Jack Theakston presented an excellent, factual lecture on the history of 3-D, widescreen and stereophonic sound at the Reel Thing in Hollywood last Friday. From DVDsavant.com 3D and film historical expert Jack Theakston led off with a smart presentation of The Evolution of Film Formats and Aspect Ratios, clearing up a lot of details about the messy AR changeovers in the 1950s between flat Academy 1:37 to 1:66 and 1:85 ... I wish I had Theakston at my side, Marshall McLuhan-style, when somebody insists that a 1958 studio film like Touch of Evil should be 1:33 because that's how the person remembers seeing it on television. Theakston's presentation of an exact timetable and cause & effect patterns of studios adopting and/or dropping 3D and CinemaScope, etc. was just the kind of information I like. And from http://www.filmjourney.org/2010/08/16/the-reel-thing-xxv/ Jack Theakston offered an encyclopedic, if at times bewildering, overview of the scores of stereo, widescreen, and 3-D formats developed between the 1910s and the 1950s. Among his assertions that took me by surprise: Edwin S. Porter worked with 3-D (and red/green anaglyph glasses) as early as 1915; theatrical screens until the 1940s only varied between 14 and 20 feet in width (with the latter reserved for the largest 3,500-seat auditoriums); intended aspect ratios often suffered during times of transition, such as in 1953, when films shot in Academy ratio, such as Shane, It Came from Outer Space, and 5,000 Fingers of Dr. T, were released in widescreen.