Titlebook: 3D Cinematic Aesthetics and Storytelling; Yong Liu Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 3D cinema.3D filmmaking.

informed

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粗俗人

engrossed

硬化

https://doi.org/10.1007/978-3-030-37861-5sity Press. 2012), I argue that 3D’s contributions to both dramatic staging and narrational techniques are primarily rooted in the positive parallax space while complemented by limited use of the negative parallax effect, thus exemplifying the current predominance of the Aesthetics of Recession in digital 3D cinema.

制定法律

遺傳

transplantation

A Brief Introduction to Dispersion Relationsinely different from 2D cinematic narratives? In this introductory chapter, I attempt to provide a historical overview of 3D’s technical issues and aesthetic development, in order to set up the framework for my main discussion of contemporary 3D cinematic narrative and aesthetics.

松馳

Micro-impact Assessment of Guangdong ETS,d discussion of contemporary 3D cinema’s distinctive narrative tropes and techniques, I conclude that digital?3D’s narrative effectiveness is tightly entwined with the new artistic paradigm of the Aesthetics of Recession.

syncope

A Brief Introduction to Numerical Analysisique regime of ‘stereoscopic hyperrealism,’ considering stereoscopy alongside digital technologies and processes such as CGI, VFX and HFR. This overview sets up a historical and aesthetic framework for my subsequent discussion of contemporary 3D cinematic narrative and aesthetics.

animated

Sums of the Powers of Successive Integers,g in different ways to complement or contrast with stereoscopic depth. Ultimately, I argue that the alternation or layering of flatness and depth enhances narrative by highlighting the dramatic and ontological qualities of characters and spaces.