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

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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.?.978-3-030-10258-6978-3-319-72742-4

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A Brief Introduction to Dispersion Relationscan 3D technology, in its new digitised incarnation, precisely contribute to visual storytelling beyond visual trickery or spectacle that is also genuinely different from 2D cinematic narratives? In this introductory chapter, I attempt to provide a historical overview of 3D’s technical issues and ae

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A Brief Introduction to Numerical Analysisdecades, I illustrate the aesthetic transformations that have shaped 3D from the previous booms to its current digital incarnation. I focus on the relationship between spectacle and narrative, and also consider the concept of ‘realism’ and discuss its complex connotations within different historical

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https://doi.org/10.1007/978-1-4842-8975-4gies. Moreover, with reference to Kracauer’s classic remark?(.. Oxford: Oxford University Press, 1961) that ‘the nature of film is the redemption of physical reality,’ I argue for 3D’s enhanced ability to (re)construct and recreate a ‘hyper-reality,’ based on 3D’s (actual or virtual) two-camera mech

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https://doi.org/10.1007/978-1-4842-8975-4distinctive spatiotemporal configurations that result from the splicing of original footage and digital effects in contemporary cinema—as well as her consideration of the multiple connotations of ‘spectacle.’ I categorise 3D timespaces into three types: primary stereoscopic timespace, dynamic stereo

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