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This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Roberts, Steven F Title: High Fidelity Widescreen Cinema VistaVision Film Production and Style in Britain and the USA General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. High Fidelity Widescreen Cinema: VistaVision Film Production and Style in Britain and the USA Steven Francis Roberts A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, Department of Film and Television September 2019 68079 words Abstract In the 1950s, widescreen cinema transcended industry standards of aspect ratio and film size on an international scale. Since 2010, scholars have increasingly attended to widescreen cinema’s multiple formats and global production contexts. New studies depart from the traditional critical focus on Hollywood’s CinemaScope film directors. Scholarship in this widening field therefore requires a high degree of flexibility in order to detect transnational and collaborative influences on production and style, with the potential to incorporate untapped research methods and case study formats such as VistaVision. Using a large 35mm/8 perf. film negative and the aspect ratio of 1.85:1 (width to height), VistaVision encouraged stylistic techniques associated with shot width, height, depth and sharp texture. This thesis examines influences on the production and style of VistaVision films in Britain and the USA at multiple historiographic levels, encompassing the international/national, film studios, stylistic trends, individual productions, and the creative agents who shaped film space (including studio managers, engineers, film producers, directors, cinematographers and set designers). Responding to the ‘new film history’ and production studies, my historical-textual account of VistaVision is supported by a wide variety of films, trade periodicals and archival sources from Britain and the USA. The thesis expands on current analyses of widescreen films by comparing new shot scale/length data and the role of different formats, genres, national contexts, and compositional aesthetics in overlooked widescreen films. My multi-level account of VistaVision film production and style also shows the methodological value of focusing on film formats, which intersect with industrial structure, agency, creative process and transnational exchange. The thesis concludes by considering VistaVision’s historical significance for later trends in wide frame/large format filmmaking, including IMAX. Acknowledgements Completion of this thesis was enabled by the generosity and feedback of many others. The Arts and Humanities Research Council funded my PhD over 3.5 years, including travel to media institutions and libraries in Los Angeles, London, Exeter and Bradford. A travel grant from Bristol’s Faculty of Arts allowed me to compare 1950s cinema formats displayed at the Cinémathèque Française in 2019, including VistaVison and Perspecta sound. This thesis was nourished by the conscientious guidance provided by my impeccable PhD supervisors, Sarah Street and Helen Hanson. I am grateful for their critical input and contagious enthusiasm for film history which has energised our meetings over the past few years. I am also indebted to the South, West and Wales Doctoral Training Partnership for facilitating cross- institutional PhD supervision between the Universities of Bristol and Exeter. My research was greatly helped by librarians and archivists, including Louise Hilton (The Margaret Herrick Library), Jonny Davies and Victoria Bennett (The British Film Institute), Charles Drazin (Film Finances), Phil Wickham (The Bill Douglas Cinema Museum, University of Exeter), Lucy Langley-Palmer and Jill Sullivan (University of Bristol Library). My interest in VistaVision was sparked in 2014-15 when studying an MA in Film and Literature at the University of York, where the support of Judith Buchanan, Andrew Higson, Adam Kelly and Erica Sheen encouraged me to continue into postgraduate research. I am also grateful for countless conversations about widescreen while at Bristol and Exeter, particularly with my PhD student comrades and Film History to 1960 undergraduate students. Thanks also to VistaVision filmmaker Nick Eriksson for meeting me for an interview in Exeter in 2017. Parts of this manuscript were proofread by Jordan Holland, Alex Morden Osborne, Xander Ryan and Amelia Seely - my special thanks to these four for their noble assistance! Jordan (later joined by Kanahaya Alam) repeatedly hosted me on research trips in London, while Dawn Frattini, Ross Melnick and their families made me feel at home in LA. Finally, unreserved thanks go to my parents, for their loyalty and encouragement. Author’s Declaration I declare that the work in this dissertation was carried out in accordance with the requirements of the University's Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: ............................................................. DATE:.......................... Contents Introduction 1 The VistaVision Format 3 Historicizing Production: Industry, Process and Agency 7 Widescreen Space and Transnational Influence 14 ‘Resituating’ Widescreen Cinema: Technology, Production and Style 19 Thesis Outline 23 1. Post-War Innovation and Transatlantic Exchange 26 Consumers, Policy and Trade in Post-War Britain and the USA 28 Theatre Television 34 3-D Cinema 42 Ersatz Widescreen 50 Widescreen Arrives in Britain 57 Conclusion 62 2. VistaVision’s Stylistic Differentiation and Diffusion 65 Innovation within the Paramount Studio: From Superama to VistaVision 69 Product Differentiation and VistaVision Technique: Frame, Focus, Stock 78 Loren Ryder, Showmanship and Strategic Air Command 90 Other Studios: VistaVision’s Diffusion and Constraints 99 Conclusion 108 3. Shot Scale/Length: Format, Genre and (Trans)national Trends 111 Sequences, Genres, Statistics: Comparative Approaches to Widescreen 114 Early CinemaScope and VistaVision Films 121 American Westerns 130 British Comedies 138 Travelogues and Tourism: VistaVision Visits… 148 Conclusion 156 4. Shot Composition and Staging: Widescreen Aesthetics 159 Frank Tashlin: Consumer Comedies and Calamity Gags 164 Alfred Hitchcock: Widescreen Suspense and Aesthetics of Scale 177 Powell and Pressburger: Group Staging and Axial Compositions 185 Conclusion 192 5. Widescreen Epics Outside Hollywood: Collaboration and Craft 195 Film Epics in the Widescreen Era 198 War and Peace: Spectacular Vistas, Stars and Hybrid Styles 200 Producing the Epic: Dino De Laurentiis 203 Crafting the Borodino Sequence in Rural Italy 207 Contracting Space: Hybrid Styles in Cinematography and Set Design 212 The Battle of the River Plate: The Challenge of the Naval War Epic 219 Logistics as Spectacle: Research, Schedule and Finance 220 Challenge 1: Designing ‘Authentic’ Sets 226 Challenge 2: Colour Lighting on the Large Set 233 British Countercurrents 238 Conclusion 243 Conclusion: Format Histories and Historiography 246 Appendix: Shot Scale and Length Data 260 Filmography: VistaVision Features and Shorts 1954-61 262 Bibliography 268 Introduction Film […] is appropriated by artists but at every stage in the creation and presentation of their work they are dependent upon, and often at the mercy of, the machine and its operators.1 Halfway through the VistaVision adventure film, The Mountain (Edward Dmytryk, 1956), a rock climber (Spencer Tracy) crosses a narrow ledge to ascend the eponymous alp which had, until this moment, provided a distant and romantic backdrop. ‘This is a bad place’, he says in recollection before gripping the rockface. ‘Either we make it, or we don’t’, his brother and belay partner (Robert Wagner) forewarns while threading their lifeline. Physical performances by Tracy and Wagner contribute to the spatial suspense and production team’s ‘interrelation of material decisions’, to use Lucy Fife Donaldson’s words.2 As Tracy traverses the ledge, extreme
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