By Miriam Ross

ISBN-10: 1137378573

ISBN-13: 9781137378576

ISBN-10: 1349478334

ISBN-13: 9781349478330

3D Cinema: Optical Illusions and Tactile studies questions the typical frameworks used for discussing 3D cinema, realism and spectacle, in an effort to absolutely comprehend the embodied and sensory dimensions of 3D cinema's specific visuality.

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Additional resources for 3D Cinema: Optical Illusions and Tactile Experiences

Sample text

While many of the organisational principles of Western art from the last few centuries – in particular perspective – rely on the priority of vision, intercultural cinema dismantles this focus in favour of a return to engagement with all senses. This process makes use of haptic perception: ‘the combination of tactile, kinaesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies’ (Marks, 2000: 162). Furthermore, haptic visuality is distinguished from optical visuality, which sees things from enough distance to perceive them as distinct forms in deep space: in other words, how we usually conceive of vision.

On the one hand, the tendency to create extended illusionistic depth in commercial stereoscopic films couples with a dismantling of the screen plane so that the planar skin of the film is no longer discernible. In this way, the presentation of distinct forms in deep space occurs and an optical visuality is encouraged. The potential for separation from the film’s body is then further encouraged by the majority of stereoscopic display systems that ask viewers to use glasses, often with polarised filters that diminish the intensity of light reaching the eyes.

They often sit in the foreground, on either the left or the right of the action. Although rarely obscuring the actors and the central action, they do focus attention on the placement of the actors behind them in Hyper-Haptic Visuality 33 positive parallax space. In this way, they provide a point of connection between the film and viewers’ visual spaces but, unlike objects in other 3D films, they do not have the obtrusive bulge or protrusion into negative parallax space that suggests a bridge between these different spaces.

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3D Cinema: Optical Illusions and Tactile Experiences by Miriam Ross


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