Imax pioneer Ben Shedd has a terrific essay on "exploding the frame" that I plan to rummage and rifle through in my paper spaces work:

[O]ne of the quickest ways to describe this new cinematic world comes from Roman Kroiter, one of the founding members of the Imax Corporation and a first generation giant screen filmmaker. Roman suggests putting a cardboard box over your head with a rectangular shaped hole cut out from its bottom. Look through that rectangle. That is the view of the movies, of TV, of small screen cinema as we have come to know it. Then take the box off your head. That’s the gigantic screen view. Unframed cinematic visual space.

I was also struck by this bit about tools:

[But] every production tool we use along the way has a frame around its image. The sketches, the storyboards, the cameras, the editing machines, all present images seen within frames. These tools are all practical and cost-effective for filmmaking, but throughout production the entire film crew must dive through those constantly present frames and be on the other side where the viewing audience's frameless experience will occur.

All of the filmmaking equipment we use during production gives a view that is like putting that cardboard box frame cutout back over our heads.

[To the tune of Alban Berg Quartet, "String Quartet No. 4 in C minor, Op. 18 No. 4: II. Scherzo (Andante scherzoso quasi Allegretto)," from the album Beethoven: The Complete String Quartets (Disc 4) (a 4-star song, imo).]