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Table of Contents
Dedication; Acknowledgements; Contents; List of Figures; Chapter 1: Introduction: TheßExpressivity ofßSpace; Established Modes, Structure andßRationale; Analysing 3D Cinema: AßMethodology; Notes; References; Chapter 2: 'I See You': Avatar, Narrative Spectacle andßAccentuating Continuity; Comin' At Ya: Negative Parallax's Distractions andßCorrective Depth Aesthetics; Racking Convergence: Stereographically Intensifying Continuity andßtheßQuestion ofßDistance; 'Sky People Cannot Learn. They Do Not See': AßNarrative ofßaßSpectacular, Stereoscopic Frontier.
Plateae vs. Loci: Discourses ofßMediated VisionNotes; References; Chapter 3: 'You're Going toßMake It': Ride Alignment andßtheßMastery ofßStereographic Space inßGravity; 'One Hell ofßaßRide': Ride Film Aesthetics, Frightening Distances andßaßNarrative ofßControl; Accidental andßIntentional Journeys Across theßScreen Plane; Going Home: Stone's Decisive Inhabitancy ofßaßChosen Stereospace; 'Like aßChihuahua That's Being Tumble-Dried': Conclusion; Notes; References; Chapter 4: 'You Only Looked that Way Because IßWasßLittle': Spaces ofßTerror andßReaching Maturity inßThe Hole.
Noises inßtheßBasement: Slasher Film Shot Strategies andßOff-Screen SpaceWatching theßWatchers: Undermining theßEye's Mastery; It's Behind You: Overcoming Suture, theßExpressivity ofßHyperstereo andßtheßThompson Boys' Trauma; Like Father, Like Son: Expressionist Spaces, theßOnset ofßMaturity andßaßBattle forßResponsibility; A Mature Use ofßStereography: Conclusion; Notes; References; Chapter 5: 'There's anßOcean inßtheßWay': Written Words, Unreachability andßCompeting Testimonies inßThe Great Gatsby; Writing Greatness: Words, Lived Experience andßtheßAcknowledgement ofßSubjectivity.
Water, Water Everywhere: Aquatic Barriers andßCompeting Visual Empires'I Can't Help What's Past': Spatial Competition andßtheßStereographic Articulation ofßVictory; 'By Nick Carraway': Conclusion; Notes; References; Chapter 6: 'Against theßWall': Frozen's Expressive Planarity, Attempts toßConnect andßAmbivalent Utopias; 'I've Started Talking toßtheßPictures onßtheßWalls': Expressive Planarity andßOutmoded Representations; Approaches andßRetreats: Three Interactions Between Anna andßElsa; Let It Snow: Ambivalent Utopias andßElemental States; 'Poor Unfortunate Souls': Conclusion; Notes.
Plateae vs. Loci: Discourses ofßMediated VisionNotes; References; Chapter 3: 'You're Going toßMake It': Ride Alignment andßtheßMastery ofßStereographic Space inßGravity; 'One Hell ofßaßRide': Ride Film Aesthetics, Frightening Distances andßaßNarrative ofßControl; Accidental andßIntentional Journeys Across theßScreen Plane; Going Home: Stone's Decisive Inhabitancy ofßaßChosen Stereospace; 'Like aßChihuahua That's Being Tumble-Dried': Conclusion; Notes; References; Chapter 4: 'You Only Looked that Way Because IßWasßLittle': Spaces ofßTerror andßReaching Maturity inßThe Hole.
Noises inßtheßBasement: Slasher Film Shot Strategies andßOff-Screen SpaceWatching theßWatchers: Undermining theßEye's Mastery; It's Behind You: Overcoming Suture, theßExpressivity ofßHyperstereo andßtheßThompson Boys' Trauma; Like Father, Like Son: Expressionist Spaces, theßOnset ofßMaturity andßaßBattle forßResponsibility; A Mature Use ofßStereography: Conclusion; Notes; References; Chapter 5: 'There's anßOcean inßtheßWay': Written Words, Unreachability andßCompeting Testimonies inßThe Great Gatsby; Writing Greatness: Words, Lived Experience andßtheßAcknowledgement ofßSubjectivity.
Water, Water Everywhere: Aquatic Barriers andßCompeting Visual Empires'I Can't Help What's Past': Spatial Competition andßtheßStereographic Articulation ofßVictory; 'By Nick Carraway': Conclusion; Notes; References; Chapter 6: 'Against theßWall': Frozen's Expressive Planarity, Attempts toßConnect andßAmbivalent Utopias; 'I've Started Talking toßtheßPictures onßtheßWalls': Expressive Planarity andßOutmoded Representations; Approaches andßRetreats: Three Interactions Between Anna andßElsa; Let It Snow: Ambivalent Utopias andßElemental States; 'Poor Unfortunate Souls': Conclusion; Notes.