Breaking the Frame: Narrative Expansion and the Aesthetic of Excess in Kill Bill: Vol. 1 (Open Matte)
This version "opens" those mattes, showing more of the top and bottom of the frame to fill modern widescreen TVs without black bars. Pros and Cons
Look into the
But the holy grail is . The 2.35:1 version frames the bloody battle against the restaurant’s walls. The Open Matte version reveals the ceiling . It reveals the floor . When O-Ren Ishii stands on the table after the 88s are dead, in 2.35:1 you see her from the waist up. In Open Matte, you see the broken plates at her feet and the lanterns hanging above. It turns a stage play into an immersive environment.
The plot follows (Uma Thurman), a former member of the Deadly Viper Assassination Squad. Kill Bill - Vol 1 -2003- OPEN MATTE -1080p Web-...
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When Kill Bill was shown in theaters, it was filmed in a widescreen format, commonly referred to as anamorphic widescreen. This fills a traditional wide cinema screen but requires black bars (letterboxing) on the top and bottom of a standard 16:9 (1.78:1) television. Breaking the Frame: Narrative Expansion and the Aesthetic
: An Open Matte version removes these black bars, filling a modern 16:9 television screen entirely.
If you're interested in exploring how to find this version, I can help you find: When O-Ren Ishii stands on the table after
The appeal of an Open Matte version of Kill Bill: Vol. 1 is a subject of passionate debate among fans.
Most modern films are presented in a aspect ratio (usually 2.35:1 for Kill Bill ). An "Open Matte" print reveals the full height of the original camera negative. It is called "Open Matte" because the matte (the black bars top and bottom) has been "opened up" to show more image than the director originally framed for the theatrical release.
