標(biāo)題: Titlebook: Die ?sthetisch-narrativen Dimensionen des 3D-Films; Neue Perspektiven de Markus Sp?hrer Book 2016 Springer Fachmedien Wiesbaden 2016 3D-Fil [打印本頁(yè)] 作者: 欺騙某人 時(shí)間: 2025-3-21 17:33
書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films影響因子(影響力)
書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films影響因子(影響力)學(xué)科排名
書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films網(wǎng)絡(luò)公開(kāi)度
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書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films被引頻次
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書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films年度引用
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書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films讀者反饋
書(shū)目名稱Die ?sthetisch-narrativen Dimensionen des 3D-Films讀者反饋學(xué)科排名
作者: needle 時(shí)間: 2025-3-21 23:49 作者: Onerous 時(shí)間: 2025-3-22 02:24 作者: plasma 時(shí)間: 2025-3-22 06:05 作者: 考博 時(shí)間: 2025-3-22 11:42
,,—Towards a Stereoscopic Poetics of Deep Space,alyses of both the screenplay and the final film, this chapter draws out .s key 3D aesthetics as evidenced within the script dialogue, direction, on-screen performance and the film’s resultant visual regime, which include both the presence of some emergent characteristics as well as the recurrence of others.作者: Diluge 時(shí)間: 2025-3-22 14:52 作者: Diluge 時(shí)間: 2025-3-22 20:27
,Zwischen Rückzugsdrang und Fortschrittszwang: Die Umwertung technologischer Bezüge in ,,inematic reflections can also be considered as a parallel development to contemporary philosophies of technology. This chapter explicates and verifies this claim using the example of . (Guillermo del Toro, 2013).作者: dermatomyositis 時(shí)間: 2025-3-22 21:54
Transformative Bodies in 3D Cinema: Computer Generated Morphing and Extra-sensory Depth Cues,tal code. This chapter discusses 3D films that demonstrate the transformative capacity of human bodies in digital stereoscopic films with an emphasis on the way presence and proximity, as well as tactile and sensory visual fields, are maintained and reconfigured across these transformations.作者: PLIC 時(shí)間: 2025-3-23 03:51
Alfred Hitchcocks , (1954): 3D als Strategie des narrativen Bildraums,s on the relationship between the fictional narrative space and the aesthetic three-dimensional space. Thereby she deals with those scenes in particular that have been disregarded by academic discourse so far, but, according to Rubes, need to be characterised as stereoscopic narrative and aesthetic “key scenes” (Hall 2004).作者: 小母馬 時(shí)間: 2025-3-23 07:47
,. Das Unbewusste des 3D-Kinos 1953,d electronically produced sound is concerned, which are also reflexively dealt with on the level of story. Thus in a range of scenes and sequences a “monocular gaze”—not at least embodied by the one-eyed aliens themselves—is emphasised in contrast to the binocularity of stereoscopy.作者: 系列 時(shí)間: 2025-3-23 12:49
, (Werner Herzog, 2010) oder: Zur Ko-Existenz (audio-)visueller Praktiken,emains and crystal forms. In the stereoscopically generated stream of light flares, movements and transformations, the objects produce a new space-time. This new space-time’s cinematicity can best be described with Jean Epstein’s term ., as a “network” of variable space-times.作者: 是貪求 時(shí)間: 2025-3-23 14:04
,über- und Einsichten. Fragen zum D3D-Dispositiv,r narration. In this respect a wider context is taken into consideration: The D3D dispositif that encompasses the development of three-dimensional and stereoscopic images in cinema, home entertainment, medicine, and military since the application of computer technologies in the 1990s.作者: 關(guān)心 時(shí)間: 2025-3-23 21:00 作者: GEM 時(shí)間: 2025-3-23 22:39
