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The Academy ratio of 1.375:1 (abbreviated as 1.37:1) is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown.〔Monaco, James. ''How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media.'' Rev. ed. New York: Oxford University Press, 1981. ISBN 0-19-502806-6〕〔Bordwell, David and Thompson, Kristin. ''Film Art: An Introduction.'' Rev. ed. New York: McGraw-Hill, 1993. ISBN 0-07-006446-6〕 It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.〔〔 == History == Silent films were shot at a 1.33 aspect ratio (also known as a 4:3 aspect ratio), with each frame using all of the negative space between the two rows of film perforations for a length of 4 perfs.〔〔 The frame line between the silent film frames was very thin. When sound-on-film was introduced in the late 1920s, the soundtrack was recorded in a stripe running just inside of one set of the perforations and cut into the 1.33 image.〔〔 This made the image area "taller", usually around 1.19, which was slightly disorienting to audiences used to the 1.33 frame and also presented problems for exhibitors with fixed-size screens and stationary projectors. From studio to studio, the common attempt to reduce the image back to a 1.33:1 ratio by decreasing the projector aperture in-house met with conflicting results. Each movie theater chain, furthermore, had its own designated house ratio. The first standards set for the new sound-on-film motion pictures were accepted in November 1929, when all major US studios agreed to compose for the Society of Motion Picture Engineers' (SMPE) designated size of returning to the aspect ratio of 1.3:1. Following this, Academy of Motion Picture Arts and Sciences (AMPAS) considered further alterations to this 1930 standard. Various dimensions were submitted, and the projector aperture plate opening size of 0.825 in × 0.600 in was agreed upon. The resulting 1.375:1 aspect ratio was then dubbed the "Academy Ratio". On May 9, 1932, the SMPE adopted the same projector aperture standard. All studio films shot in 35mm from 1932 to 1952 were shot in the Academy ratio.〔〔 However, following the widescreen "revolution" of 1953, it quickly became an obsolete production format. Within several months, all major studios started matting their non-anamorphic films in the projector to wider ratios such as 1.66, 1.75, and 1.85, the last of which is still considered a standard ratio along with anamorphic (2.39).〔〔 1.37:1 is not totally obsolete, nonetheless, and can still be found in selected recent films such as Wes Anderson's ''The Grand Budapest Hotel'',〔http://www.imdb.com/title/tt2278388/technical?ref_=tt_dt_spec〕 Michel Hazanavicius's ''The Artist'',〔()〕 Gus Van Sant's ''Elephant'',〔(Garry, John P. III. "''Elephant'': An Ordinary High School Movie. Except That It's Not." ''Jump Cut.'' #47 (Winter 2005). )〕 Andrea Arnold's ''Fish Tank'', Kelly Reichardt's ''Meek's Cutoff'' and Paweł Pawlikowski's ''Ida''.〔http://prettycleverfilms.com/movie-reviews/modern-times/tiff13-review-ida-2013/#.UmfeVnBJO-m〕 The ER episode "Ambush" was presented in the 1:33:1 format, all other episodes were on widescreen. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Academy ratio」の詳細全文を読む スポンサード リンク
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