Cinematic Appeals: The Experience of New Movie TechnologiesColumbia University Press, 19 nov 2013 - 352 páginas Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time. |
Índice
| 1 | |
1 Smothered In Baked Alaska The Anxious Appeal of Widescreen Cinema | 19 |
Intimacy Writ Large | 61 |
Debates on Embodiment Intersubjectivity and Immediacy | 91 |
The Experience of Erasure in The Phantom Menace and The Celebration | 141 |
Conceptualizing the Appeal of 3D Cinema Then and Now | 179 |
Notes | 227 |
| 299 | |
| 319 | |
Otras ediciones - Ver todo
Cinematic Appeals: The Experience of New Movie Technologies Ariel Rogers Vista previa restringida - 2013 |
Cinematic Appeals: The Experience of New Movie Technologies Ariel Rogers Vista previa restringida - 2013 |
Términos y frases comunes
3D Cinema accessed Jan actors aesthetic American Cinematographer apparatus theory appeal argues audience Avatar Bazin Benjamin Black Lagoon bodily address body camera Cameron Celebration CinemaScope cinematic experience Cinerama claims close-ups concept contemporary contends context convergence Creature critics Crowther Culture David Bordwell Dean’s depicted described digital 3D digital cinema digital cinematography digital technology digital video discourses on digital discussion Dogma 95 East East of Eden Elia Kazan embodiment emergence emphasized evoked Figure Film History film’s filmmaking format frame Gungan Hollywood human idea immersion John Belton Kazan Kracauer long shot Lucas Marilyn Monroe Marry a Millionaire Monroe’s Motion Picture move movie narrative offered viewers particular Phantom Menace portrayed realism scene screen sense Sept space spectacle spectatorial spectatorship Star Wars stereoscopic 3D suggests tactile theater Thomas Vinterberg tion trans transformed Twentieth Century–Fox University Press Vinterberg vision visual effects wide widescreen Widescreen Cinema York Zanuck