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000806559 0247_ $$a10.1057/978-1-137-54267-0$$2doi
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000806559 1001_ $$aWeetch, Owen.
000806559 24510 $$aExpressive Spaces in Digital 3D Cinema.
000806559 260__ $$aLondon :$$bPalgrave Macmillan,$$c[2016]
000806559 300__ $$a1 online resource.
000806559 336__ $$atext$$btxt$$2rdacontent
000806559 337__ $$acomputer$$bc$$2rdamedia
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000806559 4901_ $$aPalgrave close readings in film and television
000806559 504__ $$aIncludes bibliographical references and index.
000806559 5050_ $$aDedication; Acknowledgements; Contents; List of Figures; Chapter 1: Introduction: TheßExpressivity ofßSpace; Established Modes, Structure andßRationale; Analysing 3D Cinema: AßMethodology; Notes; References; Chapter 2: 'I See You': Avatar, Narrative Spectacle andßAccentuating Continuity; Comin' At Ya: Negative Parallax's Distractions andßCorrective Depth Aesthetics; Racking Convergence: Stereographically Intensifying Continuity andßtheßQuestion ofßDistance; 'Sky People Cannot Learn. They Do Not See': AßNarrative ofßaßSpectacular, Stereoscopic Frontier.
000806559 5058_ $$aPlateae 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.
000806559 5058_ $$aNoises inßtheßBasement: Slasher Film Shot Strategies andßOff-Screen SpaceWatching theßWatchers: Undermining theßEye's Mastery; It's Behind You: Overcoming Suture, theßExpressivity ofßHyperstereo andßtheßThompson Boys' Trauma; Like Father, Like Son: Expressionist Spaces, theßOnset ofßMaturity andßaßBattle forßResponsibility; A Mature Use ofßStereography: Conclusion; Notes; References; Chapter 5: 'There's anßOcean inßtheßWay': Written Words, Unreachability andßCompeting Testimonies inßThe Great Gatsby; Writing Greatness: Words, Lived Experience andßtheßAcknowledgement ofßSubjectivity.
000806559 5058_ $$aWater, 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.
000806559 506__ $$aAccess limited to authorized users.
000806559 520__ $$aThis book puts forward a more considered perspective on 3D, which is often seen as a distracting gimmick at odds with artful cinematic storytelling. Owen Weetch looks at how stereography brings added significance and expressivity to individual films that all showcase remarkable uses of the format. Avatar, Gravity, The Hole, The Great Gatsby and Frozen all demonstrate that stereography is a rich and sophisticated process that has the potential to bring extra meaning to a film's narrative and themes. Through close reading of these five very different examples, Expressive Spaces in Digital 3D Cinema shows how being sensitive to stereographic manipulation can nuance and enrich the critical appreciation of stereoscopic films. It demonstrates that the expressive placement of characters and objects within 3D film worlds can construct meaning in ways that are unavailable to 'flat' cinema.
000806559 650_0 $$aDigital cinematography.
000806559 650_0 $$aThree-dimensional imaging.
000806559 77608 $$iPrint version:$$z9781137542663$$z1137542667$$w(OCoLC)944474220
000806559 830_0 $$aPalgrave close readings in film and television.
000806559 852__ $$bebk
000806559 85640 $$3SpringerLink$$uhttps://univsouthin.idm.oclc.org/login?url=http://link.springer.com/10.1057/978-1-137-54267-0$$zOnline Access$$91397441.1
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