The Scala Collections Framework, Kinderschuhen. Dies wird vor allem dann evident, wenn man der Tatsache Rechnung tr?gt, dass der stereoskopische Film bereits seit dem frühen Kino existiert, seither immer wieder ?Wiederbelebungsversuchen“ ausgesetzt war und jene Phasen dennoch erst allm?hlich filmhistoriographisch aufgearbeitet und filmtheoretisch reflektiert werden.作者: ADJ 時(shí)間: 2025-3-24 03:52
,Die ?sthetisch-narrativen Dimensionen des 3D-Films: Neue Perspektiven zur Stereoskopie, Kinderschuhen. Dies wird vor allem dann evident, wenn man der Tatsache Rechnung tr?gt, dass der stereoskopische Film bereits seit dem frühen Kino existiert, seither immer wieder ?Wiederbelebungsversuchen“ ausgesetzt war und jene Phasen dennoch erst allm?hlich filmhistoriographisch aufgearbeitet und filmtheoretisch reflektiert werden.作者: defibrillator 時(shí)間: 2025-3-24 07:22 作者: 清醒 時(shí)間: 2025-3-24 12:39 作者: crutch 時(shí)間: 2025-3-24 18:31 作者: 落葉劑 時(shí)間: 2025-3-24 19:50
https://doi.org/10.1007/978-3-030-57077-4 This chapter argues that along these lines and due to their technical conditions 3D films have an affinity for such long takes. They create an “illusion of reality” which will be argued in applying Bazin’s understanding of “realism” as well as a phenomenological approach to the notion of .作者: 鑲嵌細(xì)工 時(shí)間: 2025-3-25 01:03 作者: puzzle 時(shí)間: 2025-3-25 06:27 作者: FISC 時(shí)間: 2025-3-25 09:17 作者: BLUSH 時(shí)間: 2025-3-25 14:55
Programmpolitik Zwischen Markt und Moraltal code. This chapter discusses 3D films that demonstrate the transformative capacity of human bodies in digital stereoscopic films with an emphasis on the way presence and proximity, as well as tactile and sensory visual fields, are maintained and reconfigured across these transformations.作者: CRUMB 時(shí)間: 2025-3-25 18:00
Non-Intercalative Binding to DNA,s on the relationship between the fictional narrative space and the aesthetic three-dimensional space. Thereby she deals with those scenes in particular that have been disregarded by academic discourse so far, but, according to Rubes, need to be characterised as stereoscopic narrative and aesthetic “key scenes” (Hall 2004).作者: 跑過(guò) 時(shí)間: 2025-3-25 22:03
What’s New in the Plant Cell Cycle?d electronically produced sound is concerned, which are also reflexively dealt with on the level of story. Thus in a range of scenes and sequences a “monocular gaze”—not at least embodied by the one-eyed aliens themselves—is emphasised in contrast to the binocularity of stereoscopy.作者: FLAX 時(shí)間: 2025-3-26 01:15 作者: 使熄滅 時(shí)間: 2025-3-26 06:28
Ulrich Lüttge,David T. Clarksonr narration. In this respect a wider context is taken into consideration: The D3D dispositif that encompasses the development of three-dimensional and stereoscopic images in cinema, home entertainment, medicine, and military since the application of computer technologies in the 1990s.作者: Anticonvulsants 時(shí)間: 2025-3-26 08:35
Book 2016 den kulturellen und psychologischen Wahrnehmungsmechanismen er?ffnet. Dabei werden dezidiert audiovisuelle M?glichkeiten des "Raumtonfilms" sowohl an klassischen als auch gegenw?rtigen 3D-Filmen kritisch analysiert. Ebenso wird das filmwissenschaftliche Instrumentarium sowie die g?ngige Fachtermino作者: 溫順 時(shí)間: 2025-3-26 15:32 作者: 細(xì)頸瓶 時(shí)間: 2025-3-26 18:05
The Aesthetic and Narrative Dimensions of 3D Film: New Perspectives on Stereoscopy,long time: Not only that 3D films run incredibly successful with audiences, they are also widely discussed in critical and popular discourses and led to a renewal of the film industry and the modes of production. In addition, academic research in film and media studies, history of technology and soc作者: Volatile-Oils 時(shí)間: 2025-3-26 23:13 作者: Gingivitis 時(shí)間: 2025-3-27 04:53 作者: Madrigal 時(shí)間: 2025-3-27 07:44 作者: 贊成你 時(shí)間: 2025-3-27 09:28 作者: 有毛就脫毛 時(shí)間: 2025-3-27 17:04 作者: Estimable 時(shí)間: 2025-3-27 19:22 作者: Minikin 時(shí)間: 2025-3-28 00:17
