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"3-D films History and criticism."
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3D cinematic aesthetics and storytelling
This book argues that 3D films are becoming more sophisticated in utilising stereoscopic effects for storytelling purposes. Since Avatar (2009), we have seen a 3D revival marked by its integration with new digital technologies. With this book, the author goes beyond exploring 3D?s spectacular graphics and considers how 3D can be used to enhance visual storytelling. The chapters include visual comparisons between 2D and 3D to highlight their respective narrative features; an examination of the narrative tropes and techniques used by contemporary 3D filmmakers; and a discussion of the narrative implications brought by the coexistence of flatness and depth in 3D visuality. In demonstrating 3D cinematic aesthetics and storytelling, Yong Liu analyses popular films such as Hugo (2011), Life of Pi (2012), Gravity (2013), Star Trek Into Darkness (2013, and The Great Gatsby (2013). The book is an investigation into contemporary forms of stereoscopic storytelling derived from a unique, long-existing mode of cinematic illusions.
Book
A History of Three-Dimensional Cinema
A History of Three-Dimensional Cinema chronicles 3-D cinema as a single, continuous and coherent medium, proceeding from 19th-century experiments in stereoscopic photography and lantern projection (1839–1892) to stereoscopic cinema’s “long novelty period\" (1893–1952). It proceeds to examine the first Hollywood boom in anaglyphic stereo (1953–1955), when the mainstream industry produced 69 features in 3-D, mostly action films that could exploit the depth illusion, but also a handful of big-budget films—for example, Kiss Me Kate (George Sidney, 1953) and Dial M for Murder (Alfred Hitchcock, 1954)—until audiences tired of the process; the anaglyphic revival of 1970–1985, when 3-D was sustained as a novelty feature in sensational genres like soft-core pornography and horror; the age of IMAX 3-D (1986–2008); the current era of digital 3-D cinema, which began in 2009 when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production; and finally the future promise of Virtual Reality.
eBook
The maze : trailer
This is a movie trailer for the 1953 3d horror film titled \"The Maze\" starring Richard Carlson and Veronica Hurst, directed by William Cameron Menzies.
Streaming Video
Robert Rodriguez's Spy Kids 3-D: game over and the 3-D resurgence
Despite the title \"The 'Return' of 3-D,\" Thomas Elsaesser neglects to mention Rodriguez at all, while a recent 3-D themed double issue of Film Criticism (Spring/Fall 2013) is guilty of the same. [...]this article intends to rectify this imbalance by examining where Rodriguez stands in this history. Yet attempts to appeal to the olfactory perception go back decades; Walt Disney had considered integrating smells into Fantasia (1940) before nixing the idea, while Michael Todd Jr.'s \"Smell-O-Vision\" released scents through the theater's ventilation system for Scent of Mystery (1960).36 In a similar vein, William Castle became known for his various theatrical gimmicks, including \"Percepto\" (the buzzers installed in seats for The Tingler [1959]), a \"fright break\" included in Homicidal (1961), or the \"Punishment Poll\" for his two possible endings of Mr. Sardonicus (1961). According to Rodriguez, the card manufacturers make the cards further in advance (allowing the smells to \"sit longer\") and that the inclusion of more \"activators\" made the technology more advanced.39 He also viewed it as essential to an increased desire for interactivity with today's audiences accustomed to gaming: Furthermore, as Elsaesser points out, in the military, scientific, medical, and security realms, 3-D technologies never actually went away.48 He adds, If one thinks of 3-D not as part of a cinema of attractions, not as startling you or throwing things at you from the depth of space, but as the vanguard of a new cinema of narrative integration, introducing the malleability, scalability, fluidity, or curvature of digital images into audiovisual space-doing away with horizons, suspending vanishing points, seamlessly varying distance, unchaining the camera and transporting the observer-then the aesthetic possibilities are by no means limited to telling a silly story, suitable only for kids hungry for superheroes, action toys, or sci-fi fantasies.49 Even if Rodriguez's 3-D efforts have thus far been \"limited to telling a silly story,\" would films like Cave of Forgotten Dreams and Pina have arisen if not for Rodriguez?
Journal Article
Now is the time (to put on your glasses): 3-D film exhibition in Britain, 1951––55
Exhibition has been the silent partner in discussions of the three-dimensional film ““boom”” of the 1950s. Exploring this lost aspect of 3-D history through a focus on exhibitor trade journals, the article complicates existing understanding of stereo cinema before, during and after the release ofBwana Devil(1953) andHouse of Wax(1953). Looking at the British experience specifically, the article reveals how stereoscopic films produced for the 1951 Festival of Britain created a nascent distribution and exhibition circuit for 3-D films twelve months before the release ofBwana Devil, a circuit that was then exploited by American distributors and British exhibition chains from 1953 on. Rather than dismiss 3-D as an unsuccessful gimmick, the article uses the exhibition sector to reclaim this moment of technological experimentation, and highlight how a certain stereoscopic discourse continues to echo through modern commentary on digital 3-D.
Journal Article
Motion capture in performance : an introduction
Motion Capture in Performance explores the historical origins, properties and implications of Motion Capture. It introduces a new mode of performance for the commercial film, animation, and console gaming industries - 'Performance Capture', a distinct interdisciplinary discourse in the fields of theatre, animation, performance studies and film.
eBook
Making Tele-Contact: 3-D Film and The Creature from the Black Lagoon
Initially seen as a novelty item, 3-D cinema of the 1950s has typically been dismissed as a gimmick by critics and historians. Here, Telotte gives a clear understanding of the historical view of 3-D film, using Paul Virilio's recent work on how the cinema and other modern communication technologies have affected people's sense of reality. In addition, by looking at one of the most famous 3-D films, Jack Arnold's The Creature from the Black Lagoon in terms of Virilio's notion of tele-contact, one might better gauge both the appeal and disturbance of 3-D film.
Journal Article
Sunday morning. Opinion : Conor Knighton - 3D
This segment of Sunday Morning is about the trending 3D films.
Streaming Video
Depth Readings: Ken Jacobs's Digital, Stereographic Films
Digitally composed from stereo photographs over a century old, Ken Jacobs's 2006 Capitalism films unsettle spatiotemporal relationships that structure not only photographic and cinematic representation but also dimensions of perception and history. They explore depth as an aesthetic and a conceptual paradox, which has driven Jacobs's career-long experiments in \"paracinema.\"
Journal Article
New and vintage 3-D in latest IMAX encounter Encounter in the Third Dimension
Going back even before the 1950s, Encounter replicates some of those 19th and early 20th century stereoscope photographs that were all the rage at one time in North American society. Thanks to digital scanning and recompositing, the images take on a visual depth they probably never enjoyed before. Century-old snapshots of the Grand Canyon, for example, jump to startling life on the large-format screen. He says the real future in large-format cinematography lies in the digital domain, where there is much more effective control over the virtual images and sets. Encounter itself is created mostly in the computer. [Ben Stassen] foresees a day when even live action is shot with a digital camera, noting that George Lucas already experiments with it in Phantom Menace. A chuckling Stassen says they did have to remember the film's family venues in theme parks. [Elvira]'s notorious cleavage isn't emphasized unduly but on the IMAX screen it is also impossible to ignore: 3-D meets the double-D (cup).
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