Titlebook: Die ?sthetisch-narrativen Dimensionen des 3D-Films; Neue Perspektiven de Markus Sp?hrer Book 2016 Springer Fachmedien Wiesbaden 2016 3D-Fil

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考博

,,—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.

Diluge

Diluge

,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).

dermatomyositis

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.

PLIC

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).

小母馬

,. 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.