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The Context of Vertical Filmmaking Literature by Rafe Clayton is a Economics, Econometrics and Finance article available to read on EtoBox.

What is The Context of Vertical Filmmaking Literature about?

On the seventeenth of September 1930, Sergei Eisenstein attended an invitation only meeting with the Technicians Branch of the Academy of Motion Picture Arts and Science, held at the Cafe de Paris in Fox Hill Studios. This was to be a meeting of significance for the motion picture industry and its importance was not lost on filmmakers of the time, with more than a hundred requests for attendance being refused by the organizers. 1 The select group of filmmakers and technical experts who were able to attend, deliberated upon a proposal by the Academy to create a standardized horizontal frame for cinema display based on aesthetic, commercial and physiological justifications. Prior to the meeting, invitees were sent three cards representing the ratios that were to be considered. Eisenstein noted that only frames with a width that exceeded the height were proposed as invitees were asked to consider either 4:3, 4:5 or 4:6 ratios (Eisenstein 1930). It was suggested that there were three reasons why a width biased frame would suit a standardized cinema format: The first was that there is a prevalence of "narrative" paintings being displayed in a horizontal format from the 19th century. Sec

Who reads The Context of Vertical Filmmaking Literature?

Author

Rafe Clayton

Publisher

Informa UK Limited

Published

2021

Language

EN

Field

Economics, Econometrics and Finance (Social Sciences)