While substantial diligence was observed in compiling these listings, they should not be considered error free. The museum curator will not indemnify readers who are silly enough to use the listings as the basis for bar bets. While we appreciate corrections and additions, little, if any, sleep will be lost over their accuracy.
To learn the system that any particular film was produced in, we highly recommend that you invest in a copy of Leonard Maltin's Movie and Video Guide at your local book seller. Maltin's accuracy is exceptionally good as we've only found two errors in the book.
CinemaScope By Any Other Name.
Widescreen processes that were essentially the same as CinemaScope.
Why no Panavision? Panavision is far from being as dead as the above processes. It would be impossible to maintain any reasonably accurate listing of films photographed in Panavision anamorphic. As this web site deals primarily from an historical perspective, Panavision is dealt with in terms of the use of its lenses in films that carried a CinemaScope credit. There is no intention of ignoring the superb optics available from Panavision, Inc. We just don't feel that they need our help to be remembered nearly as much as the late lamented processes of the past. This is our philosophy for IMAX, Omnimax, and Super 35, as well. We do not discount the probability that these processes will receive editorial treatment in the future.
©1997 - 2000 The American WideScreen Museum
Martin Hart, Curator