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THIS ARTICLE EXAMINES HOW WIDESCREEN, ANALOG filmmaking strategies such as letterboxing have become commonplace in digital texts such as online advertising, Web-based film series, and even digital animation films from Pixar. The various delivery platforms associated with new media texts must address the spatial and aesthetic challenges presented by the various aspect ratios necessary to accommodate many monitor/screen shapes and sizes. The online and digital texts analyzed in this article use cinematic techniques (such as letterboxing) in an effort to reproduce film/ video poetics and thus present their products in terms of highbrow consumption strategies. Further, many video games, regardless of whether they are of first-person shooter or sport genres, deploy cut-scenes or "cinematics." (1) These techniques ape cinematic tropes in order to blend (or mask altogether) the transition between transtextual choices such as video games based on films or televised sports (e.g., The Godfather or the Madden football franchise, respectively). Because online content faces many challenges--different operating systems, monitor sizes, screen resolutions, and monitor widths, not to mention download speeds--it seems that content producers want to achieve MIVI (Maximum Instantaneous Visual Impact) (Garfield 77), and the panache of letterboxing is useful to colonize monitor space. By colonization, I assert that the shift in aspect ratio and its demarcating effect within screen space requires some visual shift on the part of the viewer. (2) Colonization occurs when Academy ratio proportions are transformed without input from the viewer into a letterboxed or widescreen visual field.
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