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Jesko Jockenhövel Research Provocation: Digital 3D: Not one style, but many options
Increasingly under pressure in the US, 3D cinema is – in commercial terms – most successful abroad, especially in Asia. With 3D, Hollywood’s global approach has gone a step further. The domestic market has […]
Leon Gurevitch Research Provocation: Virtual finally Reality? The Media Archaeologies of Immersive 3D and the Oculus Rift
In June of 2012 Oculus VR, a previously unknown company headed by Palmer Luckey, suddenly started to gain viral attention on YouTube, Twitter and news media websites across the internet. The Electronic Entertainment Expo […]
Miriam Ross Research Provocation: Post-production conversions, the Ugly, the Bad and the Good
Unavailable in the analogue eras of 3D cinema (although arguably available in early 3D animation), post-production conversion came to the forefront of public perception when Alice in Wonderland and Clash of the Titans exhibited conversion […]
Nick Jones Research Provocation: Negotiating 3D Style and 2D Continuity
Accounts of cinematic style in mainstream narrative feature films often focus upon the importance of legibility, stylistic invisibility and the primacy of narrative. Coining the term classical style, David Bordwell suggests it ‘makes the sheerly […]
Scott Higgins Research Provocation: How does 3D tell stories?
One productive trend in 3D scholarship involves questioning the conventions of 2D spectatorship. Thomas Elsaesser suggests that 3D may “be retooling the semantics of embodied perception” as part of a “postpictorial spatial vision and in-depth sensation […]
Bruce Bennett Research Provocation, Unexpected cinematic journeys and ethnographic spectacle in contemporary 3D films
In its fetishistic preoccupation with novel technology much of the commentary on contemporary 3D films overlooks the composition of the films, evaluating them as more or less successful demonstrations of the spectacular potential of […]
William Brown Research Provocation, 3D cinema is really a 4D cinema
Various scholars seem recently to have argued that 2D cinema has always been a 3D cinema. Thomas Elsaesser, for example, suggests that the current wave of 3D cinema is simply the image track catching […]