ABSTRACT
Everybody knows by now, even the average moviegoer, that Hollywood is trying to come to terms with one of the most severe economic crises in its history through the introduction of both 3-D, whose avant-garde stereoscopy has already been seen on French screens, and CinemaScope, whose big war machine, The Robe (1953; dir. Henry Koster), has already been shown in New York and is soon going to be exhibited in Europe.1 Everybody knows, too, that Hollywood is forced to accept the risks of such an endeavor-which totally upsets the norms not only of produc tion, but also of distribution-in view of the acute competition repre sented by television. At least everybody thinks he knows these things, for the details of the problem are not that simple. The aim of this article is precisely, then, to try to create some order out of all this.