Stepping Out: Victory and Utopia in the 3D Instalments of the , Franchise,euer?s theories of the classical Hollywood musical. It delineates how the utopia that these films present to audiences is aesthetically accentuated and renegotiated through the 3D effect. It argues that the characters? mastery of the 3D spaces secures their victory in specific dance sequences. By pa作者: MOTTO 時(shí)間: 2025-3-28 02:35
Alfred Hitchcocks , (1954): 3D als Strategie des narrativen Bildraums,), Hitchcock’s only film shot in “3D Natural Vision”. In the course of a detailed analysis, Kerstin Rubes reformulates and contrasts Sheldon Hall’s (2004) and Peter Bordonaro’s (1976) analyses of the film. Based on the concept of 3D as a “stylistic device” (Jockenh?vel 2014), Rubes’ analysis focusse作者: 先行 時(shí)間: 2025-3-28 07:51
,. Das Unbewusste des 3D-Kinos 1953,n Cold War fiction. Moreover the extraterrestrial creatures had to make a forced landing as their spaceship was damaged. According to Schr?ter’s aesthetic analysis this film does not only narrate an unusual story. Furthermore it outstands because of the aesthetic potentials of stereoscopic images an作者: 金絲雀 時(shí)間: 2025-3-28 12:48
, (Werner Herzog, 2010) oder: Zur Ko-Existenz (audio-)visueller Praktiken, a means of spectacularisation or mere action. Rather, the focus is on the visualisation of the evolutionary transformations of the “hidden life” (Balazs 1952) of the nearly 350,000 years old Chauvet Cave in South France, manifest in the “l(fā)ittle things” such as cave paintings, handprints, skeleton r作者: indices 時(shí)間: 2025-3-28 15:42
,über- und Einsichten. Fragen zum D3D-Dispositiv,narrative strategies. On the one hand the focus is on films like ., ., and ., which explore cinema itself with a self-reflexive approach. On the other hand examples like ., and . foreground a “politics of space” transporting audiences (in)to places beyond the function of being merely “background” fo作者: GUEER 時(shí)間: 2025-3-28 20:44
https://doi.org/10.1007/978-3-658-09422-53D-Film; Film- und Medien?sthetik; Filmwissenschaft; Medienwissenschaft; Narratologie; media research作者: 溺愛(ài) 時(shí)間: 2025-3-29 02:39
978-3-658-09421-8Springer Fachmedien Wiesbaden 2016作者: BALK 時(shí)間: 2025-3-29 06:31 作者: 松雞 時(shí)間: 2025-3-29 08:31 作者: Ischemia 時(shí)間: 2025-3-29 13:05 作者: laxative 時(shí)間: 2025-3-29 19:18 作者: 暫時(shí)休息 時(shí)間: 2025-3-29 19:42 作者: Paleontology 時(shí)間: 2025-3-30 03:36
https://doi.org/10.1007/978-1-349-12692-7lm. In the course of a detailed analysis, Feiersinger constitutes what she calls a “spatial narration” of the film, which can be compared to baroque illusory spaces, particularly Andrea Pozzo’s famous ceiling painting . (1691–1694). The strategies of creating and dissolving immersion which she obser作者: 誰(shuí)在削木頭 時(shí)間: 2025-3-30 04:58
https://doi.org/10.1007/978-3-322-96315-4of 3D film, a medium is provided which deals with this subject in an intensive way. The films that have been produced within the last years reveal parallels which can be related to a new perspective on technology that attributes technology as constituting and transcending human subjectivity. These c作者: 用肘 時(shí)間: 2025-3-30 11:31
Programmpolitik Zwischen Markt und Moralrom its depiction in 2D media. Whereas analogue stereoscopy attempted to closely replicate the physical characteristics of a performing body that was placed in front of two cameras, digital stereoscopy using CGI is able to create hybrid bodies that belong in part to the performer and in part to digi作者: Inculcate 時(shí)間: 2025-3-30 13:13 作者: 抗原 時(shí)間: 2025-3-30 19:06 作者: RLS898 時(shí)間: 2025-3-30 21:58 作者: 一起 時(shí)間: 2025-3-31 03:17
