(announcer) ladies and gentlemen, this is cinerama. the background) (charles champlin) cinerama has 3 projectors, wonderful effects. i mean you really did get a 3-d effect on a 2-d screen, (screams in the background) but it was just too cumbersome and you had wavering lines where the images met and it was wonderful novelty, but it just wasn't going to do it. (sound effects as doors slide open) (narrator) although it failed to catch on, it led to new widescreen forms. this motion picture was photographed in the grandeur of cinemascope and gorgeous life-like color. (single musical note) gorgeous life-like color by deluxe! (music playing) (jonas rosenfield) imagine, in september of 1953, the impact of this huge image on the audiences which attended the showing of the first of the cinemascope pictures. studios were quick to realize that cinemascope offered one of the solutions to the fight against television and forever committed motion pictures to widescreens. (gene siskel) movies always offered a chance to go someplace you can't go. tv w

stone age twenty one year old david bowie watches the film two thousand and one in london's casino cinerama say he goes home and writes space or to take his own musical homage to alienation in the space age with its lonely astronaut major term . strategic. west germany in one thousand nine hundred three major trauma in spine speech a shell into his only since pop hits from. two thousand and one may dystopian sunshine cool in early and ridley scott takes the idea of how an aloof and indifferent supercomputer one step further. in alien the ship's arrogant intelligence called nada demonstrates how humans themselves have become obsolete. hello today. you're looking well the ominous hal nine thousand times apple computer pitchman in this commercial from the late one nine hundred ninety s. two thousand when computers began to misbehave three hundred twelve the themes and style of two thousand and one and spied countless i five films but he's gone pretend to keep it for his space adventure the motion. but there's no more affectionate how much to two thousand and one than interstellar director chri