Examining widescreen cinema as a worldwide aesthetic and industrialphenomenon, the essays in this volume situate the individual expressions of this newtechnology within the larger cultural and industrial practices that inform them.What Hollywood sought to market globally as CinemaScope, SuperScope, Techniscope, Technirama, and Panavision took indigenous form in a host of compatible anamorphicformats developed around the world. The book documents how the aesthetics of thefirst wave of American widescreen films underwent revision in Europe and Asia asfilmmakers brought their own idiolect to the language of widescreen mise-en-sc ne, editing, and sound practices. The work of Otto Preminger, Anthony Mann, SamuelFuller, Sam Peckinpah, Seijun Suzuki, Kihachi Okamoto, and Tai Kato, among others, is addressed.