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Similar to spy films, the heist or caper film included worldly settings and hi-tech gadgets, as in the original Ocean's Eleven (1960), Topkapi (1964) or The Thomas Crown Affair (1968). The spaghetti westerns (made in Italy and Spain), were typified by Clint Eastwood films, such as For a Few Dollars More (1965) or The Good, the Bad and the Ugly ...
Original Cinerama screen in the Bellevue Cinerama, Amsterdam (1965–2005) 17-meter curved screen removed in 1978 for 15-meter normal screen. [1]Cinerama is a widescreen process that originally projected images simultaneously from three synchronized 35mm projectors onto a huge, deeply curved screen, subtending 146-degrees of arc.
(1960) – British war drama film dealing directly with the operations, chase and sinking of the battleship Bismarck by the Royal Navy during the Second World War [27] Song Without End (1960) – biographical romance film telling the story of Hungarian pianist Franz Liszt, whose scandalous love affair forced him to abandon his adoring audiences ...
Horror. Japan movie (1958) with new material 1963: Title Director Cast Country Subgenre/Notes Atragon (a.k.a. Kaitei Gunkan) IshirÅ Honda: Tadao Takashima, Yoko Fujiyama, Yu Fujiki: Japan: Action Adventure Fantasy The Crawling Hand: Herbert L. Strock: Peter Breck, Kent Taylor: United States: Horror The Damned: Joseph Losey
An influential arena for the great split screen movies of the 1960s were two world's fairs - the 1964 New York World's Fair, where Ray and Charles Eames had a 17-screen film they created for IBM's "Think" Pavilion (it included sections with race car driving) and the 3-division film To Be Alive, by Francis Thompson, which won the Academy Award that year for Best Short.
The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of avant-garde underground cinema [6]), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence.
The 1960s and 1970s marked the rise of exploitation-style independent B movies; films which were mostly made without the support of Hollywood's major film studios.As censorship pressures lifted in the early 1960s, the low-budget end of the American motion picture industry increasingly incorporated the sort of sexual and violent elements long associated with so-called ‘exploitation’ films.
Interest in theatrical 3D movies dwindled during the following decades, but they started to get exploited as (part of) special attractions, such as 4D simulator rides and Imax theatres. In the early 2000s, digital cinema began to takeover and polarized 3D movies became popular. Movies were no longer created on film.