int_c353ea41 | featureApplicability |
1.0 | |
| Widescreen Shot / int_c353ea41 | featureConfidence |
1.0 | |
| Jurassic Park (Franchise) | hasFeature |
Widescreen Shot / int_c353ea41 | |
| Widescreen Shot / int_ca3bd4c5 | type |
Widescreen Shot | |
| Widescreen Shot / int_ca3bd4c5 | comment |
Similar to Galaxy Quest and The Horse Whisperer, The Hindenburg (1975) 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. | |
| Widescreen Shot / int_ca3bd4c5 | featureApplicability |
1.0 | |
| Widescreen Shot / int_ca3bd4c5 | featureConfidence |
1.0 | |
| The Hindenburg (1975) | hasFeature |
Widescreen Shot / int_ca3bd4c5 | |
| Widescreen Shot / int_d34888b7 | type |
Widescreen Shot | |
| Widescreen Shot / int_d34888b7 | comment |
1956's Around the World in Eighty Days begins with a small, square introduction, matching the old footage of A Trip to the Moon used therein, and then the screen widens out dramatically to show off the 70mm format. | |
| Widescreen Shot / int_d34888b7 | featureApplicability |
1.0 | |
| Widescreen Shot / int_d34888b7 | featureConfidence |
1.0 | |
| Around the World in 80 Days (1956) | hasFeature |
Widescreen Shot / int_d34888b7 | |
| Widescreen Shot / int_dbaabb61 | type |
Widescreen Shot | |
| Widescreen Shot / int_dbaabb61 | comment |
The 2013 Mickey Mouse short Get a Horse begins with a small 1.33:1 screen showing a black-and-white cartoon. Once Mickey bursts through the screen into color, the lights turn on to reveal that the theater's stage in 2.35:1 ratio. In addition, Mickey pulls back the stage curtains, turning the 1.33:1 theater screen (with rounded corners) into a 16:9 screen (with sharp edges). | |
| Widescreen Shot / int_dbaabb61 | featureApplicability |
1.0 | |
| Widescreen Shot / int_dbaabb61 | featureConfidence |
1.0 | |
| Mickey Mouse | hasFeature |
Widescreen Shot / int_dbaabb61 | |
| Widescreen Shot / int_dde91ea5 | type |
Widescreen Shot | |
| Widescreen Shot / int_dde91ea5 | comment |
Several tournament shots in A Knight's Tale. | |
| Widescreen Shot / int_dde91ea5 | featureApplicability |
1.0 | |
| Widescreen Shot / int_dde91ea5 | featureConfidence |
1.0 | |
| A Knight's Tale | hasFeature |
Widescreen Shot / int_dde91ea5 | |
| Widescreen Shot / int_de1d82e9 | type |
Widescreen Shot | |
| Widescreen Shot / int_de1d82e9 | comment |
The same thing is done in The Horse Whisperer, with the widescreen not being used until the film gets to Montana to make the landscapes even more impressive. | |
| Widescreen Shot / int_de1d82e9 | featureApplicability |
1.0 | |
| Widescreen Shot / int_de1d82e9 | featureConfidence |
1.0 | |
| The Horse Whisperer | hasFeature |
Widescreen Shot / int_de1d82e9 | |
| Widescreen Shot / int_e25322af | type |
Widescreen Shot | |
| Widescreen Shot / int_e25322af | comment |
Homestar Runner: For the 100th Strong Bad Email, Strong Bad extends the ends of the screen for a widescreen presentation, inadvertently revealing that Homestar Runner was standing Behind the Black. | |
| Widescreen Shot / int_e25322af | featureApplicability |
1.0 | |
| Widescreen Shot / int_e25322af | featureConfidence |
1.0 | |
| Homestar Runner (Web Animation) | hasFeature |
Widescreen Shot / int_e25322af | |
| Widescreen Shot / int_e343dcbd | type |
Widescreen Shot | |
| Widescreen Shot / int_e343dcbd | comment |
Widescreen actually dates to the beginning of the sound era, where a few movies such as The Big Trail 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. | |
| Widescreen Shot / int_e343dcbd | featureApplicability |
1.0 | |
| Widescreen Shot / int_e343dcbd | featureConfidence |
1.0 | |
| The Big Trail | hasFeature |
Widescreen Shot / int_e343dcbd | |
| Widescreen Shot / int_e8970723 | type |
Widescreen Shot | |
| Widescreen Shot / int_e8970723 | comment |
Jurassic World: Fallen Kingdom was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic". | |
| Widescreen Shot / int_e8970723 | featureApplicability |
1.0 | |
| Widescreen Shot / int_e8970723 | featureConfidence |
1.0 | |
| Jurassic World: Fallen Kingdom | hasFeature |
Widescreen Shot / int_e8970723 | |
| Widescreen Shot / int_fdbace96 | type |
Widescreen Shot | |
| Widescreen Shot / int_fdbace96 | comment |
The Gravity Falls episode "Not What He Seems" has several, from the whole newspaper headtitle to Stan's zero-gravity fight, but the best should be the scene in front of the portal with Stan in one side of the room and the kids and Soos on the other. If you have a 4:3 TV you would only see an empty rocky wall. | |
| Widescreen Shot / int_fdbace96 | featureApplicability |
1.0 | |
| Widescreen Shot / int_fdbace96 | featureConfidence |
1.0 | |
| Gravity Falls | hasFeature |
Widescreen Shot / int_fdbace96 | |
| Widescreen Shot / int_ff40e263 | type |
Widescreen Shot | |
| Widescreen Shot / int_ff40e263 | comment |
Will Success Spoil Rock Hunter? has a brief intermission where the Cinemascope screen shrinks down to a tiny square, for those in the audience who are accustomed to watching television. The screen can scarcely show Tony Randall in full view, and he has to crouch down to get his head in the shot. | |
| Widescreen Shot / int_ff40e263 | featureApplicability |
1.0 | |
| Widescreen Shot / int_ff40e263 | featureConfidence |
1.0 | |
| Will Success Spoil Rock Hunter? | hasFeature |
Widescreen Shot / int_ff40e263 |
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