Gradation of Emphasis in the CinemaScope Westerns of Anthony Mann

A Style Analysis

in Projections
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Abstract

This article examines the stylistic mechanics behind the notion of gradation of emphasis in the CinemaScope westerns directed by Anthony Mann. It confronts the general assumptions with regard to CinemaScope with fresh empirical data. Building on Barry Salt’s quantitative methods, it studies the cutting rates and shot scale in Mann’s 1950s films and situates these within the broader context of film style in CinemaScope. This article furthermore analyzes the particular stylistic strategies Mann employed in order to create gradation of emphasis in his westerns, examining if the CinemaScope frame was particularly suitable for them, while also exploring the general relevance of the notion.

Contributor Notes

Sam Roggen is a teaching assistant and PhD candidate in Film Studies and Visual Culture at the University of Antwerp. His dissertation examines film style in early American widescreen cinema, with particular attention for the CinemaScope format. His articles on film criticism, cinephilia, and film style in widescreen cinema have been published in such journals as Screening the Past, LOLA, the Journal of British Cinema and Television, and Photogénie.

Projections

The Journal for Movies and Mind

